Pub Date : 2022-03-24DOI: 10.1080/03080188.2022.2036520
M. Casey, Robert J. Quon, B. Jobst
ABSTRACT Prior research involving persons with drug-resistant epilepsy has demonstrated that listening to some music decreases the probability of clinical seizures and their related comorbidities. This article reviews recent research designed to elicit the neural mechanisms behind positive outcomes on biomarkers of the disease. Using novel music analytical and neurophysiological experimental methods, our results showed positive effects on epilepsy using 15-second gamma-band (40-Hz) complex tones as well as Mozart's Sonata for Two Pianos in D Major (K448). We also observed greater effects with increased stimulus duration. Further analysis elicited effects localized to bilateral frontal brain regions due to transitions between musical phrases. Finally, music matched for patient preference from a range of musical styles was not as effective as 40-Hz tones or Mozart's K448. Understanding these results required expertise in both music and neuroscience, and could yield reliable music-based interventions for epilepsy that may also be transferable to other brain disorders.
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Pub Date : 2022-03-22DOI: 10.1080/03080188.2022.2047275
G. Schott
ABSTRACT The averaging of waveforms necessary to detect small cortical evoked potentials which was pioneered by George Dawson, and the periodicity of component waves resulting from interference identified by Thomas Young, reveal selected components of the visual record to be diminished and others to be enhanced and thus salient. Surprisingly, these examples of achieving salience in neurophysiology and physics were anticipated two millennia ago by the Greek artist Zeuxis. When commissioned to paint a portrait of Helen of Troy, Zeuxis used a not dissimilar method of selection which still resonates today in the carnal artistry of Orlan. These examples reveal the important contribution of graphic methods to the depiction and hence the significance of salience in both the sciences and the humanities.
{"title":"From brainwaves and ripples to Helen of Troy and Orlan: the depiction and significance of salience","authors":"G. Schott","doi":"10.1080/03080188.2022.2047275","DOIUrl":"https://doi.org/10.1080/03080188.2022.2047275","url":null,"abstract":"ABSTRACT The averaging of waveforms necessary to detect small cortical evoked potentials which was pioneered by George Dawson, and the periodicity of component waves resulting from interference identified by Thomas Young, reveal selected components of the visual record to be diminished and others to be enhanced and thus salient. Surprisingly, these examples of achieving salience in neurophysiology and physics were anticipated two millennia ago by the Greek artist Zeuxis. When commissioned to paint a portrait of Helen of Troy, Zeuxis used a not dissimilar method of selection which still resonates today in the carnal artistry of Orlan. These examples reveal the important contribution of graphic methods to the depiction and hence the significance of salience in both the sciences and the humanities.","PeriodicalId":50352,"journal":{"name":"Interdisciplinary Science Reviews","volume":"48 1","pages":"43 - 48"},"PeriodicalIF":1.1,"publicationDate":"2022-03-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46895377","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"综合性期刊","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-03-19DOI: 10.1080/03080188.2022.2035106
M. Helmuth, M. Schedel
ABSTRACT The authors investigate works by four composers who employed technology in the creation of music employing audification, sonification and algorithmic composition techniques. These compositions involve interdisciplinary collaborations either with scientific researchers, in the case of Annea Lockwood's Dusk and Carla Scaletti's hàgg, or artificial intelligence, in George Lewis's Voyager, and Bob Sturm's The Waters of Heanny. Each composer's choice of input data, custom-designed tools and personal compositional processes result in unique, expressive works that challenge the listener to expand their view of music and reality.
{"title":"Links between sonification and generative music","authors":"M. Helmuth, M. Schedel","doi":"10.1080/03080188.2022.2035106","DOIUrl":"https://doi.org/10.1080/03080188.2022.2035106","url":null,"abstract":"ABSTRACT The authors investigate works by four composers who employed technology in the creation of music employing audification, sonification and algorithmic composition techniques. These compositions involve interdisciplinary collaborations either with scientific researchers, in the case of Annea Lockwood's Dusk and Carla Scaletti's hàgg, or artificial intelligence, in George Lewis's Voyager, and Bob Sturm's The Waters of Heanny. Each composer's choice of input data, custom-designed tools and personal compositional processes result in unique, expressive works that challenge the listener to expand their view of music and reality.","PeriodicalId":50352,"journal":{"name":"Interdisciplinary Science Reviews","volume":"47 1","pages":"215 - 242"},"PeriodicalIF":1.1,"publicationDate":"2022-03-19","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45493189","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"综合性期刊","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-03-19DOI: 10.1080/03080188.2022.2035101
A. Hugill
ABSTRACT This introduction sets out the key themes of this special issue of Interdisciplinary Science Reviews which is devoted to Music and/as Science. After identifying some initial provocative questions, it outlines the interdisciplinary, methodological and epistemological aspects of the various articles in the journal. It concludes with some personal reflections on the author’s own involvement in music over more than fifty years.
{"title":"The continuous in motion: music and/as science","authors":"A. Hugill","doi":"10.1080/03080188.2022.2035101","DOIUrl":"https://doi.org/10.1080/03080188.2022.2035101","url":null,"abstract":"ABSTRACT This introduction sets out the key themes of this special issue of Interdisciplinary Science Reviews which is devoted to Music and/as Science. After identifying some initial provocative questions, it outlines the interdisciplinary, methodological and epistemological aspects of the various articles in the journal. It concludes with some personal reflections on the author’s own involvement in music over more than fifty years.","PeriodicalId":50352,"journal":{"name":"Interdisciplinary Science Reviews","volume":"47 1","pages":"118 - 128"},"PeriodicalIF":1.1,"publicationDate":"2022-03-19","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42527631","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"综合性期刊","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-03-17DOI: 10.1080/03080188.2022.2035103
B. Truax
ABSTRACT The author discusses the relationship between experiential listening knowledge and scientific interdisciplinary knowledge in regard to sound, with particular emphasis on soundscape composition and electroacoustic signal processing.
摘要作者讨论了体验式听力知识与科学跨学科声音知识之间的关系，特别是声景合成和电声信号处理。
{"title":"Speech, music, soundscape and listening: interdisciplinary explorations","authors":"B. Truax","doi":"10.1080/03080188.2022.2035103","DOIUrl":"https://doi.org/10.1080/03080188.2022.2035103","url":null,"abstract":"ABSTRACT The author discusses the relationship between experiential listening knowledge and scientific interdisciplinary knowledge in regard to sound, with particular emphasis on soundscape composition and electroacoustic signal processing.","PeriodicalId":50352,"journal":{"name":"Interdisciplinary Science Reviews","volume":"47 1","pages":"279 - 293"},"PeriodicalIF":1.1,"publicationDate":"2022-03-17","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41756947","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"综合性期刊","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-03-17DOI: 10.1080/03080188.2022.2036408
Ambrose Field
ABSTRACT According to Brooks [2017. “The Big Problem with Self-driving Cars Is People”. IEEE Spectrum: Technology, Engineering, and Science News], artificial intelligence has had a variable track-record of usefulness in situations where context and environmental knowledge are responsible for shaping human interactions. In 2021, providing contextually aware training to supervised machine learning is still a non-trivial task for AI models that involve complex systems. In addition, knowledge held only across distributed members of a community, within culture, or tacitly within the wider environment of the ambient commons [McCullough 2013. Ambient Commons: Attention in the Age of Embodied Information. Cambridge, MA: MIT Press] evades consistent generalizable modelling – even in technical domains such as traffic flow management, atmospheric chemistry, or the prediction of election results. Yet it is precisely these interactions of context, community, culture and environment that also define how music can be created. The creative arts can themselves be thought of as a complex system. Assuming that creativity is non-generalizable, this paper assesses creative processes through a humanities-centric lens of machine learning and robotics, aiming to better understand relationships between context, environment and experimental system in artistic research. These relationships are now themselves significantly digitally mediated, requiring a change in academic discourse away from artefacts which need discrete research justification towards a more holistic, and often non-linear view of networks that require cultural situation. In doing so, issues of creative accountability [Field 2021. “Changing the Vocabulary of Creative Research: The Role of Networks, Risk, and Accountability in Transcending Technical Rationality.” In Sound Work: Composition as Critical Technical Practice, edited by J. Impett, 303–317.Orpheus Institute Series. Leuven: Leuven University Press] and the implications of substituting “creative question” for “research question” are examined within creative research. Early twentieth century ideas related to progressivism which have instrumentalized creative practice, particularly where technology forms part of art making, are challenged by re-thinking change through new models. The Three Horizons change model [Sharpe 2016. “Three Horizons: A Pathways Practice for Transformation.” Ecology and Society 21 (2): 47] originally intended to describe environmental ecosystems, is assessed as a practical tool for designing creative research.
{"title":"Mining the ambient commons: building interdisciplinary connections between environmental knowledge, AI and creative practice research","authors":"Ambrose Field","doi":"10.1080/03080188.2022.2036408","DOIUrl":"https://doi.org/10.1080/03080188.2022.2036408","url":null,"abstract":"ABSTRACT According to Brooks [2017. “The Big Problem with Self-driving Cars Is People”. IEEE Spectrum: Technology, Engineering, and Science News], artificial intelligence has had a variable track-record of usefulness in situations where context and environmental knowledge are responsible for shaping human interactions. In 2021, providing contextually aware training to supervised machine learning is still a non-trivial task for AI models that involve complex systems. In addition, knowledge held only across distributed members of a community, within culture, or tacitly within the wider environment of the ambient commons [McCullough 2013. Ambient Commons: Attention in the Age of Embodied Information. Cambridge, MA: MIT Press] evades consistent generalizable modelling – even in technical domains such as traffic flow management, atmospheric chemistry, or the prediction of election results. Yet it is precisely these interactions of context, community, culture and environment that also define how music can be created. The creative arts can themselves be thought of as a complex system. Assuming that creativity is non-generalizable, this paper assesses creative processes through a humanities-centric lens of machine learning and robotics, aiming to better understand relationships between context, environment and experimental system in artistic research. These relationships are now themselves significantly digitally mediated, requiring a change in academic discourse away from artefacts which need discrete research justification towards a more holistic, and often non-linear view of networks that require cultural situation. In doing so, issues of creative accountability [Field 2021. “Changing the Vocabulary of Creative Research: The Role of Networks, Risk, and Accountability in Transcending Technical Rationality.” In Sound Work: Composition as Critical Technical Practice, edited by J. Impett, 303–317.Orpheus Institute Series. Leuven: Leuven University Press] and the implications of substituting “creative question” for “research question” are examined within creative research. Early twentieth century ideas related to progressivism which have instrumentalized creative practice, particularly where technology forms part of art making, are challenged by re-thinking change through new models. The Three Horizons change model [Sharpe 2016. “Three Horizons: A Pathways Practice for Transformation.” Ecology and Society 21 (2): 47] originally intended to describe environmental ecosystems, is assessed as a practical tool for designing creative research.","PeriodicalId":50352,"journal":{"name":"Interdisciplinary Science Reviews","volume":"47 1","pages":"185 - 198"},"PeriodicalIF":1.1,"publicationDate":"2022-03-17","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48204347","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"综合性期刊","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-03-17DOI: 10.1080/03080188.2022.2035107
R. Mountain
ABSTRACT The article traces the author's research into auditory and temporal perception to probe the strategies useful to a composer for portraying illusions of multiple layers in music, then to a secondary exploration of cross-disciplinary terminologies and strategies, and subsequently to a focus on variables in the listener profile as influencing the potential discernment of meaning in music. Further exploration, tracing the millennia of primitive sound-processing strategies as well as the many contexts which involve body movements and rhythms, leads to the realization that a composer who ventures outside traditional stylistic conventions of music-making will benefit from attention to these factors. In conclusion, the author points out that music is created not only for portraying emotions and moods, but, like all art forms, with an infinite variety of manifestations, subject matter, and research modes.
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Pub Date : 2022-03-17DOI: 10.1080/03080188.2022.2035108
Jason Noble
ABSTRACT The career of metaphor hypothesis advanced by Gentner et al, which describes differences in cognitive processing between metaphors encountered for the first time (novel metaphors) and metaphors encountered frequently (conventional metaphors), is applied to diverse relationships between instrumental music and the voice. A general account of musical metaphors hypothesizes that historical controversies over music’s capacity to communicate extramusical meaning are rooted in the problematic conceptual metaphor Meaning is Content and may be allayed by adopting an alternative, Meaning is Mapping. Historical practices of modelling instrumental performance and composition on the voice (e.g. cantabile, The Singing Style) are conceived as conventional metaphors and various contemporary approaches to voice-based instrumental and electroacoustic composition are conceived as novel metaphors. A brief survey of contemporary practices illustrates some of the ways recent music has exploited vocality with examples from recent repertoire, and points of comparison between conventional and novel approaches to vocality are summarized.
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Pub Date : 2022-01-02DOI: 10.1080/03080188.2022.2031659
W. McCarty
Readers will be aware that ISR publishes both unsolicited submissions and thematic collections. At the last meeting of the Editorial Board, with ISR’s criteria for interdisciplinary research in discussion, one of the members asked what unit is used to determine whether a submission is interdisciplinary, and so whether it qualifies for review. This question proved fruitful, as it raised the matter of the journal’s structure, or I should say, structures, according to which answering the question varies. At the meeting, I responded with a straightforward division into unsolicited submissions and contributions to guest-edited, thematic collections. Pondering further, other interesting problems arise. But first the criteria. For an individual, unsolicited submission, we look for an approach to its research question that attempts to find or negotiate common ground between the author’s native discipline (rarely, disciplines) and at least one other. Merely poaching a technique or result from one field and applying it to a question in another is not merely insufficient but acts on the wrong idea of interdisciplinary research. In other words, interdisciplinary research is crosscultural: it seeks common ground between different intellectual cultures, crucially not assuming but making visible the different assumptions inherent to them. The structure of a thematic issue varies but usually fits one of three kinds. It may be a relatively un-orchestrated collection from diverse perspectives, the theme brought out and discussed by the guest-editor’s initial essay. The next issue, The continuous in motion: Music and/as science, is an example. For the second kind, contributors from different disciplines or specialisms are asked to comment on an essay written beforehand by a senior scholar, who may then reply in an afterword. For the third, contributors respond to the interdisciplinary work of such a scholar (but not in the manner of a Festschrift). Examples of these three kinds are to be found in issues of ISR from the last dozen or so years. The structures I describe, that is, were not invented beforehand but came from proposals, or in at least one case, from an explicitly interdisciplinary lecture series unified by its theme. The problems I’ve called ‘interesting’ have to do precisely with that common ground, or as Marilyn Strathern put it in the title of a book, Commons and Borderlands: Working Papers on Interdisciplinarity, Accountability and the Flow of Knowledge (2004). Three painful truths: professional reward for genuinely interdisciplinary research is rare, understanding of what it entails hard to come by and doing it well exceedingly difficult. Once you eliminate the imperial panoptic illusion, as Stanley Fish instructed (1989) – that from a neutral stance all disciplines can be contemplated and drawn from at will – you are faced with the job of bridge-building, of ‘becoming interdisciplinary’, as I wrote some years ago (2016a, citing excellent writings o
读者将会意识到，ISR出版了未经请求的投稿和主题合集。在编辑委员会的上次会议上，在讨论ISR的跨学科研究标准时，一位成员问用什么单位来确定一篇论文是否跨学科，从而确定它是否有资格进行审查。这个问题被证明是有成效的，因为它提出了杂志结构的问题，或者我应该说，结构，根据回答问题的不同而不同。在会议上，我直截了当地将其分为主动提交的稿件和嘉宾编辑的专题文集。进一步思考，还会出现其他有趣的问题。但首先是标准。对于一个单独的，未经请求的提交，我们寻找一种方法来解决其研究问题，试图在作者的原生学科(很少，学科)和至少一个其他学科之间找到或协商共同点。仅仅从一个领域窃取技术或成果并将其应用于另一个领域的问题不仅是不够的，而且是对跨学科研究的错误观念的行为。换句话说，跨学科研究是跨文化的:它在不同的智力文化之间寻找共同点，关键是不假设而是使它们固有的不同假设可见。主题问题的结构各不相同，但通常符合三种类型之一。这可能是一个从不同角度出发的相对松散的合集，这个主题是由客座编辑最初的文章提出和讨论的。下一期《连续运动:音乐和/作为科学》就是一个例子。对于第二种，来自不同学科或专业的投稿人被要求对一位资深学者事先写的文章进行评论，然后这位学者可能会在后记中回复。对于第三种，贡献者对这样一位学者的跨学科工作做出回应(但不是以一种方式)。这三种类型的例子可以在过去十几年左右的ISR问题中找到。我所描述的结构，也就是说，不是事先发明的，而是来自建议，或者至少在一个案例中，来自一个明确的跨学科讲座系列，由其主题统一。我称之为“有趣”的问题恰恰与这种共同基础有关，或者正如玛丽莲·斯特拉森(Marilyn Strathern)在2004年出版的一本书《公地与边疆:跨学科、问责制和知识流动的工作论文》(Working Papers on interdisciplinary, Accountability and Flow of Knowledge)中所说。三个令人痛苦的事实:真正的跨学科研究很少得到专业奖励，很难理解它需要什么，而且把它做好极其困难。一旦你像斯坦利·费什(Stanley Fish, 1989)所指示的那样——从中立的立场出发，所有学科都可以被随意地思考和借鉴——消除了帝国全景错觉，你就面临着桥梁建设的工作，“成为跨学科”的工作，正如我几年前写的那样(2016a，引用了关于这个主题的优秀著作)。我在这里使用分词形式有两个原因。第一，智力的增长永远不会完成，只有继续或放弃。第二点(考虑到我们现在拥有的资源，实际上是触手可及的)是，旧的方式已经被新的方式所取代。历史学家罗伊·罗森茨威格(Roy Rosenzweig)将其称为“丰富问题”(2011)，这不仅是数量的问题，也是使用的问题:如何公平地取样并被理解为这样做?就在我写博士论文的时候
{"title":"Structures of bridge-building","authors":"W. McCarty","doi":"10.1080/03080188.2022.2031659","DOIUrl":"https://doi.org/10.1080/03080188.2022.2031659","url":null,"abstract":"Readers will be aware that ISR publishes both unsolicited submissions and thematic collections. At the last meeting of the Editorial Board, with ISR’s criteria for interdisciplinary research in discussion, one of the members asked what unit is used to determine whether a submission is interdisciplinary, and so whether it qualifies for review. This question proved fruitful, as it raised the matter of the journal’s structure, or I should say, structures, according to which answering the question varies. At the meeting, I responded with a straightforward division into unsolicited submissions and contributions to guest-edited, thematic collections. Pondering further, other interesting problems arise. But first the criteria. For an individual, unsolicited submission, we look for an approach to its research question that attempts to find or negotiate common ground between the author’s native discipline (rarely, disciplines) and at least one other. Merely poaching a technique or result from one field and applying it to a question in another is not merely insufficient but acts on the wrong idea of interdisciplinary research. In other words, interdisciplinary research is crosscultural: it seeks common ground between different intellectual cultures, crucially not assuming but making visible the different assumptions inherent to them. The structure of a thematic issue varies but usually fits one of three kinds. It may be a relatively un-orchestrated collection from diverse perspectives, the theme brought out and discussed by the guest-editor’s initial essay. The next issue, The continuous in motion: Music and/as science, is an example. For the second kind, contributors from different disciplines or specialisms are asked to comment on an essay written beforehand by a senior scholar, who may then reply in an afterword. For the third, contributors respond to the interdisciplinary work of such a scholar (but not in the manner of a Festschrift). Examples of these three kinds are to be found in issues of ISR from the last dozen or so years. The structures I describe, that is, were not invented beforehand but came from proposals, or in at least one case, from an explicitly interdisciplinary lecture series unified by its theme. The problems I’ve called ‘interesting’ have to do precisely with that common ground, or as Marilyn Strathern put it in the title of a book, Commons and Borderlands: Working Papers on Interdisciplinarity, Accountability and the Flow of Knowledge (2004). Three painful truths: professional reward for genuinely interdisciplinary research is rare, understanding of what it entails hard to come by and doing it well exceedingly difficult. Once you eliminate the imperial panoptic illusion, as Stanley Fish instructed (1989) – that from a neutral stance all disciplines can be contemplated and drawn from at will – you are faced with the job of bridge-building, of ‘becoming interdisciplinary’, as I wrote some years ago (2016a, citing excellent writings o","PeriodicalId":50352,"journal":{"name":"Interdisciplinary Science Reviews","volume":"47 1","pages":"1 - 2"},"PeriodicalIF":1.1,"publicationDate":"2022-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42571031","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"综合性期刊","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-11-25DOI: 10.1080/03080188.2021.1996066
The Editor-in-Chief and the Publisher are cognisant of evidence that the research had a number of similarities throughout to a previously published paper which had not been properly acknowledged and cross-referenced: Clements, L., E. Redding, N. Lefebvre Sell, and J. May. 2018. “Expertise in Evaluating Choreographic Creativity: An Online Variation of the Consensual Assessment Technique.” Frontiers in Psychology 9:1448. doi: 10.3389/fpsyg.2018.01448
主编和出版人认识到，有证据表明，该研究与之前发表的一篇没有得到适当承认和交叉引用的论文有许多相似之处:Clements, L.， E. Redding, N. Lefebvre Sell和J. May. 2018。“评估编舞创造力的专业知识:共识评估技术的在线变体”。心理学前沿9:14 . 48。doi: 10.3389 / fpsyg.2018.01448
{"title":"Retraction: Evaluating creativity in contemporary dance: a consensual approach towards research on the practice in China","authors":"","doi":"10.1080/03080188.2021.1996066","DOIUrl":"https://doi.org/10.1080/03080188.2021.1996066","url":null,"abstract":"The Editor-in-Chief and the Publisher are cognisant of evidence that the research had a number of similarities throughout to a previously published paper which had not been properly acknowledged and cross-referenced: Clements, L., E. Redding, N. Lefebvre Sell, and J. May. 2018. “Expertise in Evaluating Choreographic Creativity: An Online Variation of the Consensual Assessment Technique.” Frontiers in Psychology 9:1448. doi: 10.3389/fpsyg.2018.01448","PeriodicalId":50352,"journal":{"name":"Interdisciplinary Science Reviews","volume":"47 1","pages":"115 - 115"},"PeriodicalIF":1.1,"publicationDate":"2021-11-25","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45280817","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"综合性期刊","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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