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Chaos theory, informational needs, and natural disasters 总被引:2,自引:0,他引:2
Timothy L. Sellnow Matthew W. Seeger Robert R. Ulmer 《Journal of Applied Communication Research》2002,30(4):269-292
This study applies chaos theory to a system-wide analysis of crisis communication in a natural disaster. Specifically, we analyze crisis communication during the 1997 Red River Valley flood in Minnesota and North Dakota. This flood, among the worst in modern American history, consumed entire metropolitan areas, displacing thousands of people. The conditions and decisions leading to the disaster, and the subsequent reactions are retraced. Communication related to river crest predictions (fractals), the shock at the magnitude of the crisis (cosmology episode), novel forms of reorganizing (self-organization), and agencies that aided in establishing a renewed order (strange attractors) are evaluated. Ultimately, we argue that preexisting sensemaking structures favoring rationalized, traditional views of a complex system led officials to make inappropriately unequivocal predictions and ultimately diminished the effectiveness of the region's crisis communication and planning. 相似文献
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Matthew S. Thatcher 《Journal of Applied Communication Research》2006,34(4):349-367
An ongoing debate regarding the nature of therapeutic communities concerns the extent to which these communities reinforce the ideologies of individualism and community. This article engages this discussion through a process of social text analysis informed by the dialogism theory of Russian philosopher and literary scholar Mikhail Bakhtin. Dialogism seeks to understand the multiple voices interpenetrating particular utterances, revealing an emergent social construction of meaning. Applying this approach to examples of discourse from a prominent therapeutic community, Alcoholics Anonymous, illustrates how meaning in the discourse of this movement can be understood to emerge among the interplay between the ideologies of individualism and community as expressed within the movement's narrative practice. 相似文献
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This article reports on a large‐scale international survey of authors' perception and experience of the journals system conducted by ciber in association with National Opinion Polls (NOP). It explores the factors that inform authors' decisions where to publish and, in particular, which groups of readers they perceive to be most important. It probes readership behaviour and the values that underlie authors' attitudes towards copyright and emerging business models, notably open access. It is concluded that many aspects of author behaviour are highly conservative and that a significant shift towards open access is, in the short to medium term, highly unlikely. 相似文献
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Matthew B. Hoy 《Medical reference services quarterly》2018,37(1):81-88
Voice assistants are software agents that can interpret human speech and respond via synthesized voices. Apple’s Siri, Amazon’s Alexa, Microsoft’s Cortana, and Google’s Assistant are the most popular voice assistants and are embedded in smartphones or dedicated home speakers. Users can ask their assistants questions, control home automation devices and media playback via voice, and manage other basic tasks such as email, to-do lists, and calendars with verbal commands. This column will explore the basic workings and common features of today’s voice assistants. It will also discuss some of the privacy and security issues inherent to voice assistants and some potential future uses for these devices. As voice assistants become more widely used, librarians will want to be familiar with their operation and perhaps consider them as a means to deliver library services and materials. 相似文献
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Nicholas Houghton 《The International Journal of Art & Design Education》2016,35(1):107-120
This article reports historical research which sought to understand the present‐day post‐secondary art curriculum through analysing its history in terms of changes in conceptions of art. It found that there have been six distinctive curricula: Apprentice, Academic, Formalist, Expressive, Conceptual and Professional. As a new curriculum has been introduced, it has co‐existed with much contained in a previous one. Most of the curriculum changes have taken place in the past 65 years. During this time, there has been a massive expansion in the education of artists and at the same time art schools accommodated first modernism and then post‐Duchampian aesthetics. A conclusion is that this has made for a very crowded curriculum. Moreover, despite there being an ever increasing choice of things a student might learn, it appears that there is nothing which all students have to learn. It can be problematic that one part of the curriculum is in contradiction to another part, and moreover this lack of a core raises fundamental, ontological questions about what art as a discipline is. 相似文献