Flipping the Frame: How Rudy Gobert Went From an Episodic Bad Actor to a Thematic Hero

Rudy Gobert's positive COVID-19 diagnosis in March of 2020 started the process that led to American sports shutting down in the early days of the pandemic. After the diagnosis, video of him touching reporters' voice recorders at a press availability went viral. This framing analysis in five mainstream newspapers finds that over the course of 72 hours, Gobert went from a bad actor to a hero in news copy as an episodic frame focusing on his actions gave way to a thematic frame about the virus and its effects on the country.

Course Design: WELL 2100: Writing for Wellness

[...]the course supports writing growth through rhetorical practices, a process approach, and authentic audiences, while also asking students to explore and experiment with writing practices to improve their individual wellness. Under the leadership of Chancellor Rebecca Chopp (2014-2019), DU launched a new strategic plan in 2016-IMPACT 2025-which included enhanced attention to global and collaborative learning, community-engaged and cross-disciplinary work, and several capital projects to foster economic growth and neighborhood engagement. Following a two-year process of planning and development by faculty, staff, and administrators from across campus, the University launched this "4D Experience" to support students in four dimensions: advancing intellectual growth, exploring character, pursuing careers and lives of purpose, and cultivating well-being (Hernandez). In this way, the course fits within both the UWP model of writing and the University's minor in wellness that "weaves together many different disciplines, curricula, and facets of experience to promote conscious growth and dynamic balance in life" ("Wellness Minor" 185). [...]after its initial offering through the UWP (as WRIT 2701), the writing course is now officially homed in the wellness minor (as WELL 2100) and cross-listed in the applied writing category of the writing minor.

'Without music, life would be a mistake': The experience of a musician in Covid-19 times

The history of music and art is interwoven with the history of civilisation itself and how societies develop and ultimately express themselves beyond 'better farming', 'better commerce', or 'better killing of armies'. The relatedness to self as a professional musician, whose music had the potential to cause emotional responses in others and even, occasionally, change lives, was perceived differently by others, most importantly the government. Certainly the sense of authenticity as a musician took some wild turns over the course of 2020. Some of the emotions were universal, while others were specifically linked to the status as a musician. Poet laureate of power, herald of freedom-the musician is at the same time within society, which protects, purchases, and finances him, and outside it, when he threatens it with his visions. How musicians relate to audiences and to the political system was a challenge highlighted by the pandemic. There were new ways of connecting with other artists, and to the 'atomised' audiences of the lockdown. (PsycInfo Database Record (c) 2023 APA, all rights reserved)

Communicating for the Safe Use of Medicines: Progress and Directions for the 2020s Promoted by the Special Interest Group of the International Society of Pharmacovigilance: An International Journal of Medical Toxicology and Drug Experience

Bahri et al discuss the International Society of Pharmacovigilance's (ISoP) Special Interest Group on Medicinal Product Risk Communication (CommSIG). ISoP dedicated a range of activities to communication about the risks and safe use of medicines in the decade before creating the CommSIG, including a pre-conference training course in Tianjin in 2014. Establishing the CommSIG also built on a forward-looking attitude to changes in medicine, communication technology, patient expectations, and societies overall. It was also recognized that the multidisciplinary approach to communication would support reaching out to patient groups, healthcare, medicine information and media professionals, and experts from the communication, social, healthcare and data sciences. The nine founding members of the CommSIG published its background and aspirations in ISoP's official journal, Drug Safety.

Festival hiatus, resilience and innovation during COVID-19: learnings from the Edinburgh festivals

PurposeIn this paper, the authors explore how Edinburgh's key Festivals have adapted to the COVID-19 pandemic. Their response presents the emergence of more innovative festival delivery models and a different imagining of the festival space.Design/methodology/approachThe authors use a qualitative mixed methods research design involving 13 in-depth semi-structured interviews with Edinburgh's Festival Directors and other cultural and policy stakeholders as part of a University-funded stand-alone research project. The interviews were supplemented with participant observation at festivals virtually and in-person to experience new and emerging formats of festival content delivery, adherence to Scottish Government guidelines on COVID-19 safety, and to experience attending festivals during a pandemic.FindingsThe authors present findings on how Edinburgh's Festivals have responded to Covid-19 and how they have adapted – and in some cases reimagined – their business models to survive.Originality/valueThe authors propose a new theoretical framework that establishes a model for how festivals can approach risk management within their business model, focused on the ‘3R's' – respond, resilience and reimagine –with communication and support being central to this framework.

THE ROLES OF SOCIAL MEDIA INFLUENCERS ON ONLINE FUNDRAISING IN INDONESIA

[...]this study aims to understand the roles of SMIs in fundraising activities, to identify the influencers' attributes which affect their followers' willingness to donate, and to explore the motivation of the followers to donate. [...]few studies use social media influencers and their attributes as an object. [...]the researchers are interested in using Rachel Vennya, who is an online celebrity, to engage with potential donors through her social media outlet and get them to make donations. [...]the aims of this study are to understand the roles of social media influencers in contributing to fundraising activities, to identify the influencer's attributes that affect the willingness of his/her followers to donate money and to discuss the motivation for the followers' intentions to donate. The influencers are potentially effective because they have some personal factors and content that is commonly preferred by people, proven by their large numbers of followers (Tafesse & Wood, 2021). [...]the researchers aim is to understand the roles of social media influencers in contributing to fundraising activities and to identify the influencers' attributes that affect the willingness of their followers to donate money. 2.

The Bigger Picture: Coronavirus in the Context of the History of the American Film Industry

In the early days of the coronavirus pandemic, many commentators on American life predicted that people "would never” be able to do a variety of social activities again, even post-pandemic. Among these activities was going to movie theaters. Because theaters were already competing for audiences with the growing number of streaming services, and so many viewers migrated to streaming once lockdowns began, some observers argued that movie theaters would not survive the pandemic. This chapter argues that theaters will in fact survive, for two reasons: the history of the American film industry, including theatrical distribution, is a history of adaptation to threats;and human sociability will ensure that people will still go out to movies even when they can watch them at home. © The Author(s), under exclusive license to Springer Nature Switzerland AG 2022.

Decoding Rahul Gandhi's public deliberation with experts

This is summary of comments on Rahul Gandhi's much publicised discussions with experts on prescriptions to deal with COVID-19 pandemic and its impact. The article questions the purpose of theses deliberations and comments on the political impact of this public spectacle on brand Rahul Gandhi. There is no doubt that perception and symbolism sometimes matter more than reality in politics but then it should be consciously cultivated to portray the right image. The political space is dominated by super human leaders like Prime Minister Modi who claim mastery on everything. Rahul Gandhi needs to understand his key capabilities ensure that the right message effectively reaches his target audience through the offline and online media.

Effective Dreaming in the Time of Zoom Theatre: Reflections on Directing The Lathe of Heaven

Using the production of Natsu Onoda Power's adaptation of The Lathe of Heaven that I helmed at Brandeis University in the spring of 2021 as a case study, I sharpen particular focus on how engaging the project with openness, curiosity, and generosity compelled me to rethink many of my artistic habits and assumptions and reconsider how I view my role as a theatre-maker in higher education. Even as my colleagues and I had come to recognize the ways that modes like "Zoom theatre" had, in a very short time, become crucial instruments "for theatrical institutions to make performances they [could] sell, as a way to keep themselves, their staffs, and their performers alive during the pandemic," there were brewing concerns about what engaging with these technologies might mean for the future of the profession, our approaches to theatre education and pedagogy, and the vitality and viability of the art form (184). The havoc that physical distancing and social isolation were wreaking on students' mental health and well-being had already become a source of concern for us. In an essay written for the site's "Devising Our Future" series, which was launched in the aftermath of the COVID-19 crisis and the global protests against anti-Black racism and police violence spurred by the murder of George Floyd on May 25, 2020, projection designer and director Jared Mezzocchi made a passionate case for theatre-makers to welcome the opportunities that working in new digital and virtual modes afforded them to experiment with different aesthetic strategies and practices.

Party in The Bardo by Laurie Anderson and Jason Moran (review)

Numerous new social rituals have appeared during the global pandemic over the past two years, and while the few shows that have been staged during this time have been forced to utilize or adapt to these rituals (among other things: masks, six-foot distances between audience groups, Plexiglas barriers, temperature checks, ubiquitous hand sanitizer), only recently have we begun to see live productions created specifically to engage with the unprecedented era of COVID. The sequence includes video of animals and natural landscapes, her dog, Reed, images barely glimpsed through raindrop-covered windows, security in airports, and more, some of it looped, moving at odd speeds, or backwards. The next two stations featured Tai Chi artists Master Ren Guangyi (Reed's longtime Tai Chi teacher) and Haobu Zhao practicing Chen-style tai chi in pools of light underneath constantly falling flower petals;one wore red, the other white. There was something exhilarating about being at this relatively small event in such a massive space, able to see and hear everything: the Drill Hall became a cathedral of sorts, and we became celebrants at a special ritual available only to five small groups of people, which would take place only during this one week.

Blindness (review)

Before COVID, directors often deployed such elements to disrupt traditional theatre by staging site-specific pieces or having actors lip-sync recordings of absent others. Despite being forced to live in appalling conditions in an abandoned mental hospital with countless infected strangers, this resourceful woman never lost her vision or compassion. A central intercom announced that leaving the hospital would result in death.

LOST (1.5 m) by Cordula Däuper and Johannes Müller (review)

The singer, in an extravagant black-tie concert event ballgown, continuously interrupted herself and started over. [...]the crisis more directly addressed by Cordula Däuper and Johannes Müller's concept and adapted libretto was the sluggish response to climate change in a world where the ruling class is superbly distracted by their own comfort. Except for mild discontent, the heaps of plastic bags, bottles, and crumpled soda cans did not greatly seem to bother any of them.

Entrepreneurship Networks in the Covid-19 era

[...]those with more educational background and experience in the processes will be considered talents. If rational choice and human capital reflect a propositional audience style that coexists with inhibitory styles of entrepreneurship and innovation, then business models must adjust to this complex dialectic, while identifying the reasons for actions, it will be possible to establish a dialogue to highlight the competitive advantages of the product or service that is intended to be carried out on the Internet, social networks or email. [...]the construction of a civil agenda or social selfmanagement supposes the informative diffusion of the demands and resources, opportunities and capacities, since it is the digital networks that question the public agenda -Trolling-, or, better said, strengthen it - Stalking, Trending [11]. [...]cyber political entrepreneurship refers to the intensive use of Information and Communication Technologies, as well as electronic devices for the establishment of an agenda regarding trolling, stalking or the tendency towards a political figure or process. The model includes hypotheses of correlation trajectories between the variables used by the state of knowledge to explain: the establishment of an educational, scientific and technological agenda;professional training of human capital, talents and leadership;knowledge networks around strategic alliances between universities and for-profit organizations;the quality of educational processes and products

On the Benefits of Plague: Polish Fringe Theatre in 2020

The aim of this essay is to demonstrate the significant function played by theatres during the first months of the COVID-19 pandemic in Poland. It examines three pandemic projects created by fringe theatre companies and individual performers in Poland that address political and social questions, such as women's reproductive rights, excessive government control over private lives, and the social exclusion of disabled and immigrant communities: Arti Grabowski's Improvised Lecture, Usta Usta Republika Theatre's Embassy 2.0, and Adam Ziajski and Scena Robocza's Don't Tell Anyone: The Quarantine. The essay traces how these artists rediscovered the new relevance of earlier work and explored the potential of multimedia practices to reach larger or different audiences. Its discussion is grounded in Antonin Artaud's concept of theatre as the plague and Susan Neiman's perspective of "corona as chance," whereby emphasizing the major alteration of perspective and commitment to change brought about or facilitated by the pandemic.

Wolf Play by Hansol Jung (review)

Hansol Jung's Wolf Play, which finally had its New York premiere at Soho Rep in 2022 after a two-year postponement due to the COVID-19 pandemic, revolves around the experiences of an 8-year-old Korean child called Wolf, who was adopted by a white heterosexual couple, Peter and his wife Katie, and, at the beginning of the play, is being illegally relinquished to a lesbian couple, Ash and Robin. Whereas the 2019 Chicago-based Gift Theatre Company's production of Wolf Play was presented on a proscenium stage, this new version at Soho Rep specifically arranged the space to highlight the confrontational nature of this scene. Biased against the lesbian couple and without taking Wolf into consideration, the court ruled in the "best interest" of the child, stating that Wolf's guardianship fell under the authority of the state.

"The Lens of Now": Interview with Lucie Tiberghien, Founding Artistic Director of Molière in the Park

This wide-ranging interview with Lucie Tiberghien, Founding Artistic Director of Molière in the Park, covers topics including: Tiberghien's interest in Brooklyn as a site of production and performance for the theatre organization;strategies to overcome the challenges raised by the Covid-19 pandemic – particularly the move to an online platform – and how this shift to the digital led to new ways of thinking about theatre publics, performance, and the making of theatre;the question of representation in casting;and how Molière in the Park makes anti-racist and inclusive theatre with plays written during the early modern period.

Concerts For Kids: Story Pirates dir. by Brendan O'Grady (review)

For the moment, however, there was palpable optimism and determination across the Lincoln Center campus, and the contribution of the Story Pirates to the Restart Stages programming offered a model for how all companies might navigate the months ahead as the Delta and Omicron variants continued to strain the performing arts industry. Tickets to the performance, won by lottery, were accompanied by COVID-19 liability waivers from Lincoln Center. Based on a story shared with the Story Pirates by a second-grader from New York named Michaela, it was called "I Love" and consisted of Michaela (played by Magula) telling the audience how she loves each member of her family, her pets, and a heart.

The Importance of Engagement in the Dissemination of Audio-Visual Content by Spanish Health Influencers on Instagram

Influencers are the main source of disseminated health-related content, and this content is also more accepted by the population compared to content disseminated by health institutions. The objective of this study is to determine the communication strategies and content that generate more engagement with users who follow health and pharmacy topics. We analysed six Instagram accounts of Spanish influencers related to science and health communication with more than 30,000 followers. We evaluated user interaction metrics, the type of content shared, and calculated the degree of engagement based on the number of followers and interaction with the content. The accounts with the highest degree of engagement, such as @Farmacia_enfurecida with 166,000 followers, an engagement of 3.7% of likes per publication and 0.91% in comments, are accounts with a smaller number of followers. Communication techniques such as health product sweepstakes are the most effective in achieving user interaction. Engagement is a determining variable in the impact of health-related content dissemination and is not necessarily linked to a greater number of followers;the profiles that use a greater number of reels and infographics are those with a higher engagement value.

PLANNING AND CONDUCTING COMPUTER ASSISTED EXERCISES DURING A PANDEMIC

2020 was a year that changed the world completely, forced everyone to think outside of the box and the effects, as well as the results, are still to be measured. While facing several countries' lockdowns, planning and conducting a multinational computer assisted exercise (CAX) during a pandemic seemed nearly impossible. By taking extreme measures, developing a new architecture model for a CAX and relying on the training audience's will to be trained, NATO managed to overcome all the constraints and successfully conducted the exercise Loyal Leda 2020. This paper will not only give details about the new CAX architecture concept that supported the execution phase of the exercise, but will also explain the exercise planning process (EPP) behind it.

Disinformation and Verification in a Digital Society: An Analysis of Strategies and Policies Applied in the European Regional TV Broadcasters of the CIRCOM Network

The recent COVID-19 health crisis has shone a spotlight on disinformation as the circulation of false information became more and more prominent. What the World Health Organization (WHO) has defined as an ‘infodemic' poses a great risk for democracies and for society in general. In this context, public television channels, with their regional scope, actively participate in the fight against misinformation. This research aims to identify and classify the different verification initiatives and technological tools, as well as the different strategies and codes used in fact-checking tasks by European broadcasters belonging to the CIRCOM network. The methodology undertakes an exploratory approach and employs a questionnaire that is applied to a sample of the members of the network. Managers and professionals with executive profiles were asked about the management, operation and strategies used in the verification process. In light of the results obtained, it can be concluded that the current verification processes are based on human efforts, rather than technological tools, amounting to a total dependence on content curation by the writing teams in the newsroom. Thus, it is evidenced that in most cases, there is neither a specific department for verification, nor sufficient resources, despite the fact that all those surveyed regard disinformation as a priority issue, a threat to democratic integrity and a responsibility of public service media.