Impulsbeitrag zur Entrepreneurship CRUISE (Oktober 2023)

Dieser Beitrag befasst sich mit der grundlegenden Beziehung und Bedeutung von Bildung, Intuition und Kreativität als entscheidende Triebkräfte für Innovationen und Entrepreneurship. In diesem Zusammenhang stellen sich die zentralen Fragen, was unter Bildung zu verstehen ist und welche kreativen Rollen Bildung und Intuition bei der Entstehung von Neuem spielen.

Der moderne Bildungsbegriff entwickelte sich im Wesentlichen aus den Ideen des Humanismus und der Aufklärung, die ihre Wurzeln in der Antike haben. Im heutigen Verständnis wird Bildung zu einer kontinuierlichen Anpassung und Entwicklung. Der Mensch ist ein dynamisches Wesen, das sowohl von der jeweiligen Umwelt beeinflusst wird, als auch selbst diese Umwelt verändern und beeinflussen kann. Bildung erzeugt und vermittelt lebenslanges Wissen. Für die Wahrnehmung und Beurteilung unserer Umwelt und des Lebens gibt es neben der Rationalität auch eine Welt der Gefühle, Emotionen und des Herzens.

In Anlehnung an das Wahrnehmungs- und Urteilsmodell von Carl Gustav Jung werden Intuition und insbesondere die intuitive Kompetenz als zentrale Einflussfaktoren von Bildung und Kreativität angesprochen. Intuitive Wahrnehmung öffnet uns den Zugang zu neuem Wissen und eröffnet ein vielschichtiges Spektrum an Kreativität. Als Motor der Innovation wird Bildung zum Bindeglied zwischen bewusster Rationalität und unbewusster Emotionalität.

Am Ende des Beitrages steht eine kritische Würdigung der innovativen Möglichkeiten des Menschen. Es ist zugleich eine Ermahnung zu einem bewahrenden und integrativen Schaffen aus ethischer Sicht. Unsere schöpferische Kraft gibt uns kreatives Potential und befähigt uns, die Welt immer wieder zu verändern und zu gestalten.

Research in musical interaction has been widely addressed in recent years. The term “musical expression” plays a key role in this field of research as the name of the biggest scientific conference in musical interaction “New Interfaces for Musical Expression” (nime.org) already shows. While in music and musicology the assumption is often found that mind and body act co-presently in musical performance, the research scene of music interaction essentially finds approaches that leave the mind more or less aside when models of interaction are developed, although the term "musical expression" can very well be assigned to the mind. While a huge number of musical interface development research projects have been done worldwide (Fasciani & Goode, 2021), research outcome of this scene had nearly no impact on the products musicians nowadays buy and use in their daily musical practice (Poepel & Juergens, 2022). The question arises which could be the reasons for such fruitlessness.

This paper presents an analysis of common music interaction research strategies and their assumed foundations. It shows requirements commonly found in the development of musical interfaces. It further presents understandings of music given by well-known musicians and draws conclusions which requirements for musical interaction come up facing these understandings of music and music making. The differences in the requirements of both sources are contrasted. With respect to the Whiteheadian fallacy of misplaced concreteness, these differences are analyzed. In addition, the possible meaning of the Whiteheadian findings for the general research field of musical interaction is discussed.

While the research outcome of musical interface design for the music technology market was rather small, simple music interfaces like MIDI keyboards and further digital sound generators connected to them as well as digital audio workstations are very commonly used in daily musical creative practice. The theories and models implemented in such devices could be classified as related examples of misplaced concreteness according to Whitehead. Nevertheless, these devices are used by many musicians. But the way of making music and the music itself, which is then created, is changing. This is shown by concrete little examples of making music and it is further discussed in a speculative manner.

With respect to the Whitehedian fallacy of misplaced concreteness and its possible meaning for musical interaction design, conclusions for the general area of human-computer interaction are drawn.

References:

Fasciani, S; Goode, J. (2021). 20 NIMEs: Twenty Years of New Interfaces for Musical Expression. In Proceedings of the International Conference on New Interfaces for Musical Expression (NIME 2021), Singapore.

Poepel, C.; Juergens, E. (2022). On Overcoming the Gap between Industry and Academic Research in the Field of Music Technology, Proceedings of the 4th International Conference Business Meets Technology, Ansbach.

Individuals and groups are frequently targets of bullying, sexual harassment, and hate speech on online platforms. Such norm violations can have detrimental negative consequences, for instance by causing psychological harm and damaging social cohesion. Finding ways to reduce and prevent online norm violations is hence crucial. Online users may play an important role in this context. We argue that it can be considered morally courageous if users decide to take a stand against perceived violations of their own moral beliefs and endorsed norms, as it may imply substantial risks for themselves. With this chapter, we aim to advance our understanding of online moral courage as a relatively new phenomenon. First, we provide an examination of critical characteristics of online environments that may facilitate or hinder moral courage. Second, we discuss consequences of online moral courage by considering its effects on perpetrators, further online users, and the general tonality of the online discourse. Last, we integrate insights on the facilitators and obstacles of online moral courage and its consequences to provide practical recommendations for the design and management of online platforms and user education and training.

Introduction: Moral courage manifests in acts intended to intervene to stopor redress witnessed moral norm violations, despite the risk of negative conse-quences for the intervener. We investigate moral courage in everyday life and askwhat personality processes are involved. Based on an extended process modelof moral courage, we derived hypotheses on cognitive and emotional processesthat should facilitate or hinder intervention. Further, we identified candidate per-sonality dispositions that should shape these processes and thereby predict whotends to intervene against others' norm violations and who does not.Methods: Using a quota-based sample of the German population (N = 1108), weconducted a personality assessment, followed by a 7-day experience samplingduring which participants reported norm violations witnessed in their daily lifeas well as their cognitive, emotional, and behavioral reactions.Results: In total, 678 participants reported 1965 norm violations and intervenedagainst 32% of them. Dispositional self-efficacy facilitated intervention by increas-ing a sense of efficacy when confronted with others' norm violations. Conversely,dispositional moral disengagement hindered intervention by reducing perceivedown responsibility.Discussion: Our findings provide novel insights into the situations affordingmoral courage in everyday life, and the personality processes that uniquely guidethis behavior.

Metacognitive monitoring is conceptualized as a situation-specific and context-dependent process that helps learners to regulate their learning. The current study builds on the idea that metacognitive monitoring can fulfil monitoring functions in different phases (when to monitor: during learning or during testing), and that it refers to several objects (what to monitor: processing or retrieval). The cross-sectional study with 184 higher-education students used a situation-specific approach and referred to students’ monitoring via monitoring strategies and monitoring judgments during test preparation and test processing. Confirmatory factor analyses indicated that monitoring via strategies and judgments can be directed at different objects. In addition, monitoring different objects was more strongly correlated within the same phase than across different phases. The study results emphasize the need for an object-specific and comprehensive consideration of metacognitive monitoring via monitoring strategies and monitoring judgments.

Since 2017, monthly 3D audio recordings of a nature preserve capture the acoustic environment over seasons and years. The recordings are made at the same location and using the same recording equipment, capturing one hour before and after sunset. The recordings, annotated with real-time weather data and manually labeled for acoustic events, are made to understand if and how a natural soundscape evolves over time allowing for data-driven speculation about transformations of the soundscape that might be caused by climate change. After a short description of the general project and its current state, methods and results of algorithmic analysis used are presented and the results are discussed. Further methods of collecting additional data and expanded analyses of the body of data are suggested.

A study is presented which investigates whether audiovisual nature soundscape recordings in virtual reality can have positive effects on subjective well-being. Twenty people from different occupational and age groups were selected for the study. They were presented with a VR application with a 3D nature soundscape recording. To exclude the placebo effect, the test subjects listened to their favourite music instead of the soundscape recording in a second examination. Subjective well-being was recorded by means of several questionnaires and physical well-being by measuring blood pressure and pulse. The results show that the soundscape recording had a significant positive effect on subjective and physical well-being even compared to the favourite music of the participants.

Das Forschungsgebiet der Innovativen Computerbasierten Musikinterfaces umfasst inzwischen und mit Zunahme der Miniaturisierung und vereinfachten Integration von Sensorik und Aktorik eine Vielfalt von Themengebieten. Dazu gehören u.a. neuartige Musikinstrumente, interaktive und teils kooperative Multitouch Anwendungen, 3-D-Sound, Audio-Video-Installationen und Performances. Es finden sich vielfältige Möglichkeiten in konkreten Anwendungsgebieten, wie auch im rein künstlerischen Ausdruck. Im ICMI-Workshop 2022 möchten wir gern den gesamten Bereich »Musikalischer Interaktion« betrachten und sprechen die unterschiedlichsten Zielgruppen in diesem spannenden Gebiet an. In der Regelmäßigkeit unserer Workshops möchten wir gern ein Forum bieten, um neue Ansätze und Forschungsvorhaben zur Music Interaction vorzustellen und zu diskutieren. Dabei ist es das primäre Ziel, die unterschiedlichen Expertengruppen, die sich meist unabhängig voneinander mit dieser Thematik befassen, einander näher zu bringen und in einer gemeinsamen Veranstaltung Ideen, Experimente und Entwicklungen kennen zu lernen und sich auszutauschen. Der ICMI-Workshop wurde auf der MuC seit 2008 sieben Mal durchgeführt und war dort stark nachgefragt. Eine Übersicht der Vorträge / Papers der vergangenenWorkshops findet man unter www.icmi-workshop.org. Das Konzept des ICMI-Workshops beinhaltet einen Vortrag einer herausragenden Person des Forschungsund Anwendungsfelds als Keynotespeaker.

The field of industrial music technology, as well as academic research on music technology, strives for a high innovation potential and depends on it. Therefore, it would make a lot of sense if both areas were in an intensive exchange and cooperative collaboration. In the experience of the two authors, this is the case only to a very small extent. In this paper, observations of islands in research and development are presented. Actions are shown with which attempts were made to establish the transfer between the two areas. On the basis of the experience of the authors where this has more or less worked, it is analysed which factors are decisive for the fact that it is still extremely difficult to establish the transfer. In view of these factors, suggestions are made as to how a better degree of transfer can be achieved in the future.