Topic 1: Adopting GIS in Healthcare for new health service.

Claim: Adoption of GIS by healthcare system can create more valuable health services.

Research question : How GIS affects acceptance of new health service for customer?

                           Can GIS affects creating new health service ?

Research method : Questionnaire

Topic 2: Comparison between Agile development and traditional development

Claim: Find out each strength and weak part by comparison then suggest reciprocal complement way of development.  

Research question : How these two development ways are different?

                           What are the strength and weak part of each development way?

Research method : literature review

This is rather neat.  I rated a mention in the Woodbury Annual "State of the Faculty" address (page 6). I particularly like the note about working with all 'modes (and moods) of faculty.'  Thanks Vic!

Academic Support
The Faculty Association gratefully acknowledges the great strides the university has made in planning and communication due to its creation of the position of Institutional Researcher. The university is truly fortunate to have filled that position with Nathan Garrett, whose knowledge and educational preparation, boundless energy, keenly clear thinking, unflagging good humor, and willingness to work with all modes (and moods) of faculty seem tailor-made for Woodbury’s needs and aspirations.

Men of Greater Talents

We have read about and listened to the musical art of Duke Ellington, and sampled the literary and philosophical art of Langston Hughes.  We have seen in both these men a demonstration of what makes an artist great, and how a successful artist sustains his career.  Consider these two excerpts from our readings:

Motto[1]

I play it cool

And dig all jive.

That’s the reason

I stay alive.

My motto,

As I live and learn,

           is:

…He could play in the bebop style too.  I don’t think there’s any aspect of Afro-American music and American music that was closed to Duke Ellington.  He could go through any door and do something hipper than whoever was in that door before him.  I’ve seen a lot of pictures of him where he’s at concerts, and he just has a look in his eyes that says, “I’m gonna figure out what this is very shortly.”[2]

Both of these quotes represent the antithesis of stasis, that dangerous condition that separates lesser talents from greater.  Perhaps everyone has at least one good idea, and it is the lesser talent can master and speak in only that limited domain.  The greater talent, however, has a wealth of ideas, some growing out of previous ideas, others newly bursting forth from some hitherto untapped fount.  With their constant explorations and innovations, Hughes and Ellington are definitely greater talents. 

An artist often has his ear attuned to contemporary culture, learning to speak in its distinctive patois, while at the same time elevating it to something more profound.  Consider how they transformed their inherited styles: blues and jazz.

Hughes takes the rhythm, rhyme scheme and affect of blues and incorporates them into poems that could function well as lyrics to song, but have a stand-alone independence that is often missing from ordinary song lyrics.  A man with the impeccable grammar, vocabulary , and rhetorical powers evident of a classical education with European pedigree speaks convincingly in this folk idiom not only in the poems Homesick Blues and Po’ Boy Blues, but using a similar dialect in the anguished Mulatto, and the bitter Red Silk Stockings.

Ellington transforms the ordinary jazz dance tune into miniature narratives, all within the constraints of the 3 ½ minute recording, in pieces such as East St. Louis Toodle-oo and The Mooche.  The growling wail of muted trumpets and “talking” saxophones, especially in the latter, contrast an earthy, sensuous voice against the scripted, even sophisticated accompaniments.  These were early experiments that led to longer, programmatic works such as Black, Brown, and Beige, as well as classical/jazz crossovers such as The Nutcracker, and spiritual works such as Come Sunday (an exceprt of which is currently used in the United Methodist Hymnal, 1982).

Artists and philosophers often have visions that see things as they might be, and therefore define trends that may not come to fruition for years or even decades.  Without wanting to sound clichéd, I refer to the “Black is Beautiful” trend of my childhood in the 1960s, in which a conscious effort, it seemed to me, was made to assert that black history, culture, and achievement were to be celebrated and held up in pride—as indeed they rightfully should be—rather than relegated to “the back of the bus” as they had been.  But to say it is explicit; with Hughes it was implicit, even in his earliest poem, The Negro Speaks of Rivers (1921), which at once claims a history that predates any European pretenses to civilization and accomplishment (I bathed in the Euphrates when dawns were young/…I looked upon the Nile and raised pyramids above it.) as well as spirituality (My soul has grown deep like the rivers.).[3]

The 1960s also witnessed significant breakthroughs, politically and legally speaking, of civil rights issues.  Hughes and Ellington had already been there as well.  Marsalis says of Ellington,

He outdistanced a lot of people because while he was going forward, we’re still going backward.  “What about pride in the race?” people would ask him.  “What do you mean, race, man?” he would say.  “A race is physiological; I’m dealing with someone else.  I was into that in the 1920s and 1930s; you all are thirty years late.”…He was constantly trying to move forward in terms of his understanding of the world and his place in the world as a man of extreme importance and significance.[4]

And Hughes, too, had forseen the equality envisioned by Martin Luther King, Jr. (in his “I Have a Dream” speech of 1963) a good forty years earlier in his poem I, Too (1925), at a time when “separate but equal” was entrenched and accepted as the norm:

Tomorrow

I’ll be at the table

When company comes.

Nobody’ll dare

Say to me,

“Eat in the kitchen,”

Then.

Besides,

They’ll see how beautiful I am

And be ashamed—

I, too, am America.[5]

Duke Ellington and Langston Hughes, each in their own media, were artists/philosophers of  exceptional talent.

Working Bibliography for TNDY 402j  Research Project

Topic:  Jazz and Subversion

Sub-topic:       Jazz—Social Aspects—United States

Meadows, Eddie S.  Bebop to Cool:  Context, Ideology, and Musical Identity.  Westport, Conn.:  Greenwood Press, 2003.

           Call Number:  ML3508 .M43 2003

           Contents

                        Introduction

I. New Thoughts, New Directions

1. Sociocultural Context

This chapter outlines the development of Harlem as a black enclave, its expansion post WWI, the amalgam of United States, Carribean, and West African cultures, the importance of the Harlem Renaissance to literary, artistic and political thought.          

2. Ideology

3. Musical Appropriation

4. The Transformation to Bebop

II. Bebop: Articulating Language and Identity

5. Playing Bebop

6. General Musical Characteristics of Bebop

7. Bebop Scales

8. The Musical Language of Dizzy Gillespie

9. The Musical Language of Charlie Parker

10. The Musical Language of Thelonious Monk

III. Cool: Articulating Language and Identity

11. Cool Jazz

12. The Musical Language of Miles Davis

13. The Musical Language of Stan Getz

14. The Musical Language of Lennie Tristano

Panish, Jon.  The Color of Jazz:  Race and Representation in Postwar American Culture.  Jackson: University Press of Mississippi, 1997.

           Call Number:  ML3849 .P27 1997

           Contents:

           Introduction

1.     Blinded by the White:  The Hidden History of Postwar Racial Politics

2.     Racing the Village People:  Euro American and African American Cultural and Social Interaction in Greenwich Village, 1941-1966

3.     Caging Bird:  Charlie Parker Meets the Postwar Construction of the Jazz Musician

4.     (Up)Staging Jazz:  Representations of Jazz Performance

5.     Improvising the Text:  Euro American and African American Approaches to Jazz Narrative

Anderson, Iain.  This Is our Music:  Free Jazz, the Sixties, and American Culture.  Philadelphia:  University of Pennsylvania Press, 2007.

           Call Number:  ML3508 .A53 2007

           Contents:

1.     The resurgence of jazz in the 1950s

2.     Free improvisation challenges the jazz canon

3.     Free jazz and Black nationalism

4.     The musicians and their audience

5.     Jazz outside the marketplace

Conyers, James, ed.  African American Jazz and Rap:  Social and Philosophical Examinations of Black Expressive Behavior.  Jefferson, North Carolina:  McFarland and Company, Inc., 2001.

           Call Number:  ML3508 .A47 2001

           Contents:

           7.   The Social Roots of African American Music:  1950-1970, by Thomas J. Porter

8.   Jazz Musicians in Postwar Europe and Japan

Monson, Ingrid T.  Freedom Sounds:  Civil Rights Call Out to Jazz and Africa.  Oxford:  Oxford University Press, 2007.

           Call Number:  ML3508 .M65 2007

           Contents:

           2.   Jim Crow, Economics, and the Politics of Musicianship

           3.   Modernism, Race, and Aesthetics

           4.   Africa, the Cold War, and the Diaspora at Home

           5.   Activism and Fund-Raising from Freedom Now to the Freedom Rides

           6.   Activism and Fund-Raising from Birmingham to Black Power

           7.   The Debate Within: White Backlash, the New Thing, and Economics.

           8.   Aesthetic Agency, Self-Determination, and the Spiritual Quest

<!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd">
<html xmlns="http://www.w3.org/1999/xhtml" xmlns:v="urn:schemas-microsoft-com:vml">
  <head>
    <meta http-equiv="content-type" content="text/html; charset=UTF-8"/>
    <title>Map 3 - Google Maps Geocoding</title>
    <script src="http://maps.google.com/maps?file=api&amp;v=2&amp;key=abcdefg" type="text/javascript"></script>
    <script type="text/javascript">

    var map1 = null;
    var map2 = null;
    var map3 = null;
    var LAtrafficInfo = null;
    var NYtrafficInfo = null;
    var CItrafficInfo = null;
   
    var geocoder = null;

    function initialize() {
      if (GBrowserIsCompatible()) {
        map1 = new GMap2(document.getElementById("map_canvas1"));
        map1.setCenter(new GLatLng(34.052187, -118.243425), 11);
        map1.setMapType(G_HYBRID_MAP);
        map1.addControl(new GLargeMapControl());
        map1.addControl(new GMapTypeControl());
        var trafficOptions1 = {incidents:true};
        LAtrafficInfo = new GTrafficOverlay(trafficOptions1);
        map1.addOverlay(LAtrafficInfo);
       
        map2 = new GMap2(document.getElementById("map_canvas2"));
        map2.setCenter(new GLatLng(40.756054, -73.986951), 11);
        map2.setMapType(G_HYBRID_MAP);
        map2.addControl(new GLargeMapControl());
        map2.addControl(new GMapTypeControl());
        var trafficOptions2 = {incidents:true};
        NYtrafficInfo = new GTrafficOverlay(trafficOptions2);
        map2.addOverlay(NYtrafficInfo);

       
        map3 = new GMap2(document.getElementById("map_canvas3"));
        map3.setCenter(new GLatLng(41.879535, -87.624333), 11);
        map3.setMapType(G_HYBRID_MAP);
        map3.addControl(new GLargeMapControl());
        map3.addControl(new GMapTypeControl());
        var trafficOptions3 = {incidents:true};
        CItrafficInfo = new GTrafficOverlay(trafficOptions3);
        map3.addOverlay(CItrafficInfo);
 
        geocoder = new GClientGeocoder();
      }
    }

    function showAddress(address,flag) {
    if (flag == 1) {
      if (geocoder) {
        geocoder.getLatLng(
          address,
          function(point) {
           if (!point) {
              alert(address + " not found");
           } else {
              map1.setCenter(point, 16);
              var marker = new GMarker(point, {draggable: true});
              map1.addOverlay(marker);
              GEvent.addListener(marker, "dragend", function() {
                marker.openInfoWindowHtml(marker.getLatLng().toUrlValue(6));
              });
              GEvent.addListener(marker, "click", function() {
                marker.openInfoWindowHtml(marker.getLatLng().toUrlValue(6));
              });
       GEvent.trigger(marker, "click");
           }
          }
        );
      }
    }

    if (flag == 2) {
      if (geocoder) {
        geocoder.getLatLng(
          address,
          function(point) {
           if (!point) {
              alert(address + " not found");
           } else {
              map2.setCenter(point, 16);
              var marker = new GMarker(point, {draggable: true});
              map2.addOverlay(marker);
              GEvent.addListener(marker, "dragend", function() {
                marker.openInfoWindowHtml(marker.getLatLng().toUrlValue(6));
              });
              GEvent.addListener(marker, "click", function() {
                marker.openInfoWindowHtml(marker.getLatLng().toUrlValue(6));
              });
       GEvent.trigger(marker, "click");
           }
          }
        );
      }
    }

    if (flag == 3) {
      if (geocoder) {
        geocoder.getLatLng(
          address,
          function(point) {
           if (!point) {
              alert(address + " not found");
           } else {
              map3.setCenter(point, 16);
              var marker = new GMarker(point, {draggable: true});
              map3.addOverlay(marker);
              GEvent.addListener(marker, "dragend", function() {
                marker.openInfoWindowHtml(marker.getLatLng().toUrlValue(6));
              });
              GEvent.addListener(marker, "click", function() {
                marker.openInfoWindowHtml(marker.getLatLng().toUrlValue(6));
              });
       GEvent.trigger(marker, "click");
           }
          }
        );
      }
    }

}
    </script>
  </head>

  <body Xonload="initialize()" Xonunload="GUnload()">
    <form action="#" Xonsubmit="showAddress(this.address1.value,1); return false">
      <p>
        <input type="text" style="width:350px" name="address1" value="Los Angeles" />
        <input type="submit" value="Go There!" />
      </p>
      <div id="map_canvas1" style="width: 500px; height: 350px"></div>
      <br>
  </form>
  <form action="#" Xonsubmit="showAddress(this.address2.value,2); return false">
      <p>
        <input type="text" style="width:350px" name="address2" value="New York" />
        <input type="submit" value="Go There!" />
      </p>
      <div id="map_canvas2" style="width: 500px; height: 350px"></div>

      <br>
  </form>
  <form action="#" Xonsubmit="showAddress(this.address3.value,3); return false">
      <p>
        <input type="text" style="width:350px" name="address3" value="Chicago" />
        <input type="submit" value="Go There!" />
      </p>
      <div id="map_canvas3" style="width: 500px; height: 350px"></div>
    </form>

  </body>
</html>

I think Chapter 5, Forms of Theories, is a key chapter in the rest of this book. I learned three different conceptions of how sets of statements should be organized so as to constitute a theory. These are set-of-laws, axiomatic, and causal process. I especially concentrated on this part to understand each example and distinguish the difference between conceptions.  In terms of set-of-laws author insists that if scientific knowledge is organized in the form of a set of laws, a scientist cannot achieve all the purpose of science, since he cannot provide a sense of understanding. The axiomatic theory is defined as an interrelated set of definitions and statements and one of the most important problems in dealing with theories in axiomatic form is determining how to select the axioms. Also it can provide a sense of understanding, but not always. The causal process form has the major difference between this form of theory and the axiomatic form. That is all statements are considered to be of equal importance.

Author also indicates that while a conception of theory as a set of laws will lead to an efficient use of resources if the research-then-theory strategy is employed, a theory in axiomatic or causal process form will lead to an efficient use of resources if a theory-then-research strategy is employed. Another interesting part is a comparison between strategies, research-then-theory and theory-then-research, in chapter 7. Author explains that research-then-theory strategy has the disadvantage that considerable effort may be spent on collecting data that have no useful purpose, but it may provide some information useful for inventing theories and theory-then-research strategy also has the disadvantage that the scientist may have no initial information on which to base the first attempts at a theory, but research is more efficient when one only collects information related to a few important hypotheses.

Chapter 8, conclusion, is very good to remember key points in this book. While I read this chapter I could arrange whole procedure to constitute a theory with abstract theoretical statements.

In the political science paradigm realism, anarchy is a key assumption. Which method is the best to understand this subject further, qualitative or quantitative? Or does this aspect remain an assumption?

Duke Ellington’s “The Mooche” exemplifies the sort of unique rhythm which Wynton Marsalis highlights in Chapter 9, Music Like a Big Hot Pot of Good Gumbo.  In this song particularly, there is a sound of ominous loathing, or depression.  The rhythm and the call and response section between what sounds like an oboe and the bass is a conversation between two weary individuals.  The rhythm is reminiscent of Afro-Caribbean music to me as well, especially with the low oboe sound.  As Marsalis says, “swinging is about coordination.  It’s about attaining an equilibrium of forces that many times don’t go together.”  This song as an example of swing may not be wholly adequate, yet there is something very different about the rhythm of this song compared to previous songs we have listened.  In other words, there is a distinct movement or progression in the cadence or rhythms of jazz which is well documented in “The Mooche.”  The equilibrium is maintained in this piece as well by pairing sounds which truly do not seem well matched independently.  However, there is a clear congealing of sounds in this piece and perhaps primarily in part due to the call and response which I mentioned earlier.  This piece represents well, in other words, what I believe Marsalis was attempting to convey in the essay in Chapter 9. 

I learned from last class that Google provides map information to everyone who wants to integrate Google Map API and Virtual Earth API. So we can easily call these APIs to web site. I know map information should be huge data. However map was displayed within a short time. Especially I was surprised when I saw 3D map and current traffic information. I realized how useful it is.

Here I have one question. If I make a web application for business, can I integrate Google Map API and Virtual Earth API for free ?