Content Posted in 2026
Updates in person-centered rehabilitation for critically ill patients, Peter Nydahl, Sabrina Eggmann, Bev Ewens, Christina Jones, Lioudmila V. Karnatovskaia, and Dale M. Needham
Updating the PRISMA reporting guideline for scoping reviews: A scoping review, Andrea C. Tricco, Emily Robinson, Sharon E. Straus, Heather Colquhoun, Christina M. Godfrey, David Moher, Zachary Munn, Danielle Pollock, Sherrie Logan, Ellen B.M. Elsman, Sabira Hasanoff, Yonda Lai, James McMahon, Jasmeen Dourka, Dipika Neupane, Hanan Khalil, Micah D.J. Peters, Lyndsay Alexander, Romy M. Jia, Ashrita Saran, Catrin Evans, and Dawid Pieper
Up from the archive: On stigma, resilience and chosen families. Hassan Khalil thinks with Bernard Gardiner 2018, Hassan Khalil
Upper ocean cycling of iron south of the polar front: Biological patterns and processes, Luis M. Laglera, Santos-Echeandía, Viena Puigcorbé, Christine Klass, and Dieter Wolf-Gladrow
Urinary sodium, table salt use and incidence of late-onset asthma in females and males: Evidence from a large prospective cohort, Selma Kronsteiner-Gicevic, Alysha S. Thompson, Martina Gaggl, Aedín Cassidy, Nicola P. Bondonno, Charmaine J.M. Lim, Robab Breyer-Kohansal, and Tilman Kühn
User experience in virtual self-disclosure: Appraising natural, urban, and artificial VR environments, Shane L. Rogers, Tasha Canes, and Alexis Pallister
User experience (UX) meets bureaucracy: Lessons from a government intranet prototype, Scott Pelham, Jo Jung, and Christopher Kueh
User isolation poisoning on decentralized federated learning: An adversarial message-passing graph neural network approach, Kai Li, Yilei Liang, Pietro Liò, Wei Ni, Falko Dressler, Jon Crowcroft, and Ozgur B. Akan
Using children's picture books to teach mathematical and numeracy concepts: An exploration of the aesthetic value of mathematics for preservice teachers’ dispositions, Mellie Green, Lorraine Gaunt, and Georgina M. Barton
Using metaficitive devices to explore the postmodern picturebook, Warwick Kwaig Norman
Using nudging methodology to change behavior about work health safety governance amongst business and board leaders, Yvonne Brunetto, Leigh Ann Onnis, Aglae Hernandez Grande, Ben Farr-Wharton, Esme Franken, Kate Blackwood, Tim Bentley, and Lee Huuskes
Using social network analysis to visualise place-based partnerships for systems change in regional Australia, Stephanie L. Godrich, Isabelle Chiera, Melissa Stoneham, Jess Doe, Amanda Devine, and Emily Humphreys
Using social return on investment to evaluate services that support the health of people experiencing homelessness in Australia: A scoping review, Cate McKenna, Christopher Rouen, and Mary O'Loughlin
Using the arts to explore the multi-modality of wellbeing to grow wellbeing literacy, Narelle Lemon, Jason Goopy, and Megan McPherson
Using the four-quadrant model of think/feel/fast/ slow to understand the decision-making of self-managed superannuation fund trustees, Roger Colbeck, Steven D’Alessandro, and John Minas
USP14 inhibitor IU1 alleviates amyloid-β mediated toxicity in Alzheimer's disease cell and worm models, Ajish Ariyath, Eugene Hone, W. M.A.D.Binosha Fernando, Steve Pedrini, Ralph Martins, and Prashant Bharadwaj
Utilizing and optimizing forecasting models for nursing demand: A narrative review, Kalpana Singh, Liyan Ajit D. Souza, Ananth Nazarene, Amane Mounia, Mahmoud Abdelwahab Khedr, Ahmad Mousa, Rebecca Rejo George, and Abdulqadir J. Nahwan
Validated near-infrared spectroscopy and chemometric modelling for rapid quantification of essential oil yield and α/β-santalol in Santalum album L., Muhammad Hassnain and Muhammad Rizwan Azhar
Validation of a MIND diet screener in older adults, Desarae A. Dempsey, Puja Agarwal, Shane Fernandez, Jared R. Brosch, Sujuan Gao, Daniel O. Clark, Frederick W. Unverzagt, Liana G. Apostolova, David G. Clark, Martin R. Farlow, Sunu Mathew, Sophia Wang, Michelle Quirke, Yolanda Graham-Dotson, Colette Blach, Leyla Schimmel, Rima Kaddurah-Daouk, Andrew J. Saykin, and Shannon L. Risacher
Values and acculturation in alcohol and other drug use of African Australian youth, Abraham Kenin
Values, flourishing, and identity integration: Understanding alcohol and other drug use among African Australian youth, Abraham Kenin, Justine Dandy, Kwadwo Adusei-Asante, and Sonam Pelden
Velocity-induced post-elastic flow response of pavement: A finite element-based statistical investigation, Yakshansh Kumar, Ashutosh Trivedi, and Sanjay Kumar Shukla
Vertical uplift capacity of a horizontal strip anchor embedded in the slope face under seismic load, Vaibhav Sharma, Dhiraj Raj, and Sanjay Kumar Shukla
Vibostolimab coformulated with pembrolizumab versus pembrolizumab alone as adjuvant therapy for high-risk stage IIB–IV melanoma (KEYVIBE-010): A randomised, double-blind, phase 3 study, Reinhard Dummer, Jun Guo, Jason J. Luke, Matteo S. Carlino, Dirk Schadendorf, Muhammad A. Khattak, Axel Hauschild, Paolo A. Ascierto, Yu Chen, Sang Joon Shin, Piotr Rutkowski, Zhiguo Luo, Jing Chen, Gareth Rivalland, Corlia Coetzee, Antoni Ribas, Karmele Mujika, Gal Markel, Rodrigo U. Villarroel, Omer Dizdar, Christian Caglevic, Dmitri Grebennik, Kevin Donovan, Clemens Krepler, and Georgina V. Long
Video Example 100. Gregorio emphasises preparing the left hand for accurate articulation of chromatic flourishes, Judith A. Iddison
Video Example 101. Outlining Minor Swing changes with cross-rhythmic pattern, Judith A. Iddison
Video Example 102. Gregorio features slurred swing bowing on Minor Swing improvisation, Judith A. Iddison
Video Example 103. Gregorio teaches a 'guitar-strum' extended technique, Judith A. Iddison
Video Example 104. Gregorio teaches left-hand muting required for the guitar-strum extended technique, Judith A. Iddison
Video Example 105. Demonstration and discussion of 'ghosted' chromatic-based accompanying technique, Judith A. Iddison
Video Example 106. Applying parameters of outlined arpeggio and chromaticism to Minor Swing improvisation, Judith A. Iddison
Video Example 107. Applying parameters to Minor Swing improvisation and responding to Gregorio's accompaniment, Judith A. Iddison
Video Example 108. Powerful creative force, Judith A. Iddison
Video Example 109. Combined experience, expertise and knowledge, Judith A. Iddison
Video Example 10. Gregorio demonstrates swing-bowing patterns on a chromatic scale, Judith A. Iddison
Video Example 110. Identifying strengths and hesitancies, Judith A. Iddison
Video Example 111. Innovation and diversity, Judith A. Iddison
Video Example 112. Extending performance opportunities and audience reach, Judith A. Iddison
Video Example 113. Social cohesion, Judith A. Iddison
Video Example 114. Greater artistic and personal fulfilment, Judith A. Iddison
Video Example 115. Autumn Ballad performance, Judith A. Iddison
Video Example 116. Autumn Ballad nascent improvisation at Sign of Four’s first rehearsal, Judith A. Iddison
Video Example 117. Autumn Ballad violin improvisation at Jazz Fremantle with Sign of Four, Judith A. Iddison
Video Example 118. Autumn Ballad improvisation, Judith A. Iddison
Video Example 119. Tri Swingin' performance, Judith A. Iddison
Video Example 11. Gregorio demonstrates cementing one-octave left-hand patterns and chromatically-infused phrases, Judith A. Iddison
Video Example 120. Tri Swingin’ improvisational exploration, Judith A. Iddison
Video Example 121. Tri Swingin' violin improvisation, Judith A. Iddison
Video Example 122. Double Parked performance, Judith A. Iddison
Video Example 123. Double Parked ‘flute-like’ solo featuring rhythmic variety and whole-tone, whole-half diminished flavours, Judith A. Iddison
Video Example 124. Double Parked comping by bowing on centre bout of violin, Judith A. Iddison
Video Example 125. Double Parked violin improvisation, Judith A. Iddison
Video Example 126. Gratitude performance, Judith A. Iddison
Video Example 127. Gratitude improvisation at first Sign of Four rehearsal, Judith A. Iddison
Video Example 128. Gratitude violin improvisation, Judith A. Iddison
Video Example 129. The Mist Set performance, Judith A. Iddison
Video Example 12. Gregorio plays chromatic cells, embellishing and surrounding arpeggios and extended arpeggios, Judith A. Iddison
Video Example 130. Excerpt from Gregorio’s solo octave viola, looped soundscape performance, Judith A. Iddison
Video Example 131. The Mist Set chopping under bluegrass solo and quintessential bluegrass ending, Judith A. Iddison
Video Example 132. The Mist Set looped atmospheric soundscape, Judith A. Iddison
Video Example 133. Improvisation over soundscape from The Mist Set, Judith A. Iddison
Video Example 134. Melody and bluegrass violin improvisation from The Mist Set, Judith A. Iddison
Video Example 135. Sea Funk performance, Judith A. Iddison
Video Example 136. Gregorio and I workshopping an arrangement of Sea Funk, Judith A. Iddison
Video Example 137. Sea Funk excerpt demonstrating the violin in three contrasting roles, Judith A. Iddison
Video Example 138. Sea Funk violin improvisation, Judith A. Iddison
Video Example 139. Transience performance, Judith A. Iddison
Video Example 13. Transferable funk-inspired pentatonic pattern within improvisations in different keys, Judith A. Iddison
Video Example 140. Transience ambient soundscape experimentation with Gregorio and Selepak, Judith A. Iddison
Video Example 141. Transience ostinato, Judith A. Iddison
Video Example 142. Col legno extended techniques applied within Transience, Judith A. Iddison
Video Example 143. Transience atmospheric five-string violin improvisation, Judith A. Iddison
Video Example 144. Full Moon Swing performance, Judith A. Iddison
Video Example 145. Full Moon Swing pizzicato and arco playing while singing, Judith A. Iddison
Video Example 146. Sign of Four's Full Moon Swing arrangement including ska improvisation, trading and vocal chorus, Judith A. Iddison
Video Example 147. Full Moon Swing’s classically influenced arrangement, Judith A. Iddison
Video Example 148. Full Moon Swing collaboration on vocal chorus and improvisation, Judith A. Iddison
Video Example 149. On Fire performance, Judith A. Iddison
Video Example 14. Applying pentatonic patterns to chord changes within phrases and exercises in Black Orpheus, Judith A. Iddison
Video Example 150. On Fire trading solos with Gregorio, Judith A. Iddison
Video Example 151. Gregorio teaches percussive effects for On Fire’s breakdown, Judith A. Iddison
Video Example 152. Excerpt from On Fire’s head and violin improvisation, Judith A. Iddison
Video Example 153. Excerpt from On Fire’s breakdown featuring a percussive ‘chopsticks’ improvisation, Judith A. Iddison
Video Example 154. Last Day in Edinburgh performance, Judith A. Iddison
Video Example 155. Last Day in Edinburgh violin improvisation, Judith A. Iddison
Video Example 156. Sign of Four performance, Judith A. Iddison
Video Example 157. Three accompanying ideas for Selepak’s Sign of Four, Judith A. Iddison
Video Example 158. Lesson in anticipating chords and landing confidently on beat one of Sign of Four’s changes, Judith A. Iddison
Video Example 159. Excerpt from the head of Selepak’s Sign of Four, Judith A. Iddison
Video Example 15. Call and response demonstration of pentatonic funk-inspired ideas, Judith A. Iddison
Video Example 160. Violin improvisation from Selepak’s Sign of Four, Judith A. Iddison
Video Example 161. Spain performance, Judith A. Iddison
Video Example 162. Improvisations during Spain rehearsal, Judith A. Iddison
Video Example 163. Spain’s head and violin improvisation, Judith A. Iddison
Video Example 164. Gregorio demonstrates finger-dexterity exercise over Black Orpheus chord changes, Judith A. Iddison
Video Example 165. Gregorio introduces unstructured swing bowing, Judith A. Iddison
Video Example 166. ‘Go Park the Car’ rhythm on minor pentatonic scale, Judith A. Iddison
Video Example 167. Gregorio instructs on quality jazz tone using 'Go Park the Car' rhythm, Judith A. Iddison
Video Example 168. Gregorio suggests a non-classical bow technique to strengthen tone quality, Judith A. Iddison
Video Example 169. Minor Swing improvisation with horn-inspired rhythms, phraseology and holding notes across chords, Judith A. Iddison
Video Example 16. Gregorio demonstrates Indian rāga slides on pentatonic scale with sustained bow, Judith A. Iddison
Video Example 170. Gregorio discusses 'stealing' ideas from drums, the power of the triplet and repetition in a solo, Judith A. Iddison
Video Example 171. Extended and altered arpeggios, Judith A. Iddison
Video Example 172. Gregorio discusses deviating from well-learned finger patterns and taking risks, Judith A. Iddison
Video Example 173. Gregorio chromatically embellishes A minor arpeggio, Judith A. Iddison
Video Example 174. Gregorio chromatically embellishes an arpeggio and a chromatic motif, Judith A. Iddison
Video Example 175. Gregorio applies chromatic, intervallic and scalic patterns within the one-octave shape, Judith A. Iddison
Video Example 176. Gregorio demonstrates an exercise for cementing all intervals within one octave, Judith A. Iddison
Video Example 177. Gregorio demonstrates cross-rhythmic, chromatic transitional broken-third patterns, Judith A. Iddison
Video Example 178. Gregorio advocates for pentatonic as the foundational scale for improvisation on the violin, Judith A. Iddison
Video Example 179. Funk-inspired pentatonic-based improvisation while Gregorio chops, Judith A. Iddison
Video Example 17. Applying the whole-half diminished scale over a D minor chord, Judith A. Iddison
Video Example 180. Gregorio demonstrates colouring the B flat minor pentatonic scale, Judith A. Iddison
Video Example 181. Three patterns based on Dorian broken thirds, Judith A. Iddison
Video Example 182. Patterns of stacked minor 3rds from the diminished arpeggio, Judith A. Iddison
Video Example 183. Transitional diminished arpeggios with confident rhythm, Judith A. Iddison
Video Example 184. Whole-tone scale in broken thirds, Judith A. Iddison
Video Example 185. Gregorio further instructs and demonstrates trumpet lip-trill vibrato, Judith A. Iddison
Video Example 186. Gregorio simplifies chords as tonic or dominant and outlines application of diminished scales, Judith A. Iddison
Video Example 187. Gregorio discusses being a creative musician, Judith A. Iddison
Video Example 188. Gregorio demonstrates three finger-dexterity exercises on Minor Swing changes, Judith A. Iddison
Video Example 189. Pattern of ascending 4th and a descending 2nd over E7 from Minor Swing improvisation, Judith A. Iddison
Video Example 18. Gregorio teaches application of diminished chord on tonic minor, semitone below and tone above, unlocking the whole-half pattern, Judith A. Iddison
Video Example 190. Trading solos on Minor Swing with a focus on 6th, Judith A. Iddison
Video Example 191. Gregorio sings a phrase featuring sharp 9 over E7 in Autumn Ballad improvisation, Judith A. Iddison
Video Example 192. Excerpt from Gregorio's colourful solo on first eight bars of Autumn Ballad changes, Judith A. Iddison
Video Example 193. Phrases based on diminished arpeggios within Douce Ambiance exploration, Judith A. Iddison
Video Example 194. Phrase featuring a highlighted leading tone (B) over a C minor chord in Douce Ambiance, Judith A. Iddison
Video Example 195. Gregorio advises that 'all notes will work' during my hesitant Nuages improvisation, Judith A. Iddison
Video Example 196. Gregorio suggests an elegant, colourful phrase to end my Nuages solo, Judith A. Iddison
Video Example 197. Gregorio advises on my chromatically-infused Nuages improvisation, Judith A. Iddison
Video Example 198. Gregorio advises on my chromatically-infused Nuages improvisation, Judith A. Iddison
Video Example 199. Gregorio adds colour and reshapes arpeggios in Bossa Dorado improvisation, Judith A. Iddison
Video Example 19. Exercise in applying whole-tone scale over dominant chords in All of Me improvisation, Judith A. Iddison
Video Example 1. Gregorio teaches and demonstrates a right-hand swing feel, Judith A. Iddison
Video Example 200. Shaping and colouring arpeggios into musical phrases in Bossa Dorado solo, Judith A. Iddison
Video Example 201. Gregorio demonstrates delaying the resolution of note by creating a colourful phrase ending, Judith A. Iddison
Video Example 202. Gregorio includes a favourite descending D jazz minor broken-third pattern in Bossa Dorado solo, Judith A. Iddison
Video Example 203. Gregorio plays E7 over Am and a broken-third pattern from A jazz minor scale in Black Orpheus, Judith A. Iddison
Video Example 204. Ten colourful phrases 'discovered' on a Black Orpheus practice exercise, Judith A. Iddison
Video Example 205. Importance of accurate intonation when employing sliding-chromaticism, Judith A. Iddison
Video Example 206. Gregorio talks about funk, Judith A. Iddison
Video Example 207. Gregorio discusses and demonstrates the use of slides in funk, Judith A. Iddison
Video Example 208. Gregorio demonstrates juxtaposing rhythms with iTablaPro app, Judith A. Iddison
Video Example 209. Gregorio explains and demonstrates subtleties of sliding in Indian rāga, Judith A. Iddison
Video Example 20. Gregorio demonstrates a vibrato that imitates a trumpet ‘lip-trill’, Judith A. Iddison
Video Example 210. Indian rāga call and response over drone focusing on nuances of slides and shifts, Judith A. Iddison
Video Example 211. Indian-rāga call and response lesson focusing on vibrato and whole-hand, one-finger shifts, Judith A. Iddison
Video Example 212. Gregorio teaches Indian rāga finger substitution in call and response, Judith A. Iddison
Video Example 213. Gregorio creates an 'instant' Afro-Cuban-style percussion band on octave viola and loop pedal, Judith A. Iddison
Video Example 214. Looping an Afro-Cuban-style rhythmic ostinato, bassline and montuno on five-string violin, Judith A. Iddison
Video Example 215. Gregorio loops an Afro-Cuban-inspired percussion groove as a foundation for Caravan, Judith A. Iddison
Video Example 216. Gregorio elasticises and embellishes Caravan’s melody, creating 'slinky’, ‘snake charmer'-like sound worlds, Judith A. Iddison
Video Example 217. Applying F harmonic minor and G diminished arpeggio over the A section of Caravan, Judith A. Iddison
Video Example 218. Gregorio plays C half-whole diminished scale featuring sharp 9 and flat 9 over C7 of Caravan, Judith A. Iddison
Video Example 219. Gregorio highlights the flat 9 of C and the 9th of F while soloing on Caravan’s A section, Judith A. Iddison
Video Example 21. Cross-rhythmic triplet pattern outlining Bossa Dorado's chord changes, Judith A. Iddison
Video Example 220. Caravan improvisation using F jazz minor scale, Judith A. Iddison
Video Example 221. Highlighting harmonic extensions by tonally shifting arpeggios on B section of Caravan, Judith A. Iddison
Video Example 222. Improvisation on Afro-Cuban groove and call and response with phrases featuring minor 6th, Judith A. Iddison
Video Example 223. Gregorio discusses assuming different characters to assist in embodying musical styles, Judith A. Iddison
Video Example 224. Gregorio discusses cross pollination between different musical styles, Judith A. Iddison
Video Example 225. Gregorio creates a 'conga' percussion band on the violin and plays a brief blues solo, Judith A. Iddison
Video Example 226. Gregorio demonstrates 'washing' effect with bow on amplified octave viola, Judith A. Iddison
Video Example 227. Soundscape with 'washing' effect on octave viola transferred up an octave, Judith A. Iddison
Video Example 228. Octave-viola soundscape with behind-the-bridge effects, harmonics and percussive pizzicato, Judith A. Iddison
Video Example 229. Gregorio creates a loop using harmonics and plays a Gregorian chant-like solo on octave viola, Judith A. Iddison
Video Example 22. A half-whole diminished scale on the turnaround in Tri Swingin’, Judith A. Iddison
Video Example 230. Gregorio creates an 'African kora'-effect by employing classical guitar technique on octave viola, Judith A. Iddison
Video Example 231. Gregorio demonstrates guitar-style pizzicato effects on octave viola, Judith A. Iddison
Video Example 232. Gregorio demonstrates rhumba-style guitar techniques on octave viola with percussive effects, Judith A. Iddison
Video Example 233. Percussive effects on octave viola including imitations of tom drum, Middle-Eastern frame drum and oud, Judith A. Iddison
Video Example 234. Gregorio creates a humorous ‘David Attenborough-style’ soundscape on octave viola, Judith A. Iddison
Video Example 235. Gregorio loops a col legno 'alien-insect' effect on amplified violin and transfers it up an octave, Judith A. Iddison
Video Example 236. Gregorio creates a natural distortion on the violin by playing sul ponticello, Judith A. Iddison
Video Example 237. Gregorio demonstrates Afro-Cuban-style percussive effects on violin, Judith A. Iddison
Video Example 238. Gregorio creates three flute-like effects on octave viola, Judith A. Iddison
Video Example 239. Gregorio demonstrates col legno effects on octave viola, Judith A. Iddison
Video Example 23. Highlighting the diminished signalling chord in Belleville, Judith A. Iddison
Video Example 240. Transferring looped percussive effects up and down an octave, Judith A. Iddison
Video Example 241. Gregorio describes distortion inspiring his cross-genre practice, Judith A. Iddison
Video Example 242. Gregorio instructs and demonstrates distortion effects on amplified five-string violin, Judith A. Iddison
Video Example 243. Gregorio demonstrates contrasting wah effects on amplified five-string violin, Judith A. Iddison
Video Example 244. Gregorio teaches and demonstrates a chopping style with left-hand muting, Judith A. Iddison
Video Example 245. Gregorio teaches chopping variations with melodic intervals and left-hand muting, Judith A. Iddison
Video Example 246. Gregorio recommends non-classical technical adjustments to create a powerful chop, Judith A. Iddison
Video Example 247. Gregorio teaches cross-rhythmic and lower-half ricochet chopping styles, Judith A. Iddison
Video Example 248. Triplet chop duo, Judith A. Iddison
Video Example 249. Rock chop tuition and comping under Gregorio's Summertime violin improvisation, Judith A. Iddison
Video Example 24. Gregorio teaches two phrases for Minor Swing improvisation that highlight the pull of the tritone, Judith A. Iddison
Video Example 250. Gregorio demonstrates a range of funk-based chopping styles and techniques, Judith A. Iddison
Video Example 251. Chopping duo demonstration while Gregorio rhythmically experiments, Judith A. Iddison
Video Example 252. Five-feel chopping duo, Judith A. Iddison
Video Example 253. Funk-inspired improvised chopping duo, Judith A. Iddison
Video Example 254. Comping with chop under Gregorio's Nuages guitar improvisation, Judith A. Iddison
Video Example 255. Gregorio demonstrates a pizzicato comping style on Nuages, Judith A. Iddison
Video Example 256. Bossa nova comping styles incorporating chop and melodic notes on Bossa Dorado, Judith A. Iddison
Video Example 257. Comping under Gregorio's colourful Bossa Dorado improvisation, Judith A. Iddison
Video Example 258. Comping using straight and syncopated patterns with sautille over Summertime rock feel, Judith A. Iddison
Video Example 259. Comping with bow-percussion under Gregorio's guitar solo on a rock-style version of Summertime, Judith A. Iddison
Video Example 25. Gregorio draws from E flat whole-half diminished scale and a varied chromatic pattern over E7 and A minor in Minor Swing improvisation, Judith A. Iddison
Video Example 260. Comping with chop under Gregorio's Douce Ambiance violin improvisation, Judith A. Iddison
Video Example 261. Comping with a guitar-like pizzicato on A section of Caravan under Gregorio's guitar improvisation, Judith A. Iddison
Video Example 262. Gregorio briefly comments on the benefits and disadvantages of looping, Judith A. Iddison
Video Example 263. Gregorio creates a rhythmic ambient loop and improvises with rhythmic freedom, Judith A. Iddison
Video Example 264. Gregorio addresses confidence and fear in relation to improvisation, Judith A. Iddison
Video Example 265. Gregorio talks of the excitement of risk taking and importance of confident body language, Judith A. Iddison
Video Example 266. One-string trading on Minor Swing and the importance of right-hand articulation in a jazz solo, Judith A. Iddison
Video Example 267. Taking risks with sliding-chromaticism experimentation, Judith A. Iddison
Video Example 268. Gregorio discusses and demonstrates confidence-building 'exit' strategies, Judith A. Iddison
Video Example 269. Rhythmic and melodic embellishment of Caravan's melody, Judith A. Iddison
Video Example 26. Trading solos in Minor Swing ending in Gregorio's pattern of an ascending 4th and descending 2nd, Judith A. Iddison
Video Example 270. Gregorio demonstrates soloing on one string, Judith A. Iddison
Video Example 271. Gregorio solos with a variety of expressions and emotions on Autumn Ballad, Judith A. Iddison
Video Example 272. Gregorio improvises a colourful five-chorus Hungaria solo while I comp using pizzicato, Judith A. Iddison
Video Example 273. Gregorio describes implicitly drawing on cemented finger patterns, Judith A. Iddison
Video Example 274. Gregorio discusses immersing in live performance to fast track the process of learning jazz, Judith A. Iddison
Video Example 275. Exploration of comping textures using the 'Charleston' rhythm on Swing 39, Judith A. Iddison
Video Example 276. Gregorio comps with brass-inspired ideas and subtle melodic 'fills' on Swing 39, Judith A. Iddison
Video Example 277. Reggae-inspired guitar 'skank' as a violin comping texture for Walking on the Moon, Judith A. Iddison
Video Example 278. Gregorio teaches an aggressive 'rock chop' for Back in Black, Judith A. Iddison
Video Example 279. Gregorio briefly discusses subconscious and conscious approaches to improvising, Judith A. Iddison
Video Example 27. Hesitations and taking risks in Autumn Ballad improvisation, Judith A. Iddison
Video Example 280. Gregorio discusses the importance of practising creatively for developing an improvisatory practice, Judith A. Iddison
Video Example 281. Gregorio champions for accurate intonation and articulation when playing dissonant notes, Judith A. Iddison
Video Example 282. Gregorio further discusses swing bowing and demonstrates a warm-up exercise on Minor Swing, Judith A. Iddison
Video Example 283. Gregorio champions for keeping solos simple but intonationally and rhythmically accurate, Judith A. Iddison
Video Example 284. Gregorio champions for keeping solos simple but intonationally and rhythmically accurate, Judith A. Iddison
Video Example 285. Gregorio reinforces the exit strategy of shifting a semitone to find ‘golden’ notes, Judith A. Iddison
Video Example 286. Sign of Four performance 1, Judith A. Iddison
Video Example 287. Sign of Four performance 2, Judith A. Iddison
Video Example 288. Autumn Ballad improvisation of inner string lines, Judith A. Iddison
Video Example 289. Gregorio explores a bassline for Double Parked, Judith A. Iddison
Video Example 28. Gregorio sings phrases featuring notes from half-whole diminished scale in Autumn Ballad improvisational exploration, Judith A. Iddison
Video Example 290. Footprints improvisational ideas, Judith A. Iddison
Video Example 291. Gregorio teaches a palette of ‘flute-like’ effects for Double Parked improvisation, Judith A. Iddison
Video Example 292. Gregorio discusses subtleties of interaction in jazz improvisation, Judith A. Iddison
Video Example 293. Gratitude tremolo introduction, Judith A. Iddison
Video Example 294. Extended techniques for Sea Funk’s introduction, Judith A. Iddison
Video Example 295. Transience improvisational experimentation with effects, Judith A. Iddison
Video Example 296. Gregorio explores harmonics, bow-percussion and flautando effects in Transience improvisation, Judith A. Iddison
Video Example 297. Full Moon Swing single and double-time comping, Judith A. Iddison
Video Example 298. Bariolage over Spain's chord changes while Gregorio improvises, Judith A. Iddison
Video Example 29. Gregorio plays a 1920s or 1930s-style Autumn Ballad solo including a favourite character phrase, Judith A. Iddison
Video Example 2. Gregorio teaches and demonstrates ghosting on chromatic-based phrases and transferable swung patterns, Judith A. Iddison
Video Example 30. Excerpt from Tri Swingin’ duo in which Gregorio features notes from the jazz minor scale and I comp, Judith A. Iddison
Video Example 31. Gregorio sings diminished-based phrases featuring the leading note and 6th on Tri Swingin' improvisation, Judith A. Iddison
Video Example 32. Exercise in crafting melodic patterns from half-whole diminished scale over A7-Dm in All of Me, Judith A. Iddison
Video Example 33. Colouring dominant chords on All of Me, Judith A. Iddison
Video Example 34. Gregorio introduces the Romanian scale and suggests minor 6 ideas for improvising on Douce Ambiance, Judith A. Iddison
Video Example 35. Colourful phrases containing sharp 9 and whole-tone scale applied to dominant chords on Swing 42, Judith A. Iddison
Video Example 36. An introduction to sliding-chromaticism, Judith A. Iddison
Video Example 37. Further sliding-chromaticism experimentation and 'discovery' of sharp 9 and tritone, Judith A. Iddison
Video Example 38. Gregorio demonstrates sliding-chromaticism and 'discovers' colourful phrases, Judith A. Iddison
Video Example 39. Call and response octave brass stabs in Sea Funk, Judith A. Iddison
Video Example 3. Gregorio demonstrates anticipated triplets, jazz vibrato and ghosted transitional first-finger idea, Judith A. Iddison
Video Example 40. Gregorio teaches seven funk-inspired pentatonic ideas with call and response, Judith A. Iddison
Video Example 41. Colourful funk-based minor pentatonic ideas and employing the strategy of delaying the tonic and beat one, Judith A. Iddison
Video Example 42. Gregorio instructs on different styles of Indian rāga ornamentation through call and response, Judith A. Iddison
Video Example 43. Gregorio teaches Afro-Cuban-style percussive effects on violin over an excerpt of Caravan’s changes, Judith A. Iddison
Video Example 44. Gregorio contrasts Caravan's rhythmic and melodically-embellished A section and blues-based B section, Judith A. Iddison
Video Example 45. Two contrasting flute-like effects over Caravan, Judith A. Iddison
Video Example 46. Employing metric modulation over an Afro-Cuban style groove with broken thirds and tonal shift over C minor, Judith A. Iddison
Video Example 47. Combined extended techniques excerpts from Stage One tuition, Judith A. Iddison
Video Example 48. Combined amplified effects excerpts from Stage One tuition, Judith A. Iddison
Video Example 49. Combined chopping excerpts from Stage One tuition, Judith A. Iddison
Video Example 4. 'Go Park the Car' rhythm using pulsed long bows, Judith A. Iddison
Video Example 50. Combined comping excerpts from Stage One tuition, Judith A. Iddison
Video Example 51. Creating a looped ambient soundscape, Judith A. Iddison
Video Example 52. Gregorio explores and loops percussive effects on the violin, Judith A. Iddison
Video Example 53. Octaves leaps and demonstration of descending one-finger shifts with quality, non-vibrated jazz tone, Judith A. Iddison
Video Example 54. Trading artificial-harmonics solos on Minor Swing, Judith A. Iddison
Video Example 55. Character idea played over Swing 42, 'discovery' of sharp 9 and bringing intention through syncopation, Judith A. Iddison
Video Example 56. Application of E and E-based patterns as pivot note within Swing 42 improvisation, Judith A. Iddison
Video Example 57. Embellishing Nuages’ melody, Judith A. Iddison
Video Example 58. Trading one-string solos with Gregorio on Minor Swing, Judith A. Iddison
Video Example 59. Gregorio demonstrates singing while playing on Minor Swing, Judith A. Iddison
Video Example 5. Gregorio demonstrates nuances of bowing fro creating a 'jazz trumpet' tone, Judith A. Iddison
Video Example 60. Improvisation featuring an emotive character phrase within Swing 42, Judith A. Iddison
Video Example 61. Juxtaposing sound worlds within Caravan improvisation, Judith A. Iddison
Video Example 62. Gregorio outlines Hungaria's chord changes highlighting colourful notes, Judith A. Iddison
Video Example 63. Gregorio plays Hungaria's chord changes in tempo and suggests colourful improvisational ideas, Judith A. Iddison
Video Example 64. Gregorio demonstrates violin-friendly, arpeggio-based ideas over Hungaria’s dominant 7 chords, Judith A. Iddison
Video Example 65. Gregorio outlines and embellishes Sign of Four's arpeggiated chord changes, Judith A. Iddison
Video Example 66. Gregorio outlines Sign of Four changes using scalic approach and broken thirds, Judith A. Iddison
Video Example 67. Gregorio demonstrates Lydian scale over dominant 7, major and minor chords in Hungaria, Judith A. Iddison
Video Example 68. Exploration of modal jazz using short, syncopated, Lydian-based ideas for Hungaria improvisation, Judith A. Iddison
Video Example 69. Gregorio demonstrates Lydian-based ideas on Hungaria, Judith A. Iddison
Video Example 6. Gregorio imitates a brass section on Minor Swing through confident swing rhythm, syncopation, articulation and dynamics, Judith A. Iddison
Video Example 70. Gregorio teaches A flat whole-tone ideas, Judith A. Iddison
Video Example 71. Contrasting chromaticism and clearly outlined chords and incorporating whole-tone flavour in Hungaria improvisation, Judith A. Iddison
Video Example 72. Gregorio demonstrates G blues-based ideas for Swing 39, Judith A. Iddison
Video Example 73. Gregorio and I explore the 'crushed' blues grace-note idea through call and response, Judith A. Iddison
Video Example 74. Reversing roles in crushed grace-note call and response, Judith A. Iddison
Video Example 75. Pentatonic sequences as improvisational foundational for Swing 39, Judith A. Iddison
Video Example 76. Experimenting confidently holding randomly selected notes across Nuages' chord changes, Judith A. Iddison
Video Example 77. Gregorio sings a two-note, Lydian-based idea featuring sharp 4 and variations over Nuages’ changes, Judith A. Iddison
Video Example 78. Adding confident resolutions to phrases containing notes held across changes in Nuages, Judith A. Iddison
Video Example 79. Holding dissonant notes across changes in Nuages and resolving to 6th and 9th, Judith A. Iddison
Video Example 7. Gregorio further instructs on horn-like rhythms and trumpet-inspired drop-offs on Minor Swing, Judith A. Iddison
Video Example 80. Gregorio demonstrates a range of colourful improvisational options for Swing 39, Judith A. Iddison
Video Example 81. Gregorio demonstrates sliding-chromaticism (or chromatic 'noodling') as a transition device, Judith A. Iddison
Video Example 82. Alternating bars of Hungaria’s chords with sliding-chromaticism and ‘chromatic-waffle’ explanation, Judith A. Iddison
Video Example 83. Slurred and syncopated chromatic phrases in colourful Hungaria improvisation, Judith A. Iddison
Video Example 84. Alternating sliding-chromaticism and outlined chords, using slurs and beginning on the G string, Judith A. Iddison
Video Example 85. Gregorio teaches a sul ponticello-infused jazz vibrato, Judith A. Iddison
Video Example 86. Gregorio teaches subtleties of vibrato, articulation and sliding on a colourful Hungaria improvisation, Judith A. Iddison
Video Example 87. Compiled comping excerpts from Stage Two tuition, Judith A. Iddison
Video Example 88. Comping with pizzicato rhythm and montuno and pizzicato solo trading on Chan Chan, Judith A. Iddison
Video Example 89. Chan Chan 'vocal-like' improvisation, Judith A. Iddison
Video Example 8. Minor Swing improvisation with a focus on including triplets, syncopation and repetition, Judith A. Iddison
Video Example 90. Gregorio encourages connecting simple musical ideas to craft a well-shaped solo on Nuages, Judith A. Iddison
Video Example 91. Contrasting long notes and swung chromaticism in Hungaria improvisation with anticipated swing ending, Judith A. Iddison
Video Example 92. Gregorio and I trade solos on Swing 39, Judith A. Iddison
Video Example 93. Sign of Four rehearse Selepak’s composition Sign of Four, Judith A. Iddison
Video Example 94. Ten excerpts from Sign of Four's premiere performance, Judith A. Iddison
Video Example 95. Gregorio demonstrates creative warm-up exercises using foundational pentatonic patterns, Judith A. Iddison
Video Example 96. Gregorio discusses and demonstrates the application of chromatic patterns within improvisations, Judith A. Iddison
Video Example 97. Gregorio demonstrates jazz surround technique and discusses its similarity to the classical turn, Judith A. Iddison
Video Example 98. Gregorio reinforces swung, ghosting technique on a chromatic ‘bassline’ and Minor Swing, Judith A. Iddison
Video Example 99. Vocal-inspired solo over Englishman in New York changes, Judith A. Iddison
Video Example 9. Bariolage over Summertime rock feel, Judith A. Iddison
Video Rainbows, Cassandra R. Tyler and Andrea Rassell
Violence begets violence: How grandmother kinship caregivers mitigate abuse by their grandchildren, Hajara Bentum, Alhassan Abdullah, Vicki Banham, and Kwadwo Adusei-Asante
Virtual reality for self-disclosure: Comparing user experiences across VR, video and text chat, Shane L. Rogers, Alexis Pallister, and Natasha Canes
Virtual tourism as a potential alternative to travel therapy for dementia intervention: Interdisciplinary, conceptual, and methodological innovations, Fangli Hu and Jun Wen
Visceral fat mass prediction from spine DXA scans, Fatima Zarzour, John T. Schousboe, Joshua R. Lewis, and William D. Leslie
Visible-to-infrared image translation via disentangled imaging attribute transfer, Zonghao Han, Zixiang Ye, Fangqi Shi, Zhengtao Chen, Kun Hu, and Shaohui Mei
Vocal Arranging for 5 part Acapella Pop Voices, Matthew Allen
Wagner of the neurosciences? Charcot’s theater and his circle’s influence on the performing arts, Jonathan W. Marshall
Warm-up is not a workout: A principles-based critique of continued efforts to use warm-up programmes for ACL injury prevention, Sophia Feliciano Nimphius and Daniel Kadlec
Waste heat driven direct contact membrane desalination coupled with reverse Brayton cycle: Techno-economic analysis and multi-objective optimization, Erfan Ghamati, Mehdi Khiadani, and Barun K. Das
Waste material utilization in civil engineering applications: Advances, challenges, and future directions—A scoping review, Chathurika Dassanayake, Nuha S. Mashaan, and Ridmi Galagedara
Waste-to-silicon carbide: Sustainable synthesis of SiC-bearing materials from spent coffee grounds and glass waste, Abdullah Al Mahmood, Rumana Hossain, M. Bodiul Islam, and Barun K. Das
Waterborne, Theresa Ann Wilks
We are a family out here: Team belongingness as a resource for the wellbeing of fly-in-fly-out workers on a remote construction site in Australia, Fleur Sharafizad, Hossein Ali Abadi, Aglae Hernandez Grande, Esme Franken, Ben Farr-Wharton, and Hayden Spencer
Weathering in-beyond hydro(s)cenes, Bronwyn Bailey-Charteris, Kathryn McMahon, Mary Christina Rapp, and Natalie Davey
Web series are dead: Long live web series, Steinar Ellingsen, Mark David Ryan, and Sue Turnbull
Weightlifting for young athletes, G. Gregory Haff, Stephanie J. Morris, and Erin E. Haff
Wellbeing literacy: Theory and practice through multidisciplinary and transdisciplinary lenses, Lindsay G. Oades, Narelle Lemon, Jacqui Francis, and Tim Lomas
Western Australian graduate teacher perceptions of teacher performance assessments, Janine E. Wyatt, Caroline Mansfield, and Paula Mildenhall
We still provide care, even if it’s by torchlight: A qualitative study exploring the lived experiences of midwives in rural Bangladesh, Ryan Fraser-McDonald, Terri Downer, Matthew Mason, Asma Khatun, Kaosar Afsana, Malabika Sarker, and Florin Oprescu
Wettability of rocks: Insights from an electrical double layer framework, Siqi Zhang, Daoyuan Tan, Honghu Zhu, Bin Shi, and Stefan Iglauer
WEViT: Weight-entangled vision transformers with class-specific attention for weakly supervised semantic segmentation, Narges Saeedizadeh, Seyed Mohammad Jafar Jalali, Burhan Khan, and Shady Mohamed
What are information literacy skills? Western Australian primary teachers’ interpretations of the ICT curriculum, Louise Moroney and Vaille Dawson
What are the neurological, neurovascular, and psychological responses to stretching across the general population?, David G. Behm, Konstantin Warneke, Anthony J. Blazevich, and José Afonso
What are the optimal transcranial direct current stimulation parameters and design elements to modulate corticospinal excitability? A systematic review and longitudinal meta-analysis, Liam C. Tapsell, Matheus D. Pinto, Ann Maree Vallence, Casey Whife, Maria Luciana Perez Armendariz, Shaswat Senger, Jack Andringa-Bate, Dana Hince, and Myles C. Murphy
What does good health look like? Development of leading occupational health performance indicators, Carmen Naylor, Soraya Canvin, Luke Dunk, Vinod Gopaldasani, Adelle Liebenberg, Gary Lux, Fiona Macfarlane, Shilpa Panyam, Vanessa Sharp, Ajay Thomas, Elizabeth Uru, and Jane Louise Whitelaw
What drives residents' support for sustainable tourism development? An integration of the push-pull-mooring model and theory of planned behavior, Nhi Thao Ho-Mai, Phuong Kim Thi Tran, Vinh Trung Tran, Thuong Thuong Ho Tran, Huy Van Le, and Tuan Nien Tran
What is a book review? Why (and how) to write a book review?, Vesife Hatisaru
What is known about asthma care and management for children and young people under 18 years of age in New Zealand. A scoping review, J. Blamires, M. Foster, and B. Kanengoni-Nyatara
What is left after memory: Love, the body, and the unconscious in little fish, Paul Longley Arthur and Isabel Smith
What is resistance exercise? A review of current uses and potential ways forward, Lars H. Lohmann, José Afonso, David G. Behm, Stanislaw D. Siegel, Michael Keiner, Klaus Wirth, Anthony J. Blazevich, Eric R. Helms, Alyssa Joy Spence, and Konstantin Warneke
What is the theory underpinning wellbeing literacy?, Lindsay G. Oades, Narelle Lemon, and Jacqui Francis
What led you here?, Lyndall Adams
What makes an Airbnb experience memorable? A text analysis using Leximancer, Eunjung Kim and Songshan Huang
What makes an analogy effective for students’ learning of mathematics? Conceptualising analogy effectiveness for teaching mathematics, Vesife Hatisaru and Steven Richardson
What motivates and supports primary school teachers to teach food and nutrition?, Margaret Ruth Miller
What will the hotel look like in the future? A timeline perspective, Ian Yeoman, Assen, Elena Cavagnaro, and Erwin Losekoot
When affect is not episodic: Extending Affective Events Theory under sustained oversight, Cathrine Frost, Andrei A. Lux, and Peter Galvin
When Brian acted his way out of a wet paper bag: The transformational qualities of drama education, Christina Gray and Robin Pascoe
When caring depletes: The paradox of leading employee wellbeing during a prolonged crisis – Evidence from the Australian resources sector, Michael Mayom Ajith, Andrei Alexander Lux, Michelle Striepe, and Tim Andrew Bentley
When co-creation falls short in institutionally thin environments: How green finance and sustainability governance unlock environmental innovation, Christian Narh Opata, Elias Appiah-Kubi, Stephen Tetteh, Francisca Omama Koranteng, and Lois Serwaa Opoku-Agyemang
When does Alzheimer's disease start? Plasma Aβ42/40 assays show steep changes at Aβ-PET Centiloid 15, mean age of 66 years, Rodrigo Cánovas, Timothy Cox, Vincent Doré, Pierrick Bourgeat, Jurgen Fripp, Azadeh Feizpour, Rosita Shishegar, Christopher J. Fowler, Simon M. Laws, Tenielle Porter, Stephanie Rainey-Smith, Leslie M. Shaw, Randall J. Bateman, Yan Li, Ovod Vitaliy, Michael W. Weiner, John C. Morris, Tammie L.S. Benzinger, Suzanne E. Schindler, Akinori Nakamura, Takeshi Iwatsubo, Takeshi Ikeuchi, Takashi Kato, Paul Maruff, Hamid R. Sohrabi, Christopher C. Rowe, Ralph Martins, Colin L. Masters, and James Doecke
When does the peak countermovement jump performance occur? Mapping peak-trial timing across six clustered repetitions, Karol Kruczek, Szymon Karpęcki, Tim Gabbett, Jason Lake, and Michał Nowak
When express bespoke tailoring meets tourism: A meaning-transfer model from customer luxury experience to destination marketing, Nhi Thao Ho-Mai, Phuong Kim Thi Tran, Vinh Trung Tran, and Phong Dong Nguyen
When fairness prevails: Unpacking the mediating mechanism linking corporate social responsibility, hotel employees’ quality of work life and well-being, Wanyu Mou, S. Mostafa Rasoolimanesh, and Stephanie Hui Wen Chuah
When the going gets tough, who gets going? Relational embeddedness, institutional support and entrepreneurial continuance: Evidence from China's small business owners, Tenghao Zhang, Pi Shen Seet, Janice Redmond, and Jalleh Sharafizad
When the panic sets in: AI-proofing as pedagogical violence in social work education, Norah Hosken and Susan Bailey
Where have you been? Backtracking microplastic to its source using the biomolecular composition of the ecocorona, Amanda L. Dawson, Utpal Bose, Sophia Escobar-Correas, Kuok Yap, David J. Craik, and Cassandra L. Pegg
Where to now with privacy? A systematic literature review with human–artificial intelligence synthesis (SLR-HAIS), Moulik M. Zaveri, Ameet Pandit, Violetta Wilk, and Steven D’Alessandro
Where wellbeing science meets writing practice: The intersection of shut up & write! and self-care, Narelle Lemon
Which metrics should I monitor? Recommendations for monitoring acute changes in physical preparedness with countermovement jump force-time metrics in youth soccer players in-season, Andrew J. Badby, Nicholas J. Ripley, John J. McMahon, Peter D. Mundy, and Paul Comfort
White supremacy on the whiteboard: Teachers’ responses to the Christchurch mosque attacks, Genaro Oliveira and Abdelhamid Safa
Who wins, who speaks? Exploring gendered views of social justice in tourism development, S. Mostafa Rasoolimanesh, Rastegar, and Siamak Seyfi
Who would you travel with? Identifying the key attributes of a desirable travel partner, Xue Fang, Jun Yu, Kun Zhang, and Songshan Huang
Why are Western Australian girls less motivated than boys to study senior secondary higher-level mathematics courses? Relationships between gender, prior achievement, and mathematics course aspirations, Jane Kirkham and Elaine Chapman
Why is cyber espionage one of the top threats to Australia’s national security?, Munir Saeed, Mohiuddin Ahmed, and Abu S.S.M. Barkat Ullah
Widespread decline in the abundance of sea cucumber assemblages in atolls of the protected Rowley Shoals, northwestern Australia, Inês Leal, Claire L. Ross, Simone Strydom, Richard D. Evans, Thomas H. Holmes, Graham J. Edgar, and John K. Keesing
Within-session dose–response and between-session carry-over effects of eccentric contractions versus static stretches on range of motion and muscle–tendon mechanics, Anthony David Kay, Anthony William Baross, Brett Anthony Baxter, and Anthony John Blazevich
Women and web series, 2012–2019, Nicola Evans, Marion McCutcheon, Joël Bassaget, Emilia King, and Steinar Ellingsen
Women are discriminated against on the basis of sex: Anti-trans epistemologies in Australian universities, Emily M. Gray, Jacqueline Ullman, and Mindy Blaise
Women in the Australian Mining Industry, Michelle Gander, Fleur Sharafizad, Aglae Hernandez Grande, Heidi Vivian, Mahan Poorhosseinzadeh, and Kate Blackwood
Women’s empowerment and child stunting in Peru: A nationally representative analysis, Marisella Chumán-Sánchez, Brando Ortiz-Saavedra, Leonardo J. Uribe-Cavero, Anita P. Llamo-Vilcherrez, Joshua W. Moxey, and Carlos J. Toro-Huamanchumo
Women’s experiences of declining recommended or routine maternity care: A systematic review, Ilyana Mohamed Hussain, Kate Buchanan, Linda Sweet, and Sara Bayes
Women's experiences of menstrual pain and perceptions of acupuncture: A qualitative study, Weiting Liu, Amanda Towell-Barnard, and Khui Hung Lee
Work challenges and cancer-related cognitive impairment: Level of education accounts for unmet needs beyond cognitive impairment severity, Darren Haywood, Susan L. Rossell, Ashley Henneghan, Frank D. Baughman, Jennifer Haywood, Evan Dauer, Annika Hegde, Ahmed A. Moustafa, and Nicolas H. Hart
Work-family conflict and turnover intentions: Does self-efficacy matter?, Majoreen Osafroadu Amankwah, Michael Kyei-Frimpong, Israel Akpeh, and Yvonne Ayerki Lamptey
Work-integrated learning as a landscape of practice, Denise Jackson, Karsten E. Zegwaard, and David Drewery
XNFT: Explainable network flow transformer for transparent detection of DDoS attacks in real-world networks, Amal Ajayan, G. Kirubavathi, and Iqbal H. Sarker
YAP1-dependent regulation of cell size in BCAM-positive limbal corneal progenitor cells, Kosei Suzuki, Shinri Sato, Markus H. Frank, Natasha Y. Frank, and Yuzuru Sasamoto
Yoga storytelling as an active learning approach: Insights from early childhood classroom practice, Serap Sevimli-Celik
Yorga Moorditj Koort: Aboriginal and Torres Strait Islander women’s perspectives about heart health on Noongar Boodjar, Elia Bidgood, Cathy Garlett, Richard Chenhall, Amie Bingham, Francine Eades, Emily Banks, Melinda J. Carrington, Grace Joshy, Sandra Eades, and Tabassum Rahman
You can only take your clients as far as you’ve been yourself: Examining the intersections between psychedelic-assisted therapy, lived-living experience, and clinical practice, Jordan J. Negrine, Stephen J. Bright, Monica J. Barratt, Matthew Pennell, Anthony Barnett, James Bennett-Levy, and Timothy Piatkowski
Young children remember: The family as a resource in the treatment of pre-verbal childhood trauma, Arianne Struik and Raffaella Salvo
Young motherhood in crisis: Multidimensional childcare challenges in Accra’s Old Fadama and African Eleven Slums, Portia Nana Ama Brempong, Victus Gyambiby, Gladys Aboagye Asamoah, Kingsley Saa-Touh Mort, Margaret Mensah, Florence Akosua Agyemang, and Abena Oforiwaa Ampomah
Young people healing and growing in trauma-informed positive music education, Jason Goopy
Zero day malware detection with Alpha: Fast DBI with transformer models for real world application, Matthew Gaber, Mohiuddin Ahmed, and Helge Janicke
Zwitterionic and anionic ultrafiltration membrane modification for efficient, fouling-resistant microalgae harvesting, Victor Okorie Mkpuma, Mohadeseh Najafi, Javad Farahbakhsh, Masoumeh Zargar, Navid Reza Moheimani, and Houda Ennaceri