Submissions from 2026
More than just fair: Legitimizing AI through reciprocity, ethical AI characteristics and personal information sharing, Shahid Hussain, Asim Qazi, and Violetta Wilk
Operational optimization of integrated thermal energy systems using steam methane reforming electrolysis coupling for hydrogen and electricity production, Wisam K. Hussam, Jaman, Barun Das, Md Shahriar Mohtasim, Arik Anjum Anik, and Gregory J. Sheard
Dynamic knowledge practices in tourism village development: An activity theory perspective, Xianyang Hu, Jie Chen, and Songshan (Sam) Huang
A Delphi consensus study on the dimensions of positive mental health, M. Iasiello, van Agteren, K. Ali, E. Kolovos, P. J. Batterham, F. Goodman, A. Jarden, T. B. Kashdan, M. Kyrios, L. G. Oades, D. Weziak-Bialowolska, and D. B. Fassnacht
Overcoming the challenges faced by leaders of purpose-led medium-sized businesses: The role of corporate communication and its interplay with corporate reputation and organisational identity, Taofeeq Ibn-Mohammed, Suranga Herath, Nicholas Swallow, Charlie Gower, Adriana P. Montes, Dawn Brooks, Andres P. Garcia, and Angus Morrison-Saunders
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