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This chapter introduces the reader to the Naxalite movement, its history and historiography, and outlines the ethnographic context on which the book draws. It maps the movement particularly in terms of its gendered and classed economies, and thereby locates it in a longer tradition of communist and peasant struggles in Bengal and accompanied anxieties around sexuality, gender, class, and violence. This discussion also outlines the conceptual gaps in the feminist theorization of resistant violence, and calls for a stronger understanding of everyday violence as being continuous with the violence of political conflict. The last part of this chapter outlines the ethnographic context on which the book draws, offering some reflections on the kinds of issues thrown up in the course of fieldwork conducted in Kolkata.

Chapter 6’s discussion of the outcomes of information-based governance strategies begins with a comparison of three initiatives that evaluate electronics products – ENERGY STAR, EPEAT, and TCO. It introduces different conceptions of effectiveness, and emphasizes that different actors may have different definitions and perceptions of effectiveness. The chapter discusses a range of hypotheses and evidence related to the effects of information on consumers, businesses, government agencies, advocacy organizations, and researchers. While some evidence shows that a few existing programs have indeed created tangible social and environmental benefits, the database of 245 cases reveals that the vast majority of information-based governance strategies have failed to provide such information about their effectiveness to the public. The chapter ends with a discussion of promising and problematic practices for tracking the environmental outcomes and benefits of information-based governance strategies.

Too often, research on unfree labour is speculative, inaccurate and downright damaging to the individuals labelled as ‘victims’. This Chapter will make the case that, in order to overcome these serious failings, we need to conduct in-depth qualitative research with victims themselves. This means giving voice to their analyses and experiences and it means spending time learning from and with them. In making this case, the Chapter will draw on the author’s research between 2005 and 2012 into ‘child trafficking’ and youth labour mobility between rural Benin and Nigeria.

This chapter explores what it is like to work in the (primarily British) television comedy industry, and does so through analysis of a number of interviews with sitcom writers, producers and directors carried out for this book. The interviewees discuss the pleasures and problems of working in the industry and the social roles they hope their output will achieve. They also explore whether they feel their labour is a ‘job’, a ‘career’, a ‘profession’, or something else. These interviews are placed within the context of the wider television industry, and the particular roles of comedy within that industry is explored.

A point has been reached in this discussion of musical talent and its identification where some concrete questions must be answered. We have examined perspectives of talent across fields and synthesized a simple set of musical talent criteria. Will teachers and musicians agree that these criteria are valid indicators of talent in students they teach on a daily basis? What must be added to define this criteria further? We recognize the need to identify talented students in music; however, we have yet to find an effective procedure to carry out this identification. What is the best way to unveil potential as well as demonstrated talent in a variety of school settings? The research discussed in this chapter sought to answer these pressing questions. This personal quest began with an analysis of data from the National Research Center on the Gifted and Talented (NRC G/T) at the University of Virginia, augmented by data from different specialized schools. This analysis provided a look at the status quo of what criteria and procedures were currently being used in schools across the country. A survey containing criteria and procedures drawn from this analysis was sent to musicians, teachers, researchers, and specialists across the music and gifted fields in over 15 states. My goal was to see which criteria were deemed “absolutely essential” by people who work with talented music students. In addition, what procedures are currently being used and what types of activities will effectively reveal musical talent? The survey also sought opinions about what performance criteria were important to consider on assessment forms. Quantitative results created a list of criteria and procedures that showed their degree of importance according to the mean of the survey rating scales. Numbers on paper provide quantitative results. However, discussions with experts across the music and gifted fields could allow clarification of ideas, substantive qualitative input, and brainstorming of possible procedures for identification that all seem invaluable for answering questions concerning musical talent. Therefore, this research concluded with a set of interviews of experts across the music and gifted fields of education, research, performance, and psychology to gather this vital information.

As described in Chapter 1, psychosis is a syndrome. This syndrome can include a number of different signs and symptoms (see Chapter 2 on What Are the Symptoms of Psychosis?). In this chapter, we discuss the different diagnoses that may relate to psychosis. A diagnosis is a specific medical term given to an illness or syndrome by health-care providers. When a doctor evaluates someone experiencing psychosis, he or she gathers as much information as possible. This information comes from a detailed psychiatric interview and observations, medical records, additional information from family members, a physical exam, cognitive assessments, lab tests, and other types of evaluations to determine the illness underlying the episode of psychosis (see Chapter 5 on The Initial Evaluation of Psychosis). While gathering information to evaluate a first episode of psychosis, the doctor often comes up with a differential diagnosis. This is a list of the most likely reasons for the syndrome, in this case, psychosis. Doctors generally use a differential diagnosis to list the possible illness underlying any health problem. For example, if you go to the doctor for a fever, the doctor may make a list of possible reasons for the fever, such as a minor nose cold caused by a virus, strep throat caused by bacteria, pneumonia, meningitis, or other infections. To narrow down this list to the most likely diagnosis, the doctor then uses information from the history (asking questions), physical exam, and lab tests. Oftentimes a doctor uses a working diagnosis to guide treatment planning even if he or she has yet to decide on a final diagnosis. It is important for patients and families to recognize that making a specific diagnosis often requires long-term information that often is not fully available when a person first comes in for treatment. Being unsure about the diagnosis is one reason why a differential diagnosis and a working diagnosis are so important. A working diagnosis allows the doctor to begin an effective treatment plan even though a final diagnosis may not yet be clear. Some patients and families may want to get a specific diagnosis and may be skeptical when the doctor cannot yet definitively provide one.

The recruitment, selection, and evaluation of faculty are covered in this chapter. An examination of the research on interviewing, background checks, and other selection criteria is set forth based on the perspectives of industrial and organizational psychologists. The structure of academic ranks and the way in which faculty move through these ranks and achieve (or do not achieve) promotion and tenure.

Production before the advent of magnetic tape—in the era of 78-RPM records—emphasized "pre-production." A&R men (short for "artists and repertoire") chose artists to record, and they paired songs from the publishing firms of Tin Pan Alley with artists. The A&R work of Milt Gabler (at Commodore and Decca Records) and John Hammond and George Avakian (at Columbia) is exemplary. Gabler organized a series of jam sessions, which he recorded. Avakian produced Chicago Jazz (1940), the first jazz "album" of original material. As part of their popular music divisions the major labels—Columbia, Decca, and RCA Victor—record and market jazz. A number of specialty labels emerge: Commodore, Prestige, Contemporary, Verve, Blue Note, Atlantic, Riverside, and Savoy. Though dependent on pressing plants owned by the majors, they reflect the production philosophies of the connoisseurs who founded and owned them.

The A&R man became a record producer with the development of magnetic tape (a spoil of World War II) and the introduction of the vinyl long-playing record by Columbia Records in 1948. Producers could capture on tape—for reproduction and sale on records—jazz that had routinely happened for many years only on various stages. When recording technology caught up with the actual practice of improvising musicians, jazz discovered an ideal form in the "album." George Avakian's visionary work with Duke Ellington, Miles Davis, Erroll Garner, Buck Clayton, and Dave Brubeck realized what could be done with the new format and technology. The productions of Milt Gabler, Bob Weinstock, Esmond Edwards, Don Schlitten Teo Macero, Bob Thiele, Orrin Keepnews, Nesuhi Ertegun, Creed Taylor, Lester Koenig, Nat Hentoff ushered in a golden age for jazz.

Recording jazz onto multitrack tape meant that, while music continued to be captured onto tape in studios, albums could be constructed in postproduction: analogous to the way movies were shot on soundstages and assembled in editing rooms. Some musicians—especially Miles Davis and his jazz fusion bands—directed improvisations in the recording studio and left the task of assembling albums to their producers. Audiences for such albums heard, not studio games of cut 'n' paste, but tracks that resembled the turn-on-a-dime musical performances they heard in concert—performances which imitated techniques devised in postproduction. Enabling the naiveté of this audience is an overarching truth: jazz production almost always uses available technologies to ensure that in-the-moment performances are recorded (and, later, reproduced) as perfectly as possible.

When digital audio workstations (DAWs) do not multiply recording options to unthinkable levels of over-choice, they have simplified and automated tasks that were exceedingly difficult and time consuming to execute on analog tape. But they have informed jazz production most profoundly in the smallest sorts of ways. Fixing the little stuff that once marred, otherwise stellar, performances is now very quick and easy. A number of jazz recordings discussed in this chapter were not recorded digitally, and when they were, many of their producers merely treated digital tape and hard drives as the new, perhaps "improved," analog tape. Much of the time, in the world of jazz production a potentially revolutionary technology is just added to—and conceptualized in terms of–what was already available.

This chapter studies the compulsory measures that have been established in the UK. These include the ‘Gateway’, ‘Jobseekers' Interviews’ and ‘Jobseekers' Agreement’. The discussion is also concerned with the New Labour government (NLG), which puts importance to the private market as an effective mechanism, not only for wealth creation but also for welfare delivery. The government policies of the NLG towards unemployment, the dignity of unemployed persons and meeting the psychological needs of these persons are discussed in the first half of the chapter. The second half of the chapter is focused on the employment needs of various social groups, such as New Deal for Lone Parents and New Deal for 25 Plus.

Healthcare is a knowledge-based system. It draws on several different types of knowledge - scientific knowledge about biological processes, epidemiological knowledge about patterns of disease and risk factors, and clinical knowledge about how to treat medical problems. This book is concerned with a fourth type of knowledge that is equally important, but sometimes overlooked, namely how people experience health, illness, treatment and the delivery of care. In putting the book together our aim was to introduce readers to the various ways in which people’s experience of health and healthcare can be recorded, analysed and, where necessary, improved

Narrative interviewing is an approach to eliciting people’s accounts, or stories, of their experiences. Widely used in social science research, it has gained prominence in health research since the late 1990s. Narrative interviewing contrasts with semi-structured and structured techniques which tend to focus on specific topics introduced by the researcher. The growing popularity of the approach has coincided with the rise in the promotion of patient centred care. Narrative interviewing is mostly valued as a style of interview that seeks to get close to what is most important to participants through allowing them to focus on their own perspectives and priorities, using the language and terms that they prefer. The respondent may be seen as more in control than in a more structured interview, since they decide how to present their account, what they want to say and, of course, what not to say. The success of a study that uses narrative interviewing depends largely on the inter-personal and analytic skills of the researcher. Analytic approaches may examine how the participant talks about the topic as well as categorising what is said. Analysts may explore performance and presentation in a single account, or identify themes across a number of interviews. Critics of the method warn against naive readings of the data and caution that a desire to collect ‘successful’ narratives could privilege certain groups while excluding or alienating other important perspectives from research.

This chapter presents five interviews that Mills conducted with people in some way attached to the Revolutionary Government, four of them associated with the military. These were: Juan Arcocha, who worked for the newspaper Revolución, the official organ of the July 26 Movement that aimed to organize, guide, and disseminate revolutionary ideology to the Cuban people; two army captains who had long been involved in military and administrative capacities; Captain Isabel Rielo who was working at the Camilo Cienfuegos School City; and Comandante Dermidio Escalona who was military commander of Pinar del Rio province.

In Brief Interviews, Wallace’s most mathematically driven work of fiction, the central lesson is how to value the other in such a way that she is not killed off – not mown down by being remade as a number in the punning meaning behind the Wallace story that gives this chapter its title, “Other Math.” I place this crucial dynamic of combining selves in the context of the many systems of human and economic valuation – from coins, gifts, and contracts to viewing a spouse as “my other half” – that knit together a collection too often read as a disparate assortment of stories. In Brief Interviews Wallace makes his fullest use of paratextual features of story-numbering, series, and page numbers to arrange for the reader an encounter with the stochastic mathematics that drives “Adult World,” which I regard as a take-down of Plato, a watershed in Wallace’s history of unbridled markets and neoliberalism, and the collection’s centerpiece (over the many who have focused on “Octet”). As in chapter 2, a crisis in the value of currency fires Wallace’s imagination, here in a response to the so-called Asian Flu of the late 1990s. Interweaving a genealogy of Wallace’s probability-driven formal experimentation with a history of stochastic math’s importance to modern finance, I describe the dialectic of computerized complexity and balance-scale simplicity that underlies this book’s moral vision.