Outcomes Based Commissioning (OBC) – for example, Pay for Success (in the US) or Payment by Results (in the UK) – has been suggested as a way to provide ‘more’ social services for ‘less’ public resources. Such commissioning is often linked with an innovative financing tool called a Social Impact Bond (SIB). Using data from the Social Finance UK Database and focusing on SIBs in the US and UK, we evaluate whether the SIB approach aligns with the theoretical predictions of social innovation. The results provide limited evidence that SIBs facilitate capital injections from the private sector into the production of social goods as well as facilitate parts of the process of social innovation – namely, piloting and scaling. We conclude that there is significant variation, both between the US and UK and within the US, in social innovation ecosystems and the role played by SIBs.

Jane Manning's death, in March 2021, brought to an end a remarkable life and musical career, and it seems appropriate to celebrate that life with an extended tribute. TEMPO has always had a particularly close relationship with new music in Britain, where the journal is based, and Jane's work as a performer transformed the way in which musicians and audiences in Britain understood the technical and imaginative potential of new music. Her repertoire was enormous, and her interpretations of older music – Dallapiccola, Messiaen, Ravel, Webern – were wonderful, but it was as the creator of new work with living composers that she had such an extraordinary influence. What follows is an attempt to describe how that influence developed and to explain why it was so extraordinary.

This article explores aspects of the work of the composer Naomi Pinnock, focusing on six works written between 2012 and 2019: String Quartet No. 2 (2012), The Writings of Jakob Br. (2013), Lines and spaces (2015), Music for Europe (2016), The field is woven (2018) and I am, I am (2019). Each work is analysed and the analyses contextualised within a discussion of the works by other artists that form a creative hinterland to Pinnock's music: respectively art from the Sammlung Prinzhorn, paintings by Paul Klee and Agnes Martin, and the poetry of Rachael Boast.

We present the current status of a scalable computing framework to address the need of the multidisciplinary effort to study chemical dynamics. Specifically, we are enabling scientists to process and store experimental data, run large-scale computationally expensive high-fidelity physical simulations, and analyze these results using state-of-the-art data analytics, machine learning, and uncertainty quantification methods using heterogeneous computing resources. We present the results of this framework on a single metadata-driven workflow to accelerate an additive manufacturing use-case.

The Lithuanian composer Egidija Medekšaitė (b. 1979) has developed a practice in which she uses the principles of textile weaving to make musical compositions. This article introduces a series of works created in the last three years in which she has refined these techniques; it also considers the nature of the relationship between the textile patterns that Medekšaitė uses as the basis for these works and the resultant music. In particular the article focuses on an analytical account of four works: Âkâsha for string orchestra (2015), the string quartet Megh Malhar (2016), a setting of the Nunc dimittis (2018), and Sattva for electronics and accordion (2018).