The umbrella-term ‘executive functions’ includes various domain-general, goal-directed cognitive abilities responsible for behavioral self-regulation. The influential unity and diversity model of EF posits the existence of three correlated yet separable executive domains: inhibition, shifting and updating. These domains may be influenced by factors such as socioeconomic status and culture, possibly due to the way EF tasks are devised and to biased choice of stimuli, focusing on first-world testees. Here, we propose a FREE test battery that includes two open-access tasks for (...) each of the three abovementioned executive domains to allow latent variables to be obtained. The tasks were selected from those that have been shown to be representative of each domain, that are not copyrighted and do not require special hardware/software to be administered. These tasks were adapted for use in populations with varying SES/schooling levels by simplifying tasks/instructions and using easily recognized stimuli such as pictures. Items are answered verbally and tasks are self-paced to minimize interference from individual differences in psychomotor and perceptual speed, to better isolate executive from other cognitive abilities. We tested these tasks on 146 early adolescents of both sexes and varying SES, because this is the age group in which the executive domains of interest become distinguishable and in order to confirm that SES effects were minimized. Performance was determined by Rate Correct Scores, which consider speed-accuracy trade-offs. Scores were sensitive to the expected improvement in performance with age and rarely/inconsistently affected by sex and SES, as expected, with no floor or ceiling effects, or skewed distribution, thus suggesting their adequacy for diverse populations in these respects. Using structural equation modeling, evidence based on internal structure was obtained by replicating the three correlated-factor solution proposed by the authors of the model. We conclude that the FREE test battery, which is open access and described in detail, holds promise as a tool for research that can be adapted for a wide range of populations, as well as altered and/or complemented in coming studies. (shrink)

La presente investigación surge como parte del análisis para la creación de políticas de ecoeficiencia en las empresas y tiene como finalidad el conocer las buenas prácticas ambientales aplicadas por las empresas del sector servicios en la ciudad de Girardot. Se presenta como un estudio descriptivo-analítico con enfoque cualitativo, utilizando como instrumento la ficha de observación aplicada a una muestra de 30 empresas del sector de servicios. Dentro de los resultados obtenidos se encuentra la calificación de acuerdo con un puntaje (...) entre 0.0 y 1.0 y el análisis del resultado total con ponderación de 0% a 100% a 11 criterios evaluados. (shrink)

In 1976 an interdisciplinary study on risks and risk evaluations was inaugurated in Sweden and was sponsored by the Committee for Future-oriented Research. One of the basic assumptions of the Swedish risk project was that modern society has created “new, increasingly complicated and large-scale technical systems.” It also assumed that “large systems are economically efficient, but vulnerable and therefore create risks.” A third assumption was that “the ever rising standard of living is purchased at the cost of certain additional risks.” (...) The perspective of the project was thus markedly historically oriented. (shrink)

Resumen: Este artículo se propone configurar la trama saber-tropo como estrategia para desvelar ataduras coloniales que aún persisten en las vidas cotidianas de sujetos situados y encarnados, cuyas existencias se desarrollan en condiciones de precariedad material, exclusión, explotación y no reconocimiento. Con un marcado carácter epistémico-metodológico, y tomando como base los postulados de la tropología, se discute sobre la noción de tropo y saber, además de señalar las posibles relaciones que entre ellos se pueden dar, para finalmente, en términos demostrativos, (...) plantear un procedimiento orientado a identificar y analizar los tropos que permiten ir desvelando lastres coloniales en las narraciones cotidianas. La relevancia de esta propuesta se asienta en la necesidad de ir avanzado en construir herramientas metodológicas que permitan comprender los principios que configuran el pensamiento decolonial. Desde allí, se propone al tropo como expresión y discusión figurativa del saber, debido a que este puede ser utilizado persuasivamente para afectar la forma en que se habita el mundo, al tiempo que permite comprender el accionar social y, consecuentemente, las matrices coloniales con las que debemos romper.: This article proposes to configure knowledge-trope plot as a strategy to uncover colonial ties that persist in the daily lives of situated and incarnated subjects, whose existences develop in conditions of material precariousness, exclusion, exploitation and non-recognition. With a marked epistemic-methodological character, and based on the postulates of the tropology, the notion of trope and knowledge is discussed, as well as pointing out the possible relationships that can occur between them, and finally, in demonstrative terms, to propose a procedure aimed at identifying and analysing the tropes that allow us to reveal colonial ballasts in everyday narratives. The relevance of this proposal is based on the need to construct methodological tools that allow us to understand the principles of decolonial thinking. From there, the trope is proposed as an expression and figurative discussion of knowledge, because it can be used persuasively to affect the way in which the world is inhabited, while at the same time it allows us to understand social action and, consequently, colonial matrices with which we must break. (shrink)

Through cultural transmission, repeated learning by new individuals transforms cultural information, which tends to become increasingly compressible . Existing diffusion chain studies include in their design two processes that could be responsible for this tendency: learning and reproducing . This paper manipulates the presence of learning in a simple iterated drawing design experiment. We find that learning seems to be the causal factor behind the increase in compressibility observed in the transmitted information, while reproducing is a source of random heritable (...) innovations. Only a theory invoking these two aspects of cultural learning will be able to explain human culture's fundamental balance between stability and innovation. (shrink)

A citizen of Early Renaissance Florence that stepped out into the streets and entered the spaces of his civic world joined a concert of creative formal behaviors in which he was at once an actor and a spectator. His problem here was to interpret the complex web of overlapping, conflicting and simultaneous meanings he would have read in the actions and images by which the community directed him and represented itself, and find his own place and set his standing. On (...) most occasions he would probably have elected for a state of suspension, a floating of multiple possibilities he was loath to precipitate in too stable a form: in ambiguity the citizen of Florence developed a richness of signification, and found a refuge. (shrink)

Digital communication technologies led to a revolution in how people interact at work: relying on computer-mediated communication technologies is now a must, rather than an alternative. This empirical study investigates how colleagues in a virtual team use synchronous online communication platform in the workplace. Inspired by the conceptualisation of web-based communication platforms as tool, place or context of social construction, we explore the discursive strategies that contribute to the construction of the team’s shared sense of purpose and identity, a collegial (...) atmosphere and consequently lead to effective collaboration. The close analyses of real-life data from a multinational workplace provide insights into the everyday communication practices of virtual team members. Our findings supplement organisational literature based on etic observations of the effectiveness of virtual work and provide a basis for further theorisations about how communication technologies affect the ecology of and discourse practices in computer-mediated communication at work. (shrink)

The promise of genomic medicine lies in the opportunity to improve health outcomes via a personalized approach to management, grounded in genetic and genomic variation unique to an individual. However, disparities and inequities mar this remarkable landscape of genomic innovation. Prior efforts to understand these inequities have focused on populations for which genetic testing is relatively protocolized or where test utility varies greatly by ancestry groups, where equitable outcomes are more clearly defined. We therefore consider the current landscape of rare (...) disease genomics, in which diagnostic approaches vary widely and utility remains to be fully understood, and suggest a path forward: how ecosocial theory may be used to guide novel equity‐focused initiatives that incorporate illness narratives to improve population health. We present examples of narrative medicine in rare disease and reimagine the role this discipline may play in genomic sequencing studies, toward incorporation of the unique illness narrative into clinical genetics and genomics practice. Approaches that broaden the definitions of disease and of outcomes of interest will force the field to grapple with its racist history and begin to advance health equity and promote justice so that genomic medicine may truly deliver on its promise. (shrink)

Influential theories on moral judgments propose that they rely either on emotions or on innate moral principles. In contrast, the mental model theory postulates that moral judgments rely on reasoning, either intuition or deliberation. The theory allows for the possibility that intuitions lead to utilitarian judgments. This paper reports two experiments involving fifth-grade children, adolescents, and adults; the results revealed that children reason intuitively to resolve moral dilemmas in which action and inaction lead to different outcomes. In particular, the results (...) showed female children to be more utilitarian than female adults in resolving classical moral dilemmas: they preferred an action that achieved a good outcome for a greater number of people. Within the mental model theory’s framework there is no reason to expect that females and males differ in their ability to reason, but at the moment the results for females cannot be generalized to males who were not properly represented in the adults groups of the two experiments. The result revealing that (female) children are more utilitarian than (female) adults, which is hard to explain via many current theories, was predicted by the mental model theory. (shrink)

A citizen of Early Renaissance Florence that stepped out into the streets and entered the spaces of his civic world joined a concert of creative formal behaviors in which he was at once an actor and a spectator. His problem here was to interpret the complex web of overlapping, conflicting and simultaneous meanings he would have read in the actions and images by which the community directed him and represented itself, and find his own place and set his standing. On (...) most occasions he would probably have elected for a state of suspension, a floating of multiple possibilities he was loath to precipitate in too stable a form: in ambiguity the citizen of Florence developed a richness of signification, and found a refuge. (shrink)

La violencia de pareja hacia las mujeres es un problema de salud de primer orden con graves repercusiones para la salud física y mental de las víctimas y de los conviventes, y de esta forma ha sido recogido por las principales organizaciones con competencias en salud.

Le volume recueille les actes du colloque organisé à Florence, en novembre 2011, par la Società Italiana delle Storiche (SIS) [Société Italienne des Historiennes], en collaboration avec l’Université de Florence et en conclusion d’une année dense en célébrations pour les 150 ans de l’Unité italienne (cf. L’Italia alla prova dell’Unità, a cura di S. Soldani, Milano, Angeli, 2011). Il s’agit du deuxième volume de la nouvelle collection Storia delle donne e di genere [Histoire des femmes et du ge...

In lieu of an abstract, here is a brief excerpt of the content:Playing Attention":Contemporary Aesthetics and Performing Arts Audience EducationMonica Prendergast (bio)IntroductionThe spectator is an essential element of the kind of play we call aesthetic.1We all watch television. We all go to the movies. Some of us also attend live performances such as plays, concerts, operas, dance recitals, poetry or prose readings, and so on. What are the differences to be found among these experiences? The audience experience of television or (...) film is a shared one, although a more fragmented sharing in the case of television, as it is with live arts events. We are aware that we are not alone in viewing a show, that it is a collective event. But we also realize that our presence does not really matter (aside from boosting ratings or adding to box office profits) and that the performance will continue with or without us. We may exit or enter the room or auditorium at will and never offend the actors, because their presence is "mediatized" and we are not sharing the same time or space with them.2 Attending a live performance is otherwise; our presence is a key element of the event and definitely can and does make a significant difference both for ourselves and for the performers. Although the size and qualities of the event and audience may alter this assertion — a huge stadium rock concert is arguably a more mediatized live performance than a small folk club date — it still holds true that presence is one of the most important qualities of audience in live performance.If we can accept that audience presence is central to performance, then it follows that aesthetic education in the performing arts needs to pay some attention to this phenomenon. In a First World culture that is currently over-saturated with mediatized performance, the future health and vitality of live performance is endangered if educators neglect to address the challenges and processes involved in being an audience for the performing arts in arts education curricula. This essay explores how aesthetic/arts education may [End Page 36] assist young people to grow in awareness and understanding of the essential role that is played by audience in attending performance. In examining the work of four contemporary aesthetic philosophers — Hans-Georg Gadamer, Paul Ricoeur, Paul Thom, and James O. Young — I focus on the areas of spectatorship, attention, interpretation, and evaluation/criticism as important qualities of audience-in-performance. I will then offer a possible curriculum framework for audience education in the performing arts that is performative in form and nature; that is, creative, experiential, emergent, and open question-driven.Both classical and contemporary aesthetic philosophy tends to ignore the performing arts in general and audience-in-performance in particular.3 Plato derides performance as anti-reason and Aristotle salvages it by focusing on the audience's experience of catharsis in tragedy, but this fascinating debate gets lost over time as philosophers get caught up in questions around the definition and nature of art. Examinations of audience in aesthetics tend to assume an audience engaged in the more reflective, contemplative, and individual activity of viewing a work of visual art, reading a poem, or appreciating beauty in general. Discussions of performing arts deal with the text of a play or the score of a musical piece as the primary aesthetic object, with performances of these texts or scores considered somehow secondary, less-definable therefore less worthy of serious philosophic consideration.4 Although a number of aesthetic philosophers have taken up performance and audience issues in more recent years, especially regarding issues around "authentic" performance of music on original instruments, the experience of audience-in-performance remains understudied.5 Others, such as Nick Zangwill, try to negate the audience altogether as being a relatively insignificant part of an aesthetic event and argue that the central focus of aesthetics should be on the artist and the creation of artworks.6Fortunately, there have been a few voices in the field that do attend more closely to performing arts in general and audience in particular, or whose work can be effectively applied to this distinct type of aesthetic event. In the next section I will describe... (shrink)