Eye quietness and quiet eye in expert and novice golf performance: an electrooculographic analysis

Quiet eye (QE) is the final ocular fixation on the target of an action (e.g., the ball in golf putting). Camerabased eye-tracking studies have consistently found longer QE durations in experts than novices; however, mechanisms underlying QE are not known. To offer a new perspective we examined the feasibility of measuring the QE using electrooculography (EOG) and developed an index to assess ocular activity across time: eye quietness (EQ). Ten expert and ten novice golfers putted 60 balls to a 2.4 m distant hole. Horizontal EOG (2ms resolution) was recorded from two electrodes placed on the outer sides of the eyes. QE duration was measured using a EOG voltage threshold and comprised the sum of the pre-movement and post-movement initiation components. EQ was computed as the standard deviation of the EOG in 0.5 s bins from –4 to +2 s, relative to backswing initiation: lower values indicate less movement of the eyes, hence greater quietness. Finally, we measured club-ball address and swing durations. T-tests showed that total QE did not differ between groups (p = .31); however, experts had marginally shorter pre-movement QE (p = .08) and longer post-movement QE (p < .001) than novices. A group × time ANOVA revealed that experts had less EQ before backswing initiation and greater EQ after backswing initiation (p = .002). QE durations were inversely correlated with EQ from –1.5 to 1 s (rs = –.48 - –.90, ps = .03 - .001). Experts had longer swing durations than novices (p = .01) and, importantly, swing durations correlated positively with post-movement QE (r = .52, p = .02) and negatively with EQ from 0.5 to 1s (r = –.63, p = .003). This study demonstrates the feasibility of measuring ocular activity using EOG and validates EQ as an index of ocular activity. Its findings challenge the dominant perspective on QE and provide new evidence that expert-novice differences in ocular activity may reflect differences in the kinematics of how experts and novices execute skills

THE CROSS CULTURAL EXAMINATION OF A BRIEF AUTISM DIAGNOSTIC INTERVIEW (ADI-R) IN KOREA AND THE UNITED STATES

Autism is the fastest growing developmental disability in the United States; as many as 1 in 88 individuals have been identified with an Autism Spectrum Disorder (ASD) (Centers for Disease Control and Prevention [CDC], 2010). Although scientists are working on understanding how many people in the population have autism, there is a limited amount of focus on the identification of any cultural factors that may influence people’s understanding about autism, attitudes about autism, and reporting of symptoms. The accepted methods for diagnosing autism are the Autism Diagnostic Observation Schedule (ADOS) and the Autism Diagnostic Interview-Revised (ADI-R). This study seeks to develop a brief version of the ADI-R using Item Response Theory with a Korean sample of school aged children divided into two groups based on age and language ability. The specific items from the Brief Korean Autism Diagnostic Interview (KBADI) are compared to the Korean translated ADI-R scoring algorithms, which were originally derived in the United States, in order to give some insight into any cultural differences. This study aims to identify any Korean cultural influences that may play a role in the parent or caregiver’s reporting of autism symptom

Focusing on Rich Brian’s “Dat Stick”, Higher Brothers’ “Made in China”, and Keith Ape’s “IT G MA”

학위논문 (석사) -- 서울대학교 대학원 : 인문대학 협동과정 비교문학전공, 2021. 2. 김홍중.This thesis explores the essence and cultural connotations of “Asian cool” represented and promoted by the Asian cultural community 88rising which appeared in Western mainstream pop culture over the past five years. It tries to answer the following questions: what is “cool” in Asian cool? And, what is “Asian” in Asian cool? The concept of coolness is complex and changeable. Considering the attributes of the research subject, this study focuses on the concept of what is “cool” in the field of popular culture, focusing on the close relationship between cool and rebellion represented in popular culture. Through the analysis of the rebellious message as well as the reappearance of the local specificities and three “cool” personality traits in the respective works that 88rising represents—namely, Rich Brian’s “Dat Stick”, Keith Ape’s “IT G MA”, and Higher Brothers’ “Made in China”—I offer the following hypothesis: By sharing Asianness and utilizing hip-hop, an extended and vibrant culture that carries modern coolness, 88rising tries to express both an internal resistance to Asian stereotypes as well as the desire to establish new forms of Asian representation. In this case, 88rising is a vehicle for Pan-Asian unity, while Asian cool in hip-hop represents a powerful cultural movement initiated by the “cool new Asian” ideal of 88rising, which aims to help Asians and Asian Americans rebuild their representation and identity in the Western popular culture land-scape. However, it is the pan-Asian nature of this cultural movement that on the other hand also makes Asian cool offer an “oversimplified definition of Asia”. In other words, there is the potential for Asian cool to be a powerful cultural movement based on a radical, pan-Asian unity, but that potential cannot be realized if one looks at Asian culture from a homogenous perspective and dilutes it into neatly-packaged, marketable Asianness. Keywords: Asian cool, hip-hop culture, 88rising, stereotype, young Asian generation, pan-Asia unity본 논문의 목적은 최근 5년간 서양 대중문화에서 나타난 88라이징(88rising)으로 대표되는 ‘아시안 쿨(Asian cool)’의 본질에 대해 고찰하고 아시안 쿨(Asian cool) 중 ‘쿨(cool)’과 ‘아시안(Asian)’ 각자의 문화적인 의미를 탐색하는 데 있다. 88라이징은 션 미야시로(Sean Miyashiro)가 창립한 다중 문화 아이덴티티를 가지고 있는 아시안 문화 공동체이다. 2015년 창립 이래 88라이징은 아시아인 래퍼와 알앤비(R&B) 가수들을 발굴하는 데 힘을 쏟았으며, 그들이 미국에서 음악 활동을 할 수 있게 도와준 동시에 유례없는 성적을 얻었다. ‘아시안 쿨’은 88라이징이 발전하는 과정 중 하나의 키워드로서, 많은 서양 미디어에 의해 인용되고 88라이징의 예술적인 특성을 묘사할 때 쓰인다. 기존의 연구와 달리 연구 대상의 속성을 고려하여, 본 연구는 우선 ‘대중문화 속에서 쿨니스(coolness)란 무엇인가?’에 초점을 둘 것이다. 대중문화 분야에서 쿨니스의 개념이 광범하게 정의되면 이를 각종 유행 문화와 특정 문화 아이덴티티인 아시안에 어떻게 적용할 것인지에 대해 한층 더 깊이 검토할 수 있기 때문이다. 그 다음으로 와 두 책을 바탕으로 하여 대중문화 분야에서 쿨의 발전 과정을 정리하였다. 또한 중에서 내린 쿨의 정의인 ‘영구적인 사적 반란의 상태(a permanent state of private rebellion)’를 본 연구의 핵심 정의로 하여, 대중문화 속에 재현될 때 쿨의 권위에 대한 반항적인 표현에 초점을 맞췄다. 이여서 88라이징의 세 팀 예술가의 대표 작품(리치 브라이언의 “Dat Stick”, 하이어 브라더스의 “Made in China”, 키스 에이프의 “IT G MA”)을 중심으로 하여, 작품 속 ‘반항적인 메시’에 대해 분석한다. 이 과정은 “아시안 쿨 중의 ‘쿨’이 무엇인가?”의 답에 대한 고찰이기도 하다. 분석 결과를 요약하면 세 팀 아티스트는 각자 다른 전략을 통해 서양에서 온 인종차별적인 담론에 대해 저항하였다. 다음으로 필자는 아시안 쿨의 ‘아시안’에 초점을 맞추며, 연구 대상이 속한 힙합 환경과 사회 환경 두 가지 측면에서 ‘아시안’의 의미를 탐구한다. 먼저, 아시아 각국 힙합 현지화의 과정 속에서 본토 특색을 지니고 있는 독특한 힙합 미학이 형성되었다. 이러한 본토 독특성(local specificities)은 아시아 힙합 현지화의 성과이며, 본토 래퍼들의 창작에 깊은 영향을 끼친다. ‘아시안 쿨’ 중의 ‘아시안’은 마침 본토 특수성이 작품 속에 남아 있는 흔적으로 표출된 것이다. 또한 ‘아시안 쿨’ 숙 ‘아시안’은 88라이징의 구성원과 같이 전 세대와 다른 인격 특성을 가진 쿨 뉴 아시아인(cool new Asian)이다. 사회 구조의 변화로 인해 아시안 신 세대는 전 세대가 추구하던 가치체계와 차이점이 있고, 인격 특성 측면에 ‘쿨의 인격적 특징’에 더 가깝다. 이러한 쿨 특징은 그들의 작품 속에서도 나타난다. 위 분석하는 것을 통해 필자는 다음과 같은 결론을 도출하였다. 아시안이 오랫동안 서양 미디어에서 왜곡되고 서양 주류 문화 속에 장기적으로 등장하지 않는 상황을 마주할 때, 88라이징으로 대표되는 아시아 신세대는 힙합이라는 현대 쿨니스의 대표 문화를 통해 아시아에 관한 고정관념(stereotype)에 대한 내적 저항은 물론 새로운 아시아의 대표(Asian representation)를 확립하고자 하는 열망을 표현하는 것이다. 이러한 상황에서 88라이징은 범아시아적인 공통체(pan-Asian unity)와 더욱 비슷하고, ‘아시안 쿨’은 88라이징이란 아시아 신 세대가 일으킨 영향력이 있는 문화 운동을 의미하며, 이는 쿨의 활용일 뿐만 아니라 쿨에 대한 일종의 계승과 발전이기도 하다. 그렇지만 이러한 문화운동의 범 아시아적인 성질로 인해 ‘아시안 쿨’의 또 다른 면이 ‘아시아에 대한 지나친 단순화 된 정의(oversimplified definition of Asia)’ 가 되었다. 바꿔 말해, 급진적이고 범아시아적인 공동체를 바탕으로 ‘아시안 쿨’은 영향력이 있는 문화운동이 될 가능성이 있지만, 아시아 문화를 동질적이고 단순화된 시각으로 바라보면 그 잠재력은 실현될 수 없다는 것이다. 주요어: 아시안 쿨(Asian cool), 힙합 문화, 88라이징(88rising), 고정관념(stereotype), 아시아 신 세대, 범 아시아 공동체(pan-Asia unity)1. INTRODUCTION 1 1.1. Background 1 1.2. Constitution of the thesis 4 2. LITERATURE REVIEW 5 2.1. Studies on "Asian cool" 5 2.2. Summary based on literature review 8 3. THEORY AND METHODOLOGY 11 3.1. Key concept of the study 11 3.1.1. Overall summary of research on "cool" 11 3.1.2. Exploring cool in postwar American popular culture 17 3.1.3. Defining cool in popular culture 27 3.2. Question& research materials 29 3.2.1. Research question 29 3.2.2. Research materials 30 3.3. Research methodology 33 4. ANALYSIS OF ASIAN COOL IN THE SAMPLE CASES 35 4.1. A common dilemma: the "crisis of racial authenticity" 35 4.2. 'Cool' in Asian cool: the rebellious content in 88rising artists 'works 43 4.2.1. Rich Brian: proof of Asian talent 43 4.2.2. Higher Brothers: redefinition of "Made in China" 50 4.2.3. Keith Ape: transcending K-pop and re-appropriated exoticism 60 4.3. What is 'Asian' in Asian cool 79 4.3.1 Question of identity: local specificities in Asian hip-hop 80 4.3.2."Cool New Asian": Asian generation with cool characteristics 97 4.4. Another aspect of "Asian cool": an oversimplified definition of Asia 112 5. CONCLUSION 117 BIBLIOGRAPHY 125 ABSTRACT IN KOREAN 131Maste

Strengthening Democracy, Increasing Opportunities: Impacts of Advocacy, Organizing, and Civic Engagement in Los Angeles

Analyzes the policy impacts and monetary benefits fifteen Los Angeles County community organizations achieved for marginalized groups with foundation support in 2004-08. Presents effective strategies used and recommends greater roles for local funders

Internet addiction and lonliness among Portugese elementary school students: an exploratory quantitative study [poster]

1st World Congress of Children and Youth Health Behaviors / 4th National Congress on Health Education: Viseu, Portugal: May 23-25, 201

If I Ruled the World: Putting Hip Hop on the Atlas

“If I Ruled the World: Putting Hip Hop on the Atlas” contends for a third wave of Global Hip Hop Studies that builds on the work of the first two waves, identifies Hip Hop as an African diasporic phenomenon, and aligns with Hip Hop where there are no boundaries between Hip Hop inside and outside of the United States. Joanna Daguirane Da Sylva adds to the cipha with her examination of Didier Awadi. Da Sylva\u27s excellent work reveals the ways in which Hip Hoppa Didier Awadi elevates Pan-Africanism and uses Hip Hop as a tool to decolonize the minds of African peoples. The interview by Tasha Iglesias and myself of members of Generation Hip Hop and the Universal Hip Hop Museum provides a primary source and highlights two Hip Hop organizations with chapters around the world. Mich Yonah Nyawalo’s Negotiating French Muslim Identities through Hip Hop details Hip Hop artists Médine and Diam’s, who are both French and Muslim, and whose self-identification can be understood as political strategies in response to the French Republic’s marginalization of Muslims. In “Configurations of Space and Identity in Hip Hop: Performing ’Global South’,” Igor Johannsen adds to this special issue an examination of the spatiality of the Global South and how Hip Hoppas in the Global South oppose global hegemony. The final essay, “‘I Got the Mics On, My People Speak’: On the Rise of Aboriginal Australian Hip Hop,” by Benjamin Kelly and Rhyan Clapham, provides a thorough analysis of Aboriginal Hip Hop and situates it within postcolonialism. Overall, the collection of these essays points to the multiple identities, political economies, cultures, and scholarly fields and disciplines that Hip Hop interacts with around the world

Becoming bridge citizens:Educating for social justice in conflict-affected settings

This study draws on empirical data to fine-tune the theoretical concept, ‘bridging civic identity’, which we propose as an educational aim in conflict-affected settings. We analyse interview data from Liberian respondents and North Korean migrants living in South Korea, using a conceptual framework based on the notions of ‘bridge citizens’ and agency. The analysis reveals the following: (1) that a high sense of agency is related to resourcefulness and fortitude, (2) that identifying oneself as a ‘bridge citizen’ is connected to recognising others as such, and (3) that concrete, large-scale aspirations of social justice for the larger community – and therefore ‘imaginativeness’ – are central components of a bridging civic identity. The findings suggest that learners in similar settings ought to be trained in resourcefulness and fortitude, be shown the collective nature of working towards shared goals, and be given encouragement to visualise the just future they desire for their community or nation

Listening to South Korean Fiction through Popular Songs, 1950s–1970s

This dissertation examines popular music embedded in and constitutive of a selection of Korean prose fictions composed amidst the three-decade long turbulence of militarization, cold war realignment, and rapid development in the southern part of Korea beginning with liberation from Japanese colonial rule in 1945. It argues that, as powerful vehicles for eliciting collective experiences of nationhood, providing comfort and solace, and embodying feelings of liberation, popular song forms enabled writers to develop unique artistic practices for capturing emotions and experiences of everyday life which could not be depicted through preexisting literary means. Situated at the lacuna between interpretive practices and histories of South Korean popular music and sound media on the one hand, and literary prose and print media on the other, the dissertation is conceptualized around the pressing methodological question of how to develop ways to read Korean fiction informed by the rhythms, lyrics, voices, media, histories, and compositional forms of popular Korean genres and artists. Structured chronologically by decade, the dissertation presents four case studies, each of which reveals a rich terrain of intermedial and intertextual linkages that give insight into how sonic and musical modes of aestheticization have enabled individuals to reclaim, reckon with, and reimagine themselves as the subjects of both their own lives and the collective life of South Korea amidst the crucible of accelerated modernization. The first two body chapters examine military songs (kun'ga) and historical fiction about the Korean War while the remaining two chapters focus respectively on trot (t'ŭrot'ŭ) in connection with semi-autobiographical narratives of hometown return from the 1960s, and psychedelic rock in the context of 1970s youth culture literature. Through these analyses, the dissertation constructs a more comprehensive and integrated cultural history of popular music and literature in postwar South Korea, challenging and enriching existing disciplinary boundaries

Transnational Cultural Traffic In Northeast Asia: The "Presence" of Japan in Korea's Popular Music Culture

Korea's nationalistic antagonism towards Japan and "things Japanese" has mostly been a response to the colonial annexation by Japan (1910-1945). Despite their close economic relationship since 1965, their conflicting historic and political relationships and deep-seated prejudice against each other have continued. The Korean government's official ban on the direct import of Japanese cultural products existed until 1997, but various kinds of Japanese cultural products, including popular music, found their way into Korea through various legal and illegal routes and influenced contemporary Korean popular culture. Since 1998, under Korea's Open-Door Policy, legally available Japanese popular cultural products became widely consumed, especially among young Koreans fascinated by Japan's quintessentially postmodern popular culture, despite lingering resentments towards Japan. Because of the sensitive relationship between the two countries, however, the extensive transnational cultural interaction between Korea and Japan--including popular musical interaction, one of the most important aspects--has been intentionally downplayed by Korean scholars and by the popular Korean press. My dissertation theorizes what I call the "presence" of Japan, through its popular music, in contemporary Korea. I identify three major shifts in the presence of Japan in Korea from the 1980s to 2006: the "illegal" presence (1980s-1997), the "transitional" presence (1998-2004), and the "newly sanctioned" presence (since 2004). It is my contention that popular music plays a crucial role in shaping Korean perceptions about Japan, and those perceptions define a central focus of my dissertation. The research I present in the dissertation is organized around four areas of investigation: the kinds of "presence" Japan has had in the contemporary popular music scene in Korea since the 1980s, the kinds of forces that have been instrumental in shaping Korean's consumption of Japanese popular music, the adjustments in Korea's cultural politics in response to transnational cultural flow from Japan before and since 1998, and Korean reception and responses to the Japanese "presence" in Korea - its meanings and implications. I address these issues within the political and economic context of Japan-Korea relations, whose impact on musical practice and musical taste is complex and dynamic, demanding a multi-disciplinary analysis