Steering the Cultural Dynamics

A peer-revieved book based on presentations at the XX Congress of the International Association for Cross-Cultural Psychology, 2010, Melbourne, Australia. Edited by Yoshihisa Kashima, Emiko Kashima, and Ruth Beatson. (c) 2013, International Association for Cross-Cultural Psychologyhttps://scholarworks.gvsu.edu/iaccp_proceedings/1002/thumbnail.jp

Holistic transformation program : a descriptive study of Christian Zheng Sheng Association

https://place.asburyseminary.edu/ecommonsatsdissertations/1786/thumbnail.jp

Automatic discovery of drug mode of action and drug repositioning from gene expression data

2009 - 2010The identification of the molecular pathway that is targeted by a compound, combined with the dissection of the following reactions in the cellular environment, i.e. the drug mode of action, is a key challenge in biomedicine. Elucidation of drug mode of action has been attempted, in the past, with different approaches. Methods based only on transcriptional responses are those requiring the least amount of information and can be quickly applied to new compounds. On the other hand, they have met with limited success and, at the present, a general, robust and efficient gene-expression based method to study drugs in mammalian systems is still missing. We developed an efficient analysis framework to investigate the mode of action of drugs by using gene expression data only. Particularly, by using a large compendium of gene expression profiles following treatments with more than 1,000 compounds on different human cell lines, we were able to extract a synthetic consensual transcriptional response for each of the tested compounds. This was obtained by developing an original rank merging procedure. Then, we designed a novel similarity measure among the transcriptional responses to each drug, endingending up with a “drug similarity network”, where each drug is a node and edges represent significant similarities between drugs. By means of a novel hierarchical clustering algorithm, we then provided this network with a modular topology, contanining groups of highly interconnected nodes (i.e. network communities) whose exemplars form secondlevel modules (i.e. network rich-clubs), and so on. We showed that these topological modules are enriched for a given mode of action and that the hierarchy of the resulting final network reflects the different levels of similarities among the composing compound mode of actions. Most importantly, by integrating a novel drug X into this network (which can be done very quickly) the unknown mode of action can be inferred by studying the topology of the subnetwork surrounding X. Moreover, novel potential therapeutic applications can be assigned to safe and approved drugs, that are already present in the network, by studying their neighborhood (i.e. drug repositioning), hence in a very cheap, easy and fast way, without the need of additional experiments. By using this approach, we were able to correctly classify novel anti-cancer compounds; to predict and experimentally validate an unexpected similarity in the mode of action of CDK2 inhibitors and TopoIsomerase inhibitors and to predict that Fasudil, a known and FDA-approved cardiotonic agent, could be repositioned as novel enhancer of cellular autophagy. Due to the extremely safe profile of this drug and its potential ability to traverse the blood-brain barrier, this could have strong implications in the treatment of several human neurodegenerative disorders, such as Huntington and Parkinson diseases. [edited by author]IX n.s

Defining community art : theoretical and practical reconstruction

This research investigates the area of practice commonly known as community art, defined to be where a gathering of people participates in facilitated collaborative art making aimed to be increasing their autonomy in generating artistic and social satisfaction and enrichment. This definition is a result of integrating existing research, literature, interviews with practitioners and analyses of their work. It is an interdisciplinary research conducted through a grounded methodology where data from practitioners and literature mutually inform to yield insights into a seemingly unstructured practice. Seven interviewees were chosen to represent a coherent and recognized body of practice. They are practicing visual and performing artists who specialize in facilitating people of communities in collaborative art process. Each having over 15 years of experience in committed engagement with communities, they are also trainers, educators and professionals in various tertiary, cultural and public institutions. They are either based or are/were committed to the development of community art in Hong Kong, and are all experienced overseas1. Their mix of art disciplines and effectiveness across countries indicate a fundamental connection in their view of art and people that is beyond artistic media and cultural context. Thus, a Hong Kong perspective is provided that may contribute to other metropolitan settings in Asia and worldwide. Guided by the data, this research sought theoretical support for the community artists’ operational concepts of art, people, community and participation. The literature drawn include the ethology of art (Dissanayake, Davies), the nature of the experience of art (Dewey), theories of education (Freire, Dewey), theories of community and individuals (Putnam, McKnight & Block), psychological theories on experience and motivation (Csikszentmihalyi, Ryan & Deci), and theories of social psychology on identity and social belonging (Baumeister & Leary, Aron & McLaughlin-Volpe). This interdisciplinary perspective builds a framework that explains how the artistic and social dimensions in community art, instead of being in compromise, can be synergetic. Of special interest are the untapped aspects of Freire and Dewey’s theories often overlooked by scholars of artistic engagement with communities. Requiring expertise beyond a single scholar, this research proposes only one effective integration of the above disciplines. This research conceptualizes the development of community art to be an interplay of artistic movements, to progressively seek social relevance from object, place, then to people, and at the same time to return art into the hands of the people. It is a practice distinct but in relation to the overlapping categories of the socially engaged arts, dialogical art, community cultural development, community-based art education and public art (Bishop, Cartiere, Goldbard, Kester, Thompson). The shifting definitions have nurtured a blossoming of artist engagement in the society, but has also resulted in miscommunication of what exactly academics, artists and institutions are planning, funding, doing, evaluating and researching. In contrast to an embracive attitude that has unfortunately led to confusion, this research proposes certain defining characteristics for community art, with implications that seek to further the discourse of artistic engagement with communities

In Search of a Comparative Poetics: Cultural Translatability in Transnational Chinese Cinemas

This thesis begins with the question of how a more comprehensive comparative poetics of cinema might be formulated - one that depends not on essentialised notions of culture accentuated by binary divisions but one that would need to take into consideration the multiple agencies and subjectivities that impact the cultural production, and reading, of a film. The formulation of a constructive comparative poetics is necessary when building a case for the film's cultural translatability, especially in the face of the proliferation of cinema that is being increasingly identified as 'transnational.' The case is made by analysing examples of transnational Chinese cinemas as exemplified by the films of three directors, Zhang Yimou, Wong Kar-wai and Ang Lee, between 1991 and 2002. In each of these examples, I explore how the films negotiate the various cultural and national boundaries they invariably cross as they enter into the global circulation of film and media products. Whilst I analyse the films in the contexts of the political and social histories of the various Chinese territories from which they appear to originate, I do not claim that they are merely products of those histories. The films are also products of economic and business networks, individual aesthetic choices on the part of the filmmakers, and a complex matrix of tastes and preferences exercised by their audiences, which may not necessarily be nationally or culturally demarcated. These elements constitute the boundaries of the notion of film cultures, the exploration of which I argue is a more productive approach than the more limited notion of ethnological cultures in the cultural analysis of cinema

The Machine as Art/ The Machine as Artist

The articles collected in this volume from the two companion Arts Special Issues, “The Machine as Art (in the 20th Century)” and “The Machine as Artist (in the 21st Century)”, represent a unique scholarly resource: analyses by artists, scientists, and engineers, as well as art historians, covering not only the current (and astounding) rapprochement between art and technology but also the vital post-World War II period that has led up to it; this collection is also distinguished by several of the contributors being prominent individuals within their own fields, or as artists who have actually participated in the still unfolding events with which it is concerne

Dialogue without barriers. A comprehensive approach to dealing with stuttering

The book Dialogue without barriers: A comprehensive approach to dealing with stuttering is the result of Norwegian-Polish cooperation undertaken in the project LOGOLab – Dialogue without barriers. Three partners have been involved in the production of this book, namely, the University of Silesia in Katowice, Poland, the UiT Arctic University of Norway in Tromsø, and the Agere Aude Foundation for Knowledge and Social Dialogue. The project was implemented under the Education Program financed by the EEA Grants (EEA / 19 / K1 / D1 / W / 0031). The EEA Grants represent the contribution of Iceland, Liechtenstein, and Norway towards a green, competitive, and inclusive Europe. The most important goal of the LOGOLab project was to raise the standards of speech-language therapy in stuttering by incorporating the principles of Evidence-based practice, taking into account the assumptions of inclusive education and community-based model of intervention. An essential strategy for achieving this goal has become the dissemination of reliable and up-to-date knowledge about stuttering, and the development of appropriate social attitudes towards stuttering. The improvement of the quality of academic education for speech-language therapy students and of vocational training for certified speech-language therapists should also be mentioned. An additional aim was to provide reliable information for leaders of the self-help movement, who support people with stuttering non-institutionally