A study of the use of educational television in parent education

In this country, efforts to conduct various types of educational services for parents have been noted as far back as 1800. These educational services conducted in an effort to increase parental competencies nave been referred to as parent education. Auerbach said: Parent education is a general terra used to refer to a wide range of activities which make use of educational techniques to help parents develop sounder and more effective methods of child care.2 Brim has defined parent education as "an activity using educational techniques in order to affect change in parent role performance."3 For this study, parent education has been defined as programs for parents designed to increase their understanding of children and of their parental role

License to chill!: how to empower users to cope with stress

There exists today a paucity of tools and devices that empower people to take control over their everyday behaviors and balance their stress levels. To overcome this deficit, we are creating a mobile service, Affective Health, where we aim to provide a holistic approach towards health by enabling users to make a connection between their daily activities and their own memories and subjective experiences. This construction is based upon values detected from certain bodily reactions that are then visualized on a mobile phone. Accomplishing this entailed figuring out how to provide real-time feedback without making the individual even more stressed, while also making certain that the representation empowered rather than controlled them. Useful design feedback was derived from testing two different visualizations on the mobile in a Wizard of Oz study. In short, we found that a successful design needs to: feel alive, allow for interpretative openness, include short-term history, and be updated in real-time. We also found that the interaction did not increase our participants stress reactions

Special Libraries, July-August 1959

Volume 50, Issue 6https://scholarworks.sjsu.edu/sla_sl_1959/1005/thumbnail.jp

The Effect of Motivational General-Mastery Imagery on Reaction Time Performance and Heart Rate

Research suggests that imagery can reduce reaction time (Alikhani et al., 2001; Grouios, 1992; Hanshaw & Sukal, 2016; Iftikhar et al., 2018; Shanks & Cameron, 2000). Previous studies examining the imagery and reaction time relationship have almost exclusively focused on motor imagery. Additionally, a recent study by McNeil and colleagues (2019) concluded that imagery training improved decision time variables, but not overall reactive agility. Individuals may not be able to generate unpredictable stimuli during imagery. The purpose of this study was to examine the effects of motivational general-mastery (MG-M) imagery on reaction time and heart rate. Reaction time was measured using the Dynavision D2 visuomotor training device. It was hypothesized that the use of an MG-M imagery intervention will significantly increase reaction time and the number of hits during testing, and participants in the MG-M imagery group would have a lower heart rate range from beginning to end of test. A within-subjects and between-subjects pre-posttreatment design was implemented. Participants were 9 NCAA Division I student-athletes. The effectiveness of the imagery intervention on reaction time, number of hits, and heart rate range was assessed using nonparametric Wilcoxon-Signed rank tests and Mann-Whitney U tests. Results demonstrated that there was no statistically significant effect observed for reaction time, number of hits, or heart rate. Results suggest that MG-M imagery does not allow participants to react quicker to unpredictable stimuli, as participants could not generate unpredictable stimuli during imagery

Robert Wilson and an Aesthetic of Human Behaviour in the Performing Body

This practice-based research investigates movement and gesture in relation to the theatre work of Robert Wilson. A group of performers was established to explore Wilson’s construction of a code of movement during a series of over fifty workshops and films including: a feature film Oedipus; a live performance Two Sides to an Envelope; and a theatre production The Mansion’s Third Unbridled View. The creation of an embodied experience for the spectator, perceived through the senses, is central to Wilson’s theatre. Integral to this are the relationships between drama and image, and time and space. Wilson’s images, in which the body is presented in attitudes of stillness and repetition, are created through these transitional structures. Taking these structures as a starting point for my own performative work, the research led to an abstracted form of natural behaviour, where the movements and arrangements of bodies defined specific movement forms. Subsequently, the relationship between movement and images in Wilson’s theatre was reconsidered through Deleuze’s analysis of the cinematic image. Deleuze identifies subjectivity with the ‘semi-subjective image’, in which traces of the camera’s movements are imprinted in the film. In films made to register these movements, images of moving bodies evincing a sense of time passing were also created. This led to my discovery of film as a direct embodiment of performance, rather than as a form of documentation. Critical to these films, the theatre production, performances, and workshops was the relationship between images and continuous motion predicated upon Wilson’s idea of space, the horizontal: and time, the vertical. This idea enabled me to consider Wilson’s theatre and video works in relation to Bergson’s philosophy concerning duration. The research discovered new ways of interpreting Wilson’s aesthetic through Bergson’s idea that motion is an indivisible process which can also be perceived in relation to the position of bodies in space. Through this understanding, an original performance language was created based on the relationship between stasis and motion, and the interplay between the immersive, semiotic and instrumental modes of gestural communication