Quantifying the Night Driver's Visual Environment

The complexity of a driver's tasks in safely and efficiently utilizing the highway system is largely dependent upon the inputs presented to the visual senses. Visual complexity is determined by road geometry; maneuvering of other traffic; adjacent land uses; pedestrian activity; weather; traffic control devices, lighting, and maintenance of the road features; and many other factors. Darkness changes the visual environment by reducing many cues and by adding a few others. Some of these are added for the driver's benefit, some for other purposes, and some are uncontrolled or uncontrollable at least by highway agencies. In this review of selected literature and research approaches, the objective is to suggest promising next steps toward making decisions on design, selection, and provision of aids to drivers for night driving

Interpretation of quantum mechanics : a case-study in the sociology of science

SIGLEAvailable from British Library Document Supply Centre- DSC:D41721/82 / BLDSC - British Library Document Supply CentreGBUnited Kingdo

Sociocognitive metaphorm

This thesis analyses tense and aspect, in particular the Aspect Hypothesis (Salaberry & Shirai 2002; Bardovi-Harlig 2000; Andersen & Shirai 1996) and introduces an approach to teaching it: sociocognitive metaphorm (SCM). Sociocognitive is a combination of sociocultural theory (Lantolf & Appel 1996; Lantolf 2000) and cognitive grammar (Langacker 1987,1991). These theories are compatible because they share the psycholinguistic position that language and language development are conceptually based. Metaphorm is a combination of metaphor and form. Metaphor is central to concept development (i.e., conceptual metaphor). Form refers to grammatical structure. Much of temporal relations are expressed metaphorica1ly and hence metaphor also plays an essential role in the tense-aspect conceptualisation, grammaticalisation and acquisition process. The thesis is divided into four parts: Developing SCM, SCM Theory, Researching SCM and Applying SCM. Developing SCM contains a second language acquisition analysis of the Aspect Hypothesis as well as a diachronic and synchronic grammatical meta-analysis of aspect. SCM Theory outlines the process of integrating cognitive grammar with sociocultural theory. Vygotskian (1978, 1986) approaches to learning development, in particular, the zone of proximal development (ZPD), playa prominent role in this part. Researching SCM presents quantitative and qualitative results from a holistic (i.e., metaphoric) empirical classroom study designed to illuminate teaching tense-aspect as sociocognitive metaphorm as well as results from a more analytical (i.e., metonymic) follow-up study investigating the sequence and rate of acquisition of perfect aspect and future tense. The holistic study was longitudinal involving eleven different taskplans to teach grammar through metaphor. The follow-up research study analyses a sequence of instruction based upon conceptualisation processes. The tmal part, Applying SCM, to illustrate the sociocognitive pedagogical approach to teaching grammar as metaphor, includes revised taskplans that were utilised in the empirical research part of this study. The thesis concludes with a summary of the conceptual nature of tense-aspect as well as suggestions for teaching it

Sociocognitive metaphorm

This thesis analyses tense and aspect, in particular the Aspect Hypothesis (Salaberry & Shirai 2002; Bardovi-Harlig 2000; Andersen & Shirai 1996) and introduces an approach to teaching it: sociocognitive metaphorm (SCM). Sociocognitive is a combination of sociocultural theory (Lantolf & Appel 1996; Lantolf 2000) and cognitive grammar (Langacker 1987,1991). These theories are compatible because they share the psycholinguistic position that language and language development are conceptually based. Metaphorm is a combination of metaphor and form. Metaphor is central to concept development (i.e., conceptual metaphor). Form refers to grammatical structure. Much of temporal relations are expressed metaphorica1ly and hence metaphor also plays an essential role in the tense-aspect conceptualisation, grammaticalisation and acquisition process. The thesis is divided into four parts: Developing SCM, SCM Theory, Researching SCM and Applying SCM. Developing SCM contains a second language acquisition analysis of the Aspect Hypothesis as well as a diachronic and synchronic grammatical meta-analysis of aspect. SCM Theory outlines the process of integrating cognitive grammar with sociocultural theory. Vygotskian (1978, 1986) approaches to learning development, in particular, the zone of proximal development (ZPD), playa prominent role in this part. Researching SCM presents quantitative and qualitative results from a holistic (i.e., metaphoric) empirical classroom study designed to illuminate teaching tense-aspect as sociocognitive metaphorm as well as results from a more analytical (i.e., metonymic) follow-up study investigating the sequence and rate of acquisition of perfect aspect and future tense. The holistic study was longitudinal involving eleven different taskplans to teach grammar through metaphor. The follow-up research study analyses a sequence of instruction based upon conceptualisation processes. The tmal part, Applying SCM, to illustrate the sociocognitive pedagogical approach to teaching grammar as metaphor, includes revised taskplans that were utilised in the empirical research part of this study. The thesis concludes with a summary of the conceptual nature of tense-aspect as well as suggestions for teaching it

PAU Catalogue 1984-1986

https://scholarworks.utrgv.edu/edinburglegacycatalogs/1051/thumbnail.jp

Music in Reality The relation of music, emotion and Pre-Socratic myth

This thesis is in two sections. The first critically examines the tradition of harmonia mundi. The earliest complete and developed account of musica mundana appears in Plato, but numerous fragmented references appear in the pre-Socratic sources. The notion that harmonia mundi originated as an idea of quantitative speeds and distances of the celestial bodies, is discredited. Rather, it is shown that it more probably originates as an expression of an 'esoteric spiritual' teaching in which self-knowledge, death, the concept of harmonia, and consequently music, are related. The idea that the greatest importance of music rests on the relationship of music and emotion, is undermined in this context, and the relationship of music, emotion and experience is examined in a way that supports much of what was asserted by Hanslick in the nineteenth century. The interpretation of ancient sources is critically assessed in terms of common 'hermeneutic filters' which are shown to be inconsistent with the content and hence context of some of the sources. It is also argued that Plato should be approached not merely through the assessment of the arguments that appear in his discourses, but in the light of his portrayal of the life and death of Socrates. The discourses are treated as inexact, exoteric expressions of esoteric meaning, much of which can be gleaned from the 'symbol' and example of Socrates' own life and death. The second section presents an original music philosophy that is an entirely contemporary exposition of the essential meaning of the harmony of the spheres tradition, as interpreted in the first section. In this contemporary exposition, some of the ideas that appear in Plato concerning the relationship of soul, world and harmonia, are re-expressed in terms of self, world, and an original contemporary 'parable' for harmonia. The background to the ancient tradition, of the macrocosm-microcosm relationship, is brought into contemporary terms, drawing critically on some ideas of the quantum physicist David Bohm, and questions raised by quantum theory in general. Finally, the nature of the macrocosm-microcosm is related to parts of Wittgenstein 's Tractatus logico-philosophicus

The prevalence and practice of self-injury: a sociological enquiry.

The widespread practice of non-suicidal self-injury suggests that it might no longer be reasonable to frame such behaviours as individual pathologies and highlights the need to understand such acts as sociological phenomena instead. This dissertation therefore explored the core elements of self-injury such as the self, the body, and meanings ascribed to acts of injuring the self/body, in relation to forms of sociation. Focusing on intent and aetiology, this qualitative enquiry used an interpretive mode of explanation, and collected data via indepth face-to-face interviews from a characteristically diverse community sample of fifteen participants. Findings indicated that respondents' aetiologies of self-injury were located in social interactions characterised by abuse, neglect, bullying, and invalidation. Individuals who perceived themselves as worthless and unlovable objects punished themselves, or branded themselves as failures. Paradoxically, sufficient castigation averted the complete annihilation of the existential self. Findings concur with previous studies which reported that, at its deepest level, self-injury is antithetical to suicide. This study also highlighted the body's communicative role in the symbolic expression of traumatic experiences, and emphasised its physiological role in (a) emotion regulation and (b) self-injury's propensity to become addictive. From a sociological perspective, instant emotion regulation via self-injury allowed individuals to avoid social stigma; well managed social performances in turn protected social bonds. Although self-injury constitutes a maladaptive coping mechanism, its reported physiological, psychological and social gains are significant and need to be considered in intervention programmes and policy. This dissertation therefore makes two recommendations: firstly, restorative practices should be reinstituted, particularly in schools; secondly, the growing and alarming trend of copycat behaviours reported in children and young teens needs to be researched further in relation to the mediation, ideation and imitation of self-injurious behaviours

The psychology of musical appreciation: an analysis of the bases and nature of the experience of listening to music

1) The aesthetic response to music is the purest and highest kind of musical appreciation, 2) In aesthetic listening the subject is absorbed in the music qua. music, identifying himself with the developing system of musical relationships, 3) Musical absorption tends to inhibit extra-musical experience. 4) Absorption or self-individuation in the music depends on the degree to which the musical system is grasped and followed. 5) Thus aesthetic listening has an intellectual basis. The subject grasps. follows and understands the relationships as regards pitch , rhythm and the dynamic qualities . He may know these only intuitively, 6) Progress from the lower levels of musical experience to the highest depends on the subject's musical receptivity and taste, and on how far these have been developed by training and/or experience, 7) Musical meaning is only definable in musical terms; and can only be understood by the subject who grasps the music as an organic whole. 8) The associative feature s of music cannot be entirely discounted i n musical listening. At the highest level their effect is at a minimum. 9) The emotional element i n aesthetic listening is bound up with the intellectual grasp of the musical system. Extra -musical emotion may be aroused by extra-musical factors, either objectively present (e.g. a programme) or subjectively supplied. In aesthetic absorption such emotion, tends to be inhibited, 10) Aesthetic emotion results from the subjective apprehension of a unique and significant musical whole, possessing beauty and value in the light of the subject's musical background, 11) Aesthetic listening has no practical value, but conation enters the experience. Underlying interest in the music for itself is a certain exaltation due to self-individuation, the power to predict, and the unconscious feeling of creatorship, 12) Musical experience is not apparently vital to all types; but musical aesthetic enjoyment enriches the life and the capacity to experience of the individual

Austin Osman Spare: the artist's books (1905-1927)

This thesis constitutes a complete analysis of the following five books: Earth: Inferno (1950), A Book of Satyrs (1907 and 1909), The Book of Pleasure (1913), The Focus of Life (1921), and The Anathema of Zos (1927). Emphasis is placed throughout upon the interpretation of the drawings within the context of the accompanying text. All allegorical nomenclature has been interpreted and putative identification given to all significant characters and their functions. The basic thesis is that the books constitute an interconnected developmental sequence; that the artist pursues and refines certain major themes and exhaustively explores allegorical method. In addition thta this leads to the evolution of a method of symbolic automatism. This is presented as the praxis of the evolving cosmology, mysticism and world-view developing directly from Earth: Inferno. The argument is that Earth: Inferno and A Book of Satyrs establish Spare's method of synthesizing influences such as Dante and Blake to evolve effective pictorial and textual tropes. The Book of Pleasure is interpreted as part allegory within the major drawings, and part automatism with symbolic adjuncts in others. All symbolism is interpreted and given putative identification and its function as praxis fully discussed in relation to magical and creative method. The fourth and fifth books are affirmed as mature articulations of Spare's mysticism and magical theory, textually expressed in more emotive persuasive narrative forms through protagonists originating in name and function in Earth: Inferno. The illustrations of The Focus of Life are identified as thematic developments of major concerns of The Book of Pleasure with evidence of considerable influence of Goethe's Faust. Earth: Inferno is considered as the initiation of Spare's method of incorporating both revealed and concealed thematic aspects both textually and pictorially, as well as his prevailing syncretistic approach. Diverse components from Dante, Blake, the Kabbalah, Blavatsky and Egypt are identified. It is argued that Dante and Blake are cast in Kabbalist roles through contemporary scholarship; with Blavatsky as a precedent for synthesis and fusion of seemingly diverse concepts. A Book of Satyrs is construed as complex textual pictorial work functioning on four Dantean levels: Satirical, Biblical / Christian, Kabbalist and Greek Tragic. The Book of Pleasure is present as part allegorical but mainly a didactic work concerned with Spare's symbolic automatism. The Focus of Life is defined as maintaining the Faust theme, whilst the two images of The Anathema of Zos are briefly examined; one in relation to occult influences discussed as influential upon A Book of Satyrs