An Examination of the Incremental Validity of the Serve-Specific Core Self-Evaluation Scale Over the Core Self-Evaluation Scale in Predicting Serve Performance

This study examined the relationship of the serve-specific core self-evaluation scale (SS-CSES) with serve performance of inter-collegiate volleyball athletes. The SSCSES is a modified version of the core self-evaluations scale (CSE). It was hypothesized that SS-CSES would be related to serve performance, that SS-CSE would be more related to serve performance than CSE, and that SS-CSE would have incremental validity over CSE when predicting serve performance. Responses to the two scales and selfassessments of server performance were collected online through self-report questionnaire. Additionally, NCAA serve statistics were collected by the researchers. Results indicated that SS-CSE was a stronger predictor of performance than CSE, and all other hypotheses were supported

Pinch Keyboard: Natural Text Input for Immersive Virtual Environments

Text entry may be needed for system control tasks in immersive virtual environments, but no efficient and usable techniques exist. We present the pinch keyboard interaction technique, which simulates a standard QWERTY keyboard using Pinch Gloves™ and 6 DOF trackers. The system includes visual and auditory feedback and a simple method of calibration

Fiat Panis: Food Security and Biopolitics in the Committee for World Food Security

The task of overseeing food security at an international scale is complicated by the multi-variable and complex nature of the problem. Nevertheless, much policy and governance work has been done through international, most of all through the Food and Agriculture Organization (FAO) of the United Nations. Within the FAO, the Committee for World Food Security (CFS) formalizes food security policy, guidelines, and assessments, acting as the main food security governance body within the much broader FAO. Previous research has pointed out the presence of a food security governance system but has not interrogated how power can be understood within this system. I use Foucault’s theory of biopolitics, along with critical discourse analysis and discursive institutionalism, to determine how the CFS enacts biopolitical governance through its discursive framework, and what tools the CFS uses to achieve this governance. I find that through both the CFS’ heavy emphasis on food production as a solution to food insecurity and the comprehensive use of statistical analysis, a system of biopolitical governance is achieved

Boston Hospitality Review: Fall 2015

U.S. Lodging Industry Update – Q2 2015 by Daniel Lesser and Jonathan Jaeger of LW Hospitality Advisors® -- Hotel Crowdfunding Grows Up by Joshua Bowman -- Digital Marketing Budgets for Independent Hotels: Continuously Shifting to Remain Competitive in the Online World by Leora Halpern Lanz and Megan Carmichael -- From Patrons to Chefs, a History of Women in Restaurants by Jan Whitaker -- The Bleacher Bar at Fenway Park: Transforming a Former Indoor Batting Cage Into a Unique Eatery and Bar by Graham Ruggie -- Outrageous by Michael Oshin

Five Sided

Sada Kernodle: There are seven billion people existing on this earth. That’s seven billion unique and complex minds viewing our natural world. My work includes images of organic life with the physical world. Through this, I hope to inspire those billions of minds to create, explore, and gradually heal through the process of making art. The combination of the human mind, body, and spirit with nature in its rawest form, has the ability to create powerful art pieces. This is the new global footprint for the world. Elliecia Hall: My art is about balance and imbalance. It’s both light and dark. I take dark themes and present them through a feminine and colorful lens. Feminine things are often perceived as innocent and naive, but I’ve never felt that to be true to my experience. I use art to articulate myself more fully; to bring life to the anger in my heart as much as the joy in my soul. Dreams and nightmares have had such an effect on my life. Most of my earliest memories have been of my sleeping world. And while my world is affected so strongly by the darkness of sleep, I see the world in vibrant color, and look to paint my illustrations in the same way I see everything around me. Josh Kukowski: I am an artist with his mind in the future. I find myself obsessed with the unknown that the future holds. My work should evoke the sense of wonder and motivation that is felt when we sent the first man to space and the first man to the moon. I create scenes with visual and textual reality, so others join me, invited into the world and experience the wonder yet unknown. My work focuses on scale and the scale of humans to their creations that already is and could be in the future. I want people to view my work and find themselves swept from the pres¬ent, where many seem to be stuck, and into my future. Kaitlynn Moslen: Watercolor has been my medium of choice for years because of its ability to slowly build the scene with con¬trolled washes of color. The gossamer layers of watercolor have an enchanting effect translating the narratives I explore. Dreams often reflect my emotional state in subtle, surreal ways. I consider the symbols and incon¬gruities in my dreams and I often arrive at revelations or find solutions to problems. My dreams operate with insight at a level beyond what I have in the waking world. These are translated into my artwork through the expression of a human figure along with symbolic aspects of the natural world. This usually includes serene bodies of water, trees and foliage found in unexpected places, and docile forest animals. Sarah Walden: Ever since I was a little girl my mother inspired me in the gardens with her flowers. It is in the gardens that I found my inspiration for art. Working in the garden is inspiring to me. I want to be a part of the process that points to the path of art. Illustrative images affects the influence of my viewers. I intend to express deep sublim¬inal images to spark creativity within my viewers lives, that will encourage them to work for a better future as well. The subliminal in my work deals with human emotions and experiences. Art can be used to heal and bring people together to make a change. A few people can be a big change. The mission for my art is to inspire others, so that I may inspire the rest of the world to save itself though creativity. Though the elements of art, expression is created, transferring knowledge from the artist to the viewer. Art is more than just materiality; it is the silent language of color and form that speaks to the consciousness of the audience

What Next-Generation 21 cm Power Spectrum Measurements Can Teach Us About the Epoch of Reionization

A number of experiments are currently working towards a measurement of the 21 cm signal from the Epoch of Reionization. Whether or not these experiments deliver a detection of cosmological emission, their limited sensitivity will prevent them from providing detailed information about the astrophysics of reionization. In this work, we consider what types of measurements will be enabled by a next-generation of larger 21 cm EoR telescopes. To calculate the type of constraints that will be possible with such arrays, we use simple models for the instrument, foreground emission, and the reionization history. We focus primarily on an instrument modeled after the $\sim 0.1~\rm{km}^2$ collecting area Hydrogen Epoch of Reionization Array (HERA) concept design, and parameterize the uncertainties with regard to foreground emission by considering different limits to the recently described "wedge" footprint in k-space. Uncertainties in the reionization history are accounted for using a series of simulations which vary the ionizing efficiency and minimum virial temperature of the galaxies responsible for reionization, as well as the mean free path of ionizing photons through the IGM. Given various combinations of models, we consider the significance of the possible power spectrum detections, the ability to trace the power spectrum evolution versus redshift, the detectability of salient power spectrum features, and the achievable level of quantitative constraints on astrophysical parameters. Ultimately, we find that $0.1~\rm{km}^2$ of collecting area is enough to ensure a very high significance ($\gtrsim30\sigma$) detection of the reionization power spectrum in even the most pessimistic scenarios. This sensitivity should allow for meaningful constraints on the reionization history and astrophysical parameters, especially if foreground subtraction techniques can be improved and successfully implemented.Comment: 27 pages, 18 figures, updated SKA numbers in appendi