The impact of the variability hypothesis on Margaret F. Washburn\u27s and Mary W. Calkins\u27 parodoxical relations with faculty in their graduate programs

This paper offers a possible explanation for the paradoxical relations for two of psychology\u27s 19th century female pioneers with faculty members in their graduate programs: Margaret F Washburn and James M. Cattell at Columbia University; and Mary W. Calkins and Hugo Munsterberg at Harvard University. Cattell\u27s and Munsterberg\u27s strong support and advocacy for these female graduate students appear contradictory to their general beliefs regarding women\u27s intellectual capacities and pursuit of higher education. However, it is suggested that their views were, in fact, consistent with the variability hypothesis, which drew a sharp distinction between average and exceptional women. It is further suggested that Munsterberg\u27s and Cattell\u27s endorsement of the variability hypothesis may have increased their willingness to advocate equal educational opportunities for Calkins and Washburn

Prospectus, November 28, 1984

SPEAKING COBRAS NAMED COMMUNITY COLLEGE TEAM OF THE YEAR; Central Illinois Vietnam Veterans; Security reports thefts; Parkland election survey told; \u27There are 25 crucified saviors\u27; PC Happenings; Board of Trustees re-elect officers; Who\u27s Who Award nominations listed; Parkland Choral Union to perform \u27Messiah\u27; \u27Messiah\u27 comes again; Life Science Division has open house; Classifieds; Scott advocates negotiation versus doomsday; Creative Corner...especially for you!; Doom Story...The Final Conflict; Through another man\u27s eyes; and that is all; affair; your last veil; living together; Jesus Face; Jesus Died; This Isn\u27t It; wanting; being in love; On Being Forced to Play Backgammon After a Week in the Wilderness; only one; Searls Scouts; Talent scouts looking for fresh talent to work at Busch Gardens in 1985; King\u27s newest not his best; Parkland Community Band performs; Prompters cheer IRT; Cotton releases new solo; Original theatre production at Parkland Written, directed and produced by Lu Snyder; Carol sing is Sunday at UI; High School Quiz Bowl to be broadcast; Howard Player of the Week; Parkland loses on last-second shot; High School Notes; Cobras shoot past Illinois Central, 75-69; Lady Cobras want to schore in \u2784; Koebele plays the leadhttps://spark.parkland.edu/prospectus_1984/1002/thumbnail.jp

Prospectus, December 12, 1984

CHRISTMAS EDITION; Have fun with your performance; Staff attends conference; PC Happenings; Children\u27s shows Dec. 15 and 16; Lifelong Learner Club meets; How important is blood?; Absenteeism attacks Stu-Go; Journey through Metamorphosis; Holiday traditions remembered; Where are the police when you need them?; Meter Maids Yes or No; Parkland security; Project Joy; Illegal entry; Winter shelter helps homeless; Try one of Champaign\u27s specialty shops; Branch out-try a new recipe; Christmas customs vary world-wide; Love, sex, friendship and college how well do they mix; Photography contest judging draws hopeful, interested, and anxious crowd; And the winners are...; More winners; Christmas Greetings; What did you think of the Prospectus this semester?; But I have patience; Beginning; Richard dedicates Christmas album to Karen; Vaughan rivals Hendrix as guitar great; P.A.L. will listen; German class films videotape; Festival of lights; Vriners, Vintage Champaign\u27s oldest restaurant; 2010 is stupendous; Catch a movie during break; Talking Heads make sense; Clifton, Pumphrey, Mullens gain honors; Prospectus looks back at 1984 fall sports; Phillips learned a great deal from \u27E-Man\u27; Chesnut, Chastain share similar position; Broken records inevitable for men\u27s track...; ...Women strike similar parallel to men; Women spring past Danville on the road; Lady Cobras defeat Lincoln College, 66-56https://spark.parkland.edu/prospectus_1984/1000/thumbnail.jp

Prospectus, October 25, 1984

NICARAGUAN ISSUES PRESENTED; How important is one vote?; Republicans believe their policies are best; Dear Prospectus staff; Democrats believe they have the answers; Busing of private school students Who will foot the bill?; Library director\u27s son honored Johnson is All-American; Library undergoes computerization; PC Happenings; Women\u27s workshop turns to life choices; Family program offered in 4 parts; Health professionals workshop set; Board considers program additions; The Bowling Pin; Wife abuse still widespread problem; Did you know...TV Trivia; Gammon designs for bazaar; International students plan Halloween party; Block talented in diverse fields; Creative Corner...Especially for you!!; Doom Story-the climax draws near; Nuclear Weapons Freeze; Rejoice the Poet; Sacred Love; The Little Red Dog; The Unopened Gate; One More Time; The Run; RS 1981-82; Decisions; Watching; The Widower; Classifieds; Farrah can act; The Burning Bed alters opinions; Tina\u27s hot as a solo; Joan\u27s newest lacks punch; Why is Harry so much trouble; Furs possess unique style; Motherhood makes humorous reading; Budget bin; Lady Cobras compile 7-1 record in tournament; Clifton, Sullivan guest on Cobra Rap show; Gold defeat Green in 4 games; Peterson to nationalshttps://spark.parkland.edu/prospectus_1984/1007/thumbnail.jp

Light-Ion-Induced Multifragmentation: The ISiS Project

An extensive study of GeV light-ion-induced multifragmentation and its possible interpretation in terms of a nuclear liquid-gas phase transition has been performed with the Indiana Silicon Sphere (ISiS)4 pi detector array. Measurements were performed with 5-15 GeV/c p, pbar, and pion beams incident on $^{197}$Au and 2-5 GeV $^3$He incident on $^{nat}$Ag and $^{197}$Au targets. Both the reaction dynamics and the subsequent decay of the heavy residues have been explored. The data provide evidence for a dramatic change in the reaction observables near an excitation energy of E*/A = 4-5 MeV per residue nucleon. In this region, fragment multiplicities and energy spectra indicate emission from an expanded/dilute source on a very short time scale (20-50 fm/c). These properties, along with caloric curve and scaling-law behavior, yield a pattern that is consistent with a nuclear liquid-gas phase transition.Comment: 67 pages, 44 figures, all included in tar fil

Technology and artistic practice in 1960s and 1970s Southern California

This dissertation traces the ways in which the emergent countercultures on the West Coast, in parallel with the high-technology industrial complex of Southern California, fostered ad-hoc experimentation with technology in studio and post-studio practices. In the studio, individual artists researched, experimented with, and became self-taught experts on discrete technologies. In comparison, post-studio methods functioned less as a top-down mastery and innovation within a singular craft (as in the initial studio methods), and, instead, involved the creation of immersive, perceptual environments. The Introduction situates the development of the art/technology phenomenon alongside the emergence of the art scene in Los Angeles, expanding the literature in relation to other more established histories. Each of the first three chapters focuses on one case study--Larry Bell, Mary Corse, and Fred Eversley--to reveal the scope of appropriated technologies and the permutations within various mediums (glass sculpture, industrial lighting schematics, acrylic painting, and polyester sculpture). Chapter 4 analyzes this plurality, focusing on the appropriation of cognitive psychology. As technological appropriation became more commonplace, and particularly as some artists came to require larger spaces, curators and institutions helped orchestrate experimentation with immersive environments. I explore the range of post-studio practices in the works of Lloyd Hamrol, Tom Eatherton, Michael Asher, Robert Irwin, James Turrell, Maria Nordman, and Eric Orr, among others, and include Hal Glicksman as a key example of curatorial influence. The concluding chapter considers the art/technology legacy alongside themes of dilapidation and obsolescence. This dissertation demonstrates how art with reflective and/or transparent materials of high-tech industry prescribed movements for viewer engagement--an embodied experience of mobile spectatorship in Los Angeles of the 1960s and 1970s. I correlate these movement patterns, in parallel with light, space, and sourced technology, to the experience of each work