A identidade profissional dos terapeutas ocupacionais: considerações a partir do conceito de estigma de Erving Goffman

Este trabalho relaciona a noção de identidade profissional da Terapia Ocupacional com a obra Estigma: notas sobre a manipulação da identidade deteriorada, do sociólogo canadense Erving Goffman. Busca-se articular ao campo profissional um conjunto específico de conceitos que, na perspectiva teórica do interacionismo simbólico, foram desenvolvidos pelo autor. Tais conceitos relacionados à informação social são aplicados a situações cotidianas da profissão, de modo que é possível constatar que as manipulações da identidade acontecem no âmbito profissional de forma muito similar ao descrito por Goffman em seu livro. A análise é complementada por artigos e estudos acadêmicos nacionais e internacionais do campo da Terapia Ocupacional sobre o tema da identidade profissional. Ainda que o estudo da identidade profissional exija diferentes enfoques, conclui-se que as ideias do referido autor contribuem significativamente nas reflexões acerca do tema.This work relates the notion of Occupational Therapy professional identity with the book "Stigma: notes on the management of spoiled identity", written by Canadian sociologist Erving Goffman. An articulation is tried between the professional field and a specific set of concepts which were developed by the author in the theoretical perspective of symbolic interactions. Such concepts, related to social information, are applied to professional everyday situations so that it is possible to verify that the manipulations occur in the professional identity in a very similar way to those described by Goffman in his book. The analysis is complemented by national and international papers and academic studies in the field of Occupational Therapy, on the theme of professional identity. Although the study of professional identity requires different approaches, it is possible to conclude that the ideas of the author present a significant contribution to the reflections on the subject

Participation of Candida albicans transcription factor Rlm1 in cell wall biogenesis and virulence

Candida albicans cell wall is important for growth and interaction with the environment. RLM1 is one of the putative transcription factors involved in the cell wall integrity pathway, which plays an important role in the maintenance of the cell wall integrity. In this work we investigated the involvement of RLM1 in the cell wall biogenesis and in virulence. Newly constructed C. albicans Δ/Δrlm1 mutants showed typical cell wall weakening phenotypes, such as hypersensitivity to Congo Red, Calcofluor White, and caspofungin (phenotype reverted in the presence of sorbitol), confirming the involvement of RLM1 in the cell wall integrity. Additionally, the cell wall of C. albicans Δ/Δrlm1 showed a significant increase in chitin (213%) and reduction in mannans (60%), in comparison with the wild-type, results that are consistent with cell wall remodelling. Microarray analysis in the absence of any stress showed that deletion of RLM1 in C. albicans significantly down-regulated genes involved in carbohydrate catabolism such as DAK2, GLK4, NHT1 and TPS1, up-regulated genes involved in the utilization of alternative carbon sources, like AGP2, SOU1, SAP6, CIT1 or GAL4, and genes involved in cell adhesion like ECE1, ALS1, ALS3, HWP1 or RBT1. In agreement with the microarray results adhesion assays showed an increased amount of adhering cells and total biomass in the mutant strain, in comparison with the wild-type. C. albicans mutant Δ/Δrlm1 strain was also found to be less virulent than the wild-type and complemented strains in the murine model of disseminated candidiasis. Overall, we showed that in the absence of RLM1 the modifications in the cell wall composition alter yeast interaction with the environment, with consequences in adhesion ability and virulence. The gene expression findings suggest that this gene participates in the cell wall biogenesis, with the mutant rearranging its metabolic pathways to allow the use of alternative carbon sources.This work was supported by CBMA (Centre of Molecular and Environmental Biology) through the FCT (Fundacao para a Ciencia e Tecnologia) project PEst-C/BIA/UI4050/2011. Yolanda Delgado-Silva was supported by an ALbAN scholarship (No E07D400922PE), and Alexandra Correia by SFRH/BD/31354/2006 fellowship. The funders had no role in study design, data collection and analysis, decision to publish, or preparation of the manuscript

Wine and music (III): so what if music influences the taste of the wine?

A growing body of evidence, both anecdotal and scientifically rigorous, now points to the fact that what people taste when evaluating a wine, not to mention how much they enjoy the experience, can be influenced by the specifics of any music that happens to be playing at the same time. The question that we wish to address here is ‘So what?’ Why should anyone care that music (or, for that matter, specially composed soundscapes) exert(s) a crossmodal influence over the wine-tasting experience? ‘Why not just drink great wine and forget about the music?’ a sceptic might ask. Here, we outline a number of the uses that such research findings have been put to in the marketplace, in experiential events, in artistic performances, and in terms of furthering our theoretical understanding of those factors that influence the tasting experience. We also highlight how the latest in technology (think sensory apps and hyperdirectional loudspeakers, not to mention digitally augmented glassware) augurs well for those wanting to deliver the most stimulating, the most memorable, and certainly the most multisensory of tasting experiences in the years to come. Demonstrations of sound’s influence on wine perception will most likely be applicable to a variety of other drinks and foods too. Ultimately, the argument is forwarded that there are many reasons, both theoretical and applied, as to why we should all care about the fact that what we listen to can change the sensory-discriminative, the descriptive, and the hedonic attributes of what we taste

Wine and music (II): can you taste the music? Modulating the experience of wine through music and sound

A growing body of scientific evidence now shows that what people taste when evaluating a wine, and how much they enjoy the experience, can be influenced by the music that happens to be playing at the same time. It has long been known that what we hear can influence the hedonic aspects of tasting. However, what the latest research now shows is that by playing the “right” music one can also impact specific sensory-discriminative aspects of tasting as well. Music has been shown to influence the perceived acidity, sweetness, fruitiness, astringency, and length of wine. We argue against an account of such results in terms of synaesthesia, or “oenesthesia,” as some have chosen to call it. Instead, we suggest that attention, directed via the crossmodal correspondences that exist between sound and taste (in the popular meaning of the term, i.e., flavor), can modify (perhaps enhance, or certainly highlight when attended, or suppress when unattended) certain elements in the complex tasting experience that is drinking wine. We also highlight the likely role played by any change in the mood or emotional state of the person listening to the music on taste/aroma perception as well. Finally, we highlight how the crossmodal masking of sweetness perception may come into effect if the music happens to be too loud (a form of crossmodal sensory masking). Taken together, the evidence reviewed here supports the claim that, strange though it may seem, what we hear (specifically in terms of music) really can change our perception of the taste of wine, not to mention how much we enjoy the experience. Several plausible mechanisms that may underlie such crossmodal effects are outlined

Pre-treatment and extraction techniques for recovery of added value compounds from wastes throughout the agri-food chain

The enormous quantity of food wastes discarded annually force to look for alternatives for this interesting feedstock. Thus, food bio-waste valorisation is one of the imperatives of the nowadays society. This review is the most comprehensive overview of currently existing technologies and processes in this field. It tackles classical and innovative physical, physico-chemical and chemical methods of food waste pre-treatment and extraction for recovery of added value compounds and detection by modern technologies and are an outcome of the COST Action EUBIS, TD1203 Food Waste Valorisation for Sustainable Chemicals, Materials and Fuels

A sprinkle of emotions vs a pinch of crossmodality - DATASET

We report a study designed to determine the most efficient means of pursuing sonic seasoning strategies, while cross-culturally comparing music that was chosen to trigger a specific emotional response, versus music that had been chosen to be crossmodally congruent with specific taste/flavor attributes. The effects triggered by ‘emotional’ music were found to be more prominent than those triggered by ‘crossmodally-corresponding’ music. Specifically, a chocolate was liked more, rated as sweeter, and the purchase intent was higher, when it was tasted with positive, as compared to negative, emotional music. By contrast, the same chocolate was mostly rated as tasting more bitter with the negative, as compared to the positive, emotional music. Those companies wanting to effectively use sonic seasoning techniques as part of their marketing strategies, should therefore principally aim at intelligently classifying music based on the emotions that they can trigger in consumers (at least when thinking more globally). == DATA ANALYSIS OVERVIEW: A multivariate multinomial ordered probit model was implemented to measure the differences between ordinal scales, with a dummy intercept vector to account for the within-participant measurement changes in chocolate perception across measured ordinal items, while also accounting for covariate differences (gender, age, order effects). In order to measure the relative willingness to pay, the ratio of quantitative measurements was log-transformed to represent a percent difference between tasting (with the baseline tasting in the denominator), and regressed against the same set of covariates defined above assuming a Gaussian relationship. The latter statistical analysis was performed using the core syntax of R. Hirk, R., Hornik, K., & Vana, L. (2019). Multivariate ordinal regression models: An analysis of corporate credit ratings. Statistical Methods & Applications, 28(3), 507-539. Hirk, R., Hornik, K., Vana, L., & Genz, A. (2019). Multivariate Ordinal Regression Models [computer software]. GPL-3 licensing. Available from https://cran.r-project.org/web/packages/mvord/mvord.pd

Large-scale self-report crowdsourcing sampling for sonic seasoning studies conducted in Asia (RAW DATA)

Sonic seasoning refers to music produced, or chosen, in order to trigger specific perceptual and/or emotional effects in food/beverage experiences. This concept derives from the framework of crossmodal correspondences, which point out towards the systematic associations that most people tend to make between features, attributes or dimensions across the senses. Based on sonic seasoning, music can enhance particular aspects of a tasting experience. In order to build the discussion towards a greater, and more global applicability of these ideas, in this raw dataset, a large-scale quantitative sonic-seasoning sampling process, based on self-report within and between-participant experimental designs, was collected via crowdsourcing in Asia. In summary, this data can be used as baseline for different comparative analyses, where the effects of sonic seasoning can be analyzed from different methodological perspectives, potentially adding value to the discussion on the replicability of these crossmodal effects across diverse types of multisensory tasting experiences. See pdf document for full description on materials, methods, and corresponding references

A sprinkle of emotions vs a pinch of crossmodality - DATASET

We report a study designed to determine the most efficient means of pursuing sonic seasoning strategies, while cross-culturally comparing music that was chosen to trigger a specific emotional response, versus music that had been chosen to be crossmodally congruent with specific taste/flavor attributes. The effects triggered by ‘emotional’ music were found to be more prominent than those triggered by ‘crossmodally-corresponding’ music. Specifically, a chocolate was liked more, rated as sweeter, and the purchase intent was higher, when it was tasted with positive, as compared to negative, emotional music. By contrast, the same chocolate was mostly rated as tasting more bitter with the negative, as compared to the positive, emotional music. Those companies wanting to effectively use sonic seasoning techniques as part of their marketing strategies, should therefore principally aim at intelligently classifying music based on the emotions that they can trigger in consumers (at least when thinking more globally). == DATA ANALYSIS OVERVIEW: A multivariate multinomial ordered probit model was implemented to measure the differences between ordinal scales, with a dummy intercept vector to account for the within-participant measurement changes in chocolate perception across measured ordinal items, while also accounting for covariate differences (gender, age, order effects). In order to measure the relative willingness to pay, the ratio of quantitative measurements was log-transformed to represent a percent difference between tasting (with the baseline tasting in the denominator), and regressed against the same set of covariates defined above assuming a Gaussian relationship. The latter statistical analysis was performed using the core syntax of R. Hirk, R., Hornik, K., & Vana, L. (2019). Multivariate ordinal regression models: An analysis of corporate credit ratings. Statistical Methods & Applications, 28(3), 507-539. Hirk, R., Hornik, K., Vana, L., & Genz, A. (2019). Multivariate Ordinal Regression Models [computer software]. GPL-3 licensing. Available from https://cran.r-project.org/web/packages/mvord/mvord.pd

Large-scale self-report crowdsourcing sampling for sonic seasoning studies conducted in Asia (RAW DATA)

Sonic seasoning refers to music produced, or chosen, in order to trigger specific perceptual and/or emotional effects in food/beverage experiences. This concept derives from the framework of crossmodal correspondences, which point out towards the systematic associations that most people tend to make between features, attributes or dimensions across the senses. Based on sonic seasoning, music can enhance particular aspects of a tasting experience. In order to build the discussion towards a greater, and more global applicability of these ideas, in this raw dataset, a large-scale quantitative sonic-seasoning sampling process, based on self-report within and between-participant experimental designs, was collected via crowdsourcing in Asia. In summary, this data can be used as baseline for different comparative analyses, where the effects of sonic seasoning can be analyzed from different methodological perspectives, potentially adding value to the discussion on the replicability of these crossmodal effects across diverse types of multisensory tasting experiences. See pdf document for full description on materials, methods, and corresponding references