Revised scored sensory perception quotient reveals sensory hypersensitivity in women with autism

Previous research using the Sensory Perception Quotient (SPQ) has reported greater sensory hypersensitivity in people with autism spectrum condition (ASC) compared to controls, consistent with other research. However, current scoring of the SPQ does not differentiate between hyper and hyposensitivity, making it uncertain whether individuals with ASC might also show differences in hyposensitivity. Furthermore, no research to date has focused on sensory differences in females, and whether differences in sensory sensitivity extend to the broader autism phenotype (BAP). The present study aimed to fill these gaps. The present study developed and validated a Revised Scoring of the Sensory Perception Quotient (SPQ-RS) in order to investigate self-reported hypersensitivity and hyposensitivity in three groups of adults: a female ASC group (n = 152), mothers of children with ASC (BAP mothers group; n = 103), and a control mothers group (n = 74). All participants completed the SPQ as a self-report measure of sensory processing and the Autism-Spectrum Quotient (AQ) as a measure of the degree of autism traits. The female ASC group reported significantly more hypersensitivity, but not more hyposensitivity, compared to the control female and BAP mothers groups. The BAP mothers group did not differ from the control mothers group in either reported hypersensitivity (p = .365) or hyposensitivity (p = .075), suggesting atypical sensory sensitivity is not a BAP trait within females. SPQ-RS hypersensitivity scores positively correlated with autistic traits in the female ASC (r = .266) and BAP mothers groups (r = .350). The present findings revealed greater sensory hypersensitivity, but not hyposensitivity, in females with ASC compared to BAP and control female groups, and that a greater degree of autism traits relates to higher hypersensitivity in ASC females. The results offer support for the enhanced perceptual functioning model using large samples of females, who are an understudied population, and demonstrate the validity of the SPQ-RS as a valuable new research tool for exploring self-reported hypersensitivity and hyposensitivity

Group Work in Graduate Social Work Education: Where Are We Now?

This paper presents the preliminary results of a national survey assessing the extent of group work offerings within masters level social work programs in the United States. The study replicates and expands upon a 1994 investigation by Birnbaum and Auerbach. Findings are compared with the earlier study to identify changes and trends in group work education

Summary of main conclusions reached in 25 reviews of the research literature on wind farms and health.

This document is a list of all known reviews of the evidence on the putative association between wind turbine exposure and health outcome

Left ventricular heart failure and pulmonary hypertension

In patients with left ventricular heart failure (HF), the development of pulmonary hypertension (PH) and right ventricular (RV) dysfunction are frequent and have important impact on disease progression, morbidity, and mortality, and therefore warrant clinical attention. Pulmonary hypertension related to left heart disease (LHD) by far represents the most common form of PH, accounting for 65–80% of cases. The proper distinction between pulmonary arterial hypertension and PH-LHD may be challenging, yet it has direct therapeutic consequences. Despite recent advances in the pathophysiological understanding and clinical assessment, and adjustments in the haemodynamic definitions and classification of PH-LHD, the haemodynamic interrelations in combined post- and pre-capillary PH are complex, definitions and prognostic significance of haemodynamic variables characterizing the degree of pre-capillary PH in LHD remain suboptimal, and there are currently no evidence-based recommendations for the management of PH-LHD. Here, we highlight the prevalence and significance of PH and RV dysfunction in patients with both HF with reduced ejection fraction (HFrEF) and HF with preserved ejection fraction (HFpEF), and provide insights into the complex pathophysiology of cardiopulmonary interaction in LHD, which may lead to the evolution from a ‘left ventricular phenotype’ to a ‘right ventricular phenotype’ across the natural history of HF. Furthermore, we propose to better define the individual phenotype of PH by integrating the clinical context, non-invasive assessment, and invasive haemodynamic variables in a structured diagnostic work-up. Finally, we challenge current definitions and diagnostic short falls, and discuss gaps in evidence, therapeutic options and the necessity for future developments in this context

The Sensory Perception Quotient (SPQ): development and validation of a new sensory questionnaire for adults with and without autism

Background Questionnaire-based studies suggest atypical sensory perception in over 90% of individuals with autism spectrum conditions (ASC). Sensory questionnaire-based studies in ASC mainly record parental reports of their child’s sensory experience; less is known about sensory reactivity in adults with ASC. Given the DSM-5 criteria for ASC now include sensory reactivity, there is a need for an adult questionnaire investigating basic sensory functioning. We aimed to develop and validate the Sensory Perception Quotient (SPQ), which assesses basic sensory hyper- and hyposensitivity across all five modalities. Methods A total of 359 adults with (n = 196) and without (n = 163) ASC were asked to fill in the SPQ, the Sensory Over-Responsivity Inventory (SensOR) and the Autism-Spectrum Quotient (AQ) online. Results Adults with ASC reported more sensory hypersensitivity on the SPQ compared to controls (P < .001). SPQ scores were correlated with AQ scores both across groups (r = .-38) and within the ASC (r = -.18) and control groups (r = -.15). Principal component analyses conducted separately in both groups indicated that one factor comprising 35 items consistently assesses sensory hypersensitivity. The SPQ showed high internal consistency for both the total SPQ (Cronbach’s alpha = .92) and the reduced 35-item version (alpha = .93). The SPQ was significantly correlated with the SensOR across groups (r = -.46) and within the ASC (r = -.49) and control group (r = -.21). Conclusions The SPQ shows good internal consistency and concurrent validity and differentiates between adults with and without ASC. Adults with ASC report more sensitivity to sensory stimuli on the SPQ. Finally, greater sensory sensitivity is associated with more autistic traits. The SPQ provides a new tool to measure individual differences on this dimension

Dorsomedial Prefrontal Cortex Mediates Rapid Evaluations Predicting the Outcome of Romantic Interactions

Humans frequently make real-world decisions based on rapid evaluations of minimal information; for example, should we talk to an attractive stranger at a party? Little is known, however, about how the brain makes rapid evaluations with real and immediate social consequences. To address this question, we scanned participants with functional magnetic resonance imaging (fMRI) while they viewed photos of individuals that they subsequently met at real-life “speed-dating” events. Neural activity in two areas of dorsomedial prefrontal cortex (DMPFC), paracingulate cortex, and rostromedial prefrontal cortex (RMPFC) was predictive of whether each individual would be ultimately pursued for a romantic relationship or rejected. Activity in these areas was attributable to two distinct components of romantic evaluation: either consensus judgments about physical beauty (paracingulate cortex) or individualized preferences based on a partner's perceived personality (RMPFC). These data identify novel computational roles for these regions of the DMPFC in even very rapid social evaluations. Even a first glance, then, can accurately predict romantic desire, but that glance involves a mix of physical and psychological judgments that depend on specific regions of DMPFC

Structure of the K-turn U4 RNA: a combined NMR and SANS study

K-turn motifs are universal RNA structural elements providing a binding platform for proteins in several cellular contexts. Their characteristic is a sharp kink in the phosphate backbone that puts the two helical stems of the protein-bound RNA at an angle of 60°. However, to date no high-resolution structure of a naked K-turn motif is available. Here, we present the first structural investigation at atomic resolution of an unbound K-turn RNA (the spliceosomal U4-Kt RNA) by a combination of NMR and small-angle neutron scattering data. With this study, we wish to address the question whether the K-turn structural motif assumes the sharply kinked conformation in the absence of protein binders and divalent cations. Previous studies have addressed this question by fluorescence resonance energy transfer, biochemical assays and molecular dynamics simulations, suggesting that the K-turn RNAs exist in equilibrium between a kinked conformation, which is competent for protein binding, and a more extended conformation, with the population distribution depending on the concentration of divalent cations. Our data shows that the U4-Kt RNA predominantly assumes the more extended conformation in the absence of proteins and divalent cations. The internal loop region is well structured but adopts a different conformation from the one observed in complex with proteins. Our data suggests that the K-turn consensus sequence does not per se code for the kinked conformation; instead the sharp backbone kink requires to be stabilized by protein binders

El poder de l'art. L'art com hermenèutica i la llibertat de l'artista

El treball és una aproximació antropològica de l’art a partir de l’artista. Dos són els eixos vertebradors d’aquesta tesi, a partir dels quals se’n deriven els punts restants: 1. Considerar l’art una activitat físico-psíquico-espiritual innata a la naturalesa humana; aspecte analitzat en el primer apartat del treball, en A. QÜESTIONS PRELIMINARS; 2. El poder de l’art: a) en la seva relació amb els poders fàctics, punt treballat en l’apartat B. ART I PODER; b) el poder que neix del propi dinamisme intern de l’art, punt treballat en l’apartat C. EL PODER DE L’ART Partint d’aquestes consideracions la tesi intenta respondre a la pregunta d’on prové aquesta força que neix del propi art fins a fer-lo un «mitjà» atractiu per els poders fàctics, especialment les ideologies polítiques i els totalitarismes. Alguns aspectes són treballats a través de dues figures contemporànies: Frida Kahlo i Marc Chagall. Temes no menys importants, que sense ser l’objectiu de la tesi, han sorgit necessàriament dels punts centrals, i que han hagut de ser estudiats en més o menys profunditat són: a) què s’entén per art i estètica avui, en un moment on la manca de definició és el que més prolifera en tots els camps; b) la subjecció i la llibertat de l’artista en el procés creatiu i de quina manera conviuen aquests dos aspectes en l’artista. Tant des de fora pel què fa a les pressions i condicionaments externs a les que està sotmès l’artista, com des de dins, pel propi mecanisme intern del procés creatiu i de la mateixa obra d’art; c) l’art com a «valor», en tant que activitat humana, mesura el grau d’humanització d’una societat però, a la vegada, pot esdevenir un mitjà d’humanització i recuperació de valors perduts o menystinguts. Així l’art és comprès, també, en el seu valor pedagògic i comunicativo-expressiu, i serà en aquest sentit que s’estudiarà també el poder de l’art i les seves relacions amb els poders hegemònics. Ja que per la seva capacitat comunicativa té una capacitat transformadora, la manipulació de l’art resulta un capteniment temptador en ordre a una actuació dirigida per l’home envers l’home mateix provocant, així, una desnaturalització de l’art i del propi ésser humà. Un aspecte significatiu de la tesi és la comprensió que es fa de l’art com a «mediació», i la «puresa» de l’art en tant que «genuïnitat». Quan l’art és «pur», és a dir, «genuí» no cerca finalitats manipuladores ni es sotmet a poders fàctics. És transformador i està obert a la possibilitat de l’«encontre» amb un «tu» i amb un «Tu« espiritual. Conscient que el tema és profundament infinit i obert, la tesi, per la pròpia naturalesa de la seva temàtica no pot deixar cap aspecte tancat però sí, suggerir nous plantejaments.El estudio es una aproximación antropológica del arte a partir del artista. Dos son los puntos centrales de esta tesis, a partir de los que se derivan los restantes: 1. Considerar el arte una actividad físico-psíquico-espiritual que nace de la propia naturaleza humana; aspecto analizado en el primer apartado A. QÜESTIONS PRELIMINARS; 2. El poder del arte: a) en su relación con los poderes fácticos, parte B. ART I PODER; b) el poder que nace del propio dinamismo interno del arte, parte C. EL PODER DE L’ART Partiendo de estas consideraciones la tesis intenta responder a cerca del origen de la fuerza que emana del propio arte hasta hacerlo un «medio» atractivo a los poderes fácticos, especialmente las ideologías políticas i los totalitarismos. Algunos aspectos son estudiados a partir de dos figuras contemporáneas: Frida Kahlo i Marc Chagall. Temas no menos importantes, que sin ser objeto directo de análisis de la tesis, han surgido necesariamente de los puntos centrales, y han tenido que ser estudiados con más o menos profundidad. Estos son: a) qué se entiende por arte y estética hoy, en un momento en que la indefinición se extiende a todos los campos de la sociedad; b) la sujeción y la libertad del artista en el proceso creativo; cómo y de qué manera conviven estos dos aspectos en el artista. Tanto desde fuera, en lo que respecta a las presiones y condicionamientos externos a les que está sometido el propio artista, como desde dentro, por el propio mecanismo interno del proceso creativo, así como por la misma obra de arte; c) el arte como «valor», en tanto que actividad humana, mide el grado de humanización de una sociedad pero, a la vez, puede convertirse en un medio de humanización y de recuperación de valores olvidados o depreciados. Así el arte es comprendido, también, en su valor pedagógico y comunicativo-expresivo, y en este sentido será estudiado también el poder del arte y sus relaciones con los poderes hegemónicos. Por su capacidad comunicativa y, por tanto transformadora, la manipulación a que puede someter el hombre al arte, dirigida a una actuación sobre el hombre mismo, resulta un hecho evidente, provocando así una desnaturalización del arte y del propio hombre. Un aspecto significativo del estudio es la comprensión del arte cómo «mediación», y la «pureza» del arte, entendiendo por pureza la «genuinidad» del arte. Así, en este sentido, cuando el arte es «puro» huye de todo sometimiento a poderes fácticos. Es transformador y está abierto a la posibilidad del «encuentro» con un «tu» y con un «Tu» espiritual. Consciente que el tema es profundamente abierto, la tesis, por la pròpia naturaleza de su temática, no puede dejar el estudio como un todo cerrado, però sí, presentar nuevos y sugerentes planteamientos.The thesis is an anthropological approach on the art in its different forms: Painting, music, literature and sculpture. And all these forms are examined starting from the artist. The axes vertebrating this study are two, on which depend the other points, as follow: 1. Considers the art as an innate physic-psychological-spiritual activity of the human nature. This point is analyzed in the first part of the work, specifically in the A. PRELIMINARY INTRODUCTION. 2. The second axis deals with the power of art: a) in its relation with the factual powers. This aspect is dealed to a large extent in the section B. ART AND POWER, and b) the power which comes out from the internal dynamism self of the art. This point is developed in the section C. THE POWER OF ART. According to the basis of these thoughts the doctoral dissertation intents to answer to the question from where comes the strength that is born in the art itself, even to become attractive to the factual powers, to the political ideologies to the political totalitarism. Some of these aspects are developed starting from tow wellknown contemporaneous artists: Frida Kahlo and Marc Chagall. There are some non the important subjects, which without being the direct matter of this thesis, have rose necessarily from its central points, and so they have been approached more or less deeply. These secondary aspects are: a) What do we understand today when we speak about art and aesthetics?; b) Subjection and freedom of the artist in the creative process and how both can live together in the artist (Unfortunately the tack of clear definition proliferates in this field). Both outside the external pressions and conditions to which is subjected and inside due to creative process itself and to the work of art; c) The art as «value» as human activity, measures the level of humanity of the society. In fact, the art can become means of humanization and recovery of the lost and despised values. And consequently the art is also understood in its pedagogical and communicating value. And is of course in this sense that our work approaches the power of the art and the relation between power and art. And the reality is so because its communicative strength is also transformating capacity. And precisely this capacity can become a man’s manipulation by the man, and consequently the perversion of the art’s nature and of the human being. A signification aspect of this thesis is the art’s presentation as mediation and the art’s pureness as genuineness. The pure art does not look for manipulating aims, and does not submit to the leading powers. The true art is transformer and open to the possibility of the meeting with a «you» and with the spiritual «You». The thesis is fully aware that the subject is deeply infinite and open, so the work according its own nature can’t close all the aspects, but can suggest new statements