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CDC restates recommendation for masks on planes, trains - ABC News
U.S. health officials are restating their recommendation that Americans wear masks on planes, trains and buses, despite a court ruling last month that struck down a national mask mandate on public transportation
NEW YORK -- U.S. health officials on Tuesday restated their recommendation that Americans wear masks on planes, trains and buses, despite a court ruling last month that struck down a national mask mandate on public transportation.
Americans age 2 and older should wear a well-fitting masks while on public transportation, including in airports and train stations, the Centers for Disease Control and Prevention recommended, citing the current spread of coronavirus and projections of future COVID-19 trends.
For months, the Transportation Security Administration had been enforcing a requirement that passengers and workers wear masks.
The government had repeatedly extended the mandate, and the latest one had been set to expire May 3. But a federal judge in Florida struck down the rule on April 18. The same day, the TSA said it would no longer enforce the mandate.
The CDC asked the Justice Department to appeal the decision, which the department did. On Tuesday, CDC officials declined to comment on the status of the appeal. DOJ officials did not immediately respond to a request for information.
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Study finds 67% of individuals with long COVID are developing dysautonomia
In a recent study posted to the medRxiv* preprint server, researchers analyzed the traits of autonomic symptom burden in long coronavirus disease (COVID).
Background
While the global spread of severe acute respiratory syndrome coronavirus 2 (SARS-CoV-2) infections has slowed, many people suffer long-lasting symptoms, a condition known as post-acute sequelae of COVID 2019 (COVID-19) (PASC), or long COVID. Even though PASC is not widely described, it is most commonly defined as COVID-19 symptoms that continue longer than 30 days.
PASC can manifest as a wide range of symptoms, many exhibiting autonomic characteristics. An autonomic nervous system illness, postural orthostatic tachycardia syndrome (POTS), strongly connected with a prior viral infection, is the most prevalent autonomic diagnosis correlated with PASC. Although autonomic dysfunction is a common consequence of long COVID, the PASC frequency and severity rates remain unclear. Furthermore, while online surveys of PASC patients exist, none have explicitly assessed autonomic symptom load in conjunction with other aspects of the condition.
About the study
The primary purpose of the present study was to determine the incidence and severity of autonomic manifestations in patients with PASC. The authors also evaluated symptom burden in PASC using well-validated questionnaires, which pre-existing comorbidities were linked to a heightened likelihood of autonomic dysfunction, and if the acute COVID-19 severity was correlated with the severity of autonomic dysfunction in this group.
The team performed a global online survey of 2,314 PASC adult patients employing various validated questionnaires, including the composite autonomic symptom score-31 (COMPASS-31), to assess for autonomic dysfunction. Both subjects who tested positive for SARS-CoV-2, i.e., test-confirmed, and those diagnosed with COVID-19 based only on clinical symptoms, i.e., test-unconfirmed, were included in the study. Additional analyses contrasting non-hospitalized and hospitalized individuals were conducted on test-confirmed COVID-19 patients. The researchers examined 53 distinct symptoms over eight different symptom areas to analyze PASC heterogeneity.
Results
The study results demonstrated that there were 87% female participants, higher than earlier studies with 68-75% female patients with PASC. In this adult population research, about 87% of PASC participants were between the ages of 31 and 65, comparable with the age distribution reported in prior studies. The most prevalent symptoms were brain fog, exhaustion, shortness of breath with exercise, headache, palpitations, body pains, tachycardia, and lightheadedness, consistent with previous research that found many of the same symptoms in individuals with PASC.
The test-confirmed SARS-CoV-2 cohort was more probable than the test-unconfirmed group to experience loss of taste and smell. A previous autonomic dysfunction diagnosis was documented in 8.3% of test-unconfirmed COVID-19 patients and 5.1% of test-confirmed patients. POTS was the most often reported autonomic condition, with a prevalence far higher than the expected frequency in the United States (US).
Depression, anxiety, history of vaping or smoking, environmental food or allergies, asthma, hypertension, autoimmune disease history, and obesity were the most often reported pre-existing illnesses in this sample. The frequency of pre-COVID autoimmunity and asthma in the current cohort was far higher than the overall US population, suggesting the potential that these medical disorders might be risk factors for PASC development.
A COMPASS-31 score of above 20 was found in 67% of PASC patients, indicating autonomic dysfunction with moderate to severe. There was no difference in COMPASS-31 scores among test-confirmed non-hospitalized and hospitalized COVID-19 patients. Across all quality-of-life dimensions, both non-hospitalized and hospitalized SARS-CoV-2 patients reported severe functional impairment.
"Our study finds that 67% of individuals with Long COVID are developing dysautonomia. That’s an estimated 38 million Americans with Long COVID dysautonomia, and millions more around the world,” says Lauren Stiles, President of Dysautonomia International and Research Assistant Professor of Neurology at Stony Brook University.
Conclusions
According to the authors, this was the broadest study that used validated autonomic questionnaire scores to show that autonomic dysfunction was frequent in PASC yet available.
In the current sample, the severity of COVID-19 did not link with the degree of autonomic dysfunction, implying that even mild SARS-CoV-2 infections can cause considerable autonomic dysfunction. Furthermore, the autonomic nervous system has a significant role in controlling coagulation pathways and immune function, two factors that seem to engage in long COVID. Hence, the researchers suggest that future research should concentrate on processes of PASC-linked autonomic dysfunction, their correlation to coagulation and immune biomarkers, and potential interventions that can enhance autonomic function.
Overall, the present study findings showed the presence of moderate to severe autonomic dysfunction in all PASC cohorts in this investigation, regardless of hospitalization status, implying that autonomic dysfunction was frequent among the PASC community and not always connected to the severity of acute COVID-19.
"Identifying dysautonomia in Long COVID is important because the autonomic nervous system plays a critical role in regulating immune function, inflammation, coagulation pathways, fatigue, exercise intolerance, cognition, and other factors that appear to play a role in Long COVID. Treatments that improve autonomic nervous system function may offer great benefit in treating the debilitating symptoms of Long COVID," explains Dr. Mitchell Miglis, Associate Professor of Neurology & Neurological Sciences at Stanford University.
"We need the National Institutes of Health to immediately address this crisis and begin funding research aimed at developing effective treatments for Long COVID dysautonomia,” says Jacqueline Rutter, a Dysautonomia International Board Member whose family has been impacted by Long COVID.
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Scholars’ Studio is a fun, informal event that features 10 rapid-fire ignite-style presentations (5 minutes each) given by graduate students and postdocs doing research on topics related to an interdisciplinary theme. Hosted by the UW Libraries Research Commons and The Graduate School, Scholars' Studio gives students the opportunity to share their research across disciplines, make connections and build presentation skills.
Presenters:
Opening Presentation. Jenny Muilenburg, Data Curriculum and Communications Librarian
Should We Bother? Prioritizing New Cancer Technologies. Jeanette Birnbaum, Health Services.
Tsunami Prediction using Adjoint Methods. Brisa Davis, Applied Mathematics.
Looking Beyond Grades: Predicting Academic Success with Student Personality Traits. Chaya Jones, Evans School of Public Affairs.
Predicting Gender in Social Media. Gayathri Vasudevan, Institute of Technology.
Attempting to Know What We Don't Know: Combating Wage Theft in Washington State. Isaac Sederbaum, Evans School of Public Affairs.
The Rhetoric of Digital Futures. Ian Porter, Communication.
Augmenting Social and Spatial Cognition: Integrative Analysis Processes for San Francisco’s Bayview District. Rafa Murillo, Urban Planning and Landscape Architecture, College of Built Environments.
Predicting Costs of Medical Episodes using Analytics. Si-Chi Chin, Institute of Technology.
Computational Design of Protein-Based Nanomaterials. Jacob Bale, Biochemistry.
Forecasting the Future of Library Leadership. Sofia Leung, Information School and Evans School of Public Affairs.
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Cognition is simply the process of learning or thinking. We have lots of toys that can help your special child in a number of areas including counting, color recognition, and small motor skills, just to name a few.
Photos showing impressions of the Ars Electronica Garden Berlin: "Artificial Reality – Virtual Intelligence" by University of Applied Science Berlin – School of Culture and Design, Department of Communication Design (DE).
As our environment undergoes its digital transformation, what might be understood as ’objective’ reality is increasingly being modified by a superimposed virtual realm. Virtual reality and mixed reality technologies are laying the foundation for a transition to a new form of mass media. At the same time a global pandemic has subjected the dream of a new virtual and networked world to a wake-up call. Social distancing temporarily shuttered cultural spaces and educational institutions, and the need for virtual spaces and meeting places continues to grow. What do these worlds look like? Which rules should apply to them? Who is allowed to participate in them? The exhibition ARTIFICIAL REALITY – VIRTUAL INTELLIGENCE showcases student projects that deal with these questions: By means of a Brain Computer Interface, the emotional state of the participant influences the perception of the virtual world. The exhibition explores the limits of human cognition by linking the physically experienced environment and a simultaneously projected minimally altered VR environment, resulting in a form of psychic dissonance. Ongoing dialogue with a voice assistance system creates new virtual worlds and reproduces the themes of power and powerlessness vis-à-vis an omnipresent intelligent machine. The works, all created during the Corona pandemic in distance learning programs, address relevant social issues raised by digital transformation processes: ARTIFICIAL REALITY BIG ART GENERATIVE DATA and VIRTUAL INTELLIGENCE.
Credit: Andreas Ingerl
La final de la primera edició de la competició Rin4', un exercici de divulgació científica adreçat a un públic no especialitzat a càrrec de joves científics doctorands d'aquest curs acadèmic, va tenir lloc ahir 8 de juny a la Sala Polivalent de l'edifici Mercè Rodoreda del campus de la Ciutadella de la UPF. Prèviament, del 2 al 7 de juny, es van dur a terme les fases classificatòries entre els 70 aspirants dels més de 100 inscrits, de les que en van sortir els nou finalistes que van competir pel 1r, 2n i 3r premis, a més d'un premi especial atorgat pel públic assistent, dotats de 900, 600, 300, i 200 euros, respectivament.
En un acte conduït per David Comas, investigador del Departament de Ciències Experimentals i de la Salut (CEXS), cadascun dels nou candidats, vuit del Doctorat de Biomedicina i un del Doctorat en Tecnologies de la Informació i les Comunicacions, van fer l'exposició del seu projecte de recerca en el temps rècord de quatre minuts com a màxim. En aquesta edició, les ponències finalistes van estar relacionades amb els àmbits de ciències de la salut i de la vida i de ciències cognitives i del llenguatge.
Jaume Casals, rector de la UPF va lliurar els premis. El primer premi va ser per a Cristina Galusca, que està fent la seva recerca en el Grup de Recerca Reasoning and Infant Cognition (RICO) del Centre de Cognició i Cervell (CBC) del Departament de Tecnologies de la Informació i les Comunicacions (DTIC), amb la ponència " Ull recorda això!".
El segon premi va ser per a Álvaro Castells, investigador del Centre de Regulació Genòmica (CRG), amb " Dinàmica del RNA emprant la microscopia d'alta definició"; el tercer premi va ser per a Mònica Domínguez i " El discurs prosòdic en la interacció home-màquina", recerca que està duent a terme al Grup de Recerca sobre el Tractament Automàtic del Llenguatge Natural (TALN) al DTIC. Finalment, el premi especial del públic va ser per a Carlota Rubio per " Buscant les forces que mouen el càncer", part de la recerca que fa dins del Grup de Recerca en Genòmica Biomèdica del Departament de Ciències Experimentals i de la Salut (CEXS).
Van formar part del jurat Núria Sebastián, directora de l' Escola de Doctorat de la UPF, Emma Rodero, professora del Departament de Comunicació de la UPF i Mónica López-Ferrado, periodista científica del diari Ara, guardonada en diverses ocasions per la seva tasca professional. Com van afirmar els membres del jurat: "La gran qualitat de les presentacions va fer molt difícil la decisió final".
Gov. Doug Burgum renders remarks during the Airmen of the Year cognition ceremony at the North Dakota Air National Guard Base, Fargo, N.D., March 6, 2021. (U.S. Air National Guard photo by Chief Master Sgt. David H Lipp/released)
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Personality disorder refers to a class of personality types and enduring behaviours associated with significant distress or disability, which appear to deviate from social expectations particularly in relating to other humans.
Personality disorders are included as mental disorders on Axis II of the diagnostic manual of the American Psychiatric Association and in the mental and behavioral disorders section of the ICD manual of the World Health Organization. Personality, defined psychologically, is the set of enduring behavioral and mental traits that distinguish human beings. Hence, personality disorders are defined by experiences and behaviors that differ from societal norms and expectations. Those diagnosed with a personality disorder may experience difficulties in cognition, emotiveness, interpersonal functioning or control of impulses. In general, personality disorders are diagnosed in 40-60 percent of psychiatric patients, making them the most frequent of all psychiatric diagnoses.
These behavioral patterns in personality disorders are typically associated with substantial disturbances in some behavioral tendencies of an individual, usually involving several areas of the personality, and are nearly always associated with considerable personal and social disruption. Additionally, personality disorders are inflexible and pervasive across many situations, due in large part to the fact that such behavior may be ego-syntonic (i.e. the patterns are consistent with the ego integrity of the individual) and are, therefore, perceived to be appropriate by that individual. This behavior can result in maladaptive coping skills, which may lead to personal problems that induce extreme anxiety, distress or depression. The onset of these patterns of behavior can typically be traced back to early adolescence and the beginning of adulthood and, in some instances, childhood
People who follow orders to harm others often consider that their victims deserve such treatment as a way of reducing their personal culpability in another’s pain.
(Perry, Williard & Perry, 1990)
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Here is my stack of readings. From bottom to top:
1. "Discourse" binder (just finished the last paper from it this morning)
2. "Non Language Cognition" binder #1 (finished)
3. "Non Language Cognition" binder #2 (finished)
4. "Psycholinguistics" binder #1 (going to start as soon as I post this picture)
5. "Psycholinguistics" binder #2 (will start after I finish the previous one)
6. A book from which I read a 100 page chapter about memory models
7. A book about reference, from which I read several chapters
8. Academic Publisher's "Handbook of Psycholinguistics", from which I will be reading several chapters
8. Herb Clark's "Arenas of Language Use", from which I have read and will be reading several chapters
9. The Oxford "Handbook of Psycholinguistics", from which I will be reading several chapters
10. The Blackwell "Handbook of Pragmatics", from which I read 5 chapters
11. Two 100-page legal notepads full of notes
12. Not really comps reading, but the textbook/materials for the class I'm co-teaching, which still needs to get organized despite comps.
I did the math. If I can keep up my pace of 3-4 chapters/articles/etc per day, then I can finish with just over 1.5 weeks to spare. Which is perfect, since it gives me a cushion, and some time to put my notes and thoughts together. But yikes.
The New York Aquarium is the oldest continually operating aquarium in the United States, having opened in Castle Garden in Battery Park, Manhattan in 1896. Since 1957, it has been located on the boardwalk in Coney Island, Brooklyn. The aquarium is managed by the Wildlife Conservation Society (WCS) as part of its integrated system of four zoos and one aquarium, most notably the Bronx Zoo. It is accredited by the Association of Zoos and Aquariums (AZA).
The facility occupies 14 acres and boasts over 350 species of aquatic wildlife. Its mission is to raise public awareness about issues facing the ocean and its inhabitants with special exhibits, public events and research. At the Aquarium’s Osborn Laboratories of Marine Sciences (OLMS), several studies were conducted investigating such topics as dolphin cognition, satellite tagging of sharks, and coral reefs.
The New York Aquarium opened on December 10, 1896, at Castle Garden in Battery Park. Its first director was the respected fish expert, Dr. Tarleton Hoffman Bean (1895–1898). On October 31, 1902, the Aquarium was adopted into the care of what was then the New York Zoological Society. At the time, the Aquarium housed only 150 specimens of wildlife. Over time, its most famous director, the distinguished zoologist Charles Haskins Townsend, enlarged the collections considerably, and the Aquarium attracted hundreds of thousands of visitors each year.
Early in October 1941, the Aquarium at Battery Park was controversially closed based on claims of NYC Parks Commissioner Robert Moses that the proposed construction of a tunnel from Lower Manhattan to Brooklyn might undermine Castle Clinton's foundation. Many of the Aquarium’s sea creatures were temporarily housed at the Bronx Zoo until the new aquarium was built after World War II. On June 6, 1957, the Aquarium opened its doors at its new location in Coney Island, Brooklyn.
New York Aquarium Coney Island NY
Tomorrow is the big day! I hit 3 digits WOOT WOOT.
sorry to post and run. this is my quickie. hope you like it. my hair looks awesome i just wish it was longer.
i have tons tons tons of hw i wasnt even going to do a 365 today. but i didnt wanna do 2 day 100 sooooo....
i just hope my day 100 planned shot comes out the way i want it too. :)
wish me luck.
p.s. due to weather, i have yet to do my shutter priority assignment. i mean i did one, but its super epic failure. so i'll be waking up at 5am and heading to the beach for sunrise/morning rise beach shutter priority with HIGH NOISE yay!!!!!!!!!!!!!!!!!!!!!!!
love you all flickrworld im off to read my memory and cognition book --> 40 pages ugh...
Example of four reconstructed hybrids, used in the validation test, from a face pair and the information sampling strategies. We extracted the local or global information from one face of the pair (via the respective filters) and the complementary information from the other face of the pair. The combination of the spatial frequency bands extracted via the filter provided the reconstructed information for a given identified face and a given sampling strategy. It is worth noting that the striking difference in face identification (i.e. identifying Brad Pitt vs. William H. Macy) is relying on a very small difference on the pixel space.
On May 15, Brookings hosted the inaugural conference of the Global Research Network on Terrorism and Technology, a new independent consortium that aims to better understand the linkages between terrorism and technology. Led by the Royal United Services Institute (RUSI) in the United Kingdom, the Global Research Network seeks to explore how new technologies enable and constrain terrorist activity. How do terrorist networks operate online? What are the ethics of content moderation for technology companies? What is the interplay between online content and offline actions?
The inaugural symposium of the Global Research Network showcased original research on these and related issues. Drawing on independent research from think tanks and universities across the world, the full-day conference featured panels and policy debates from leading experts and analysts on terrorism and technology, and brought together officials and leaders from academia, civil society, government, and the technology sector. By presenting the latest research on terrorism and technology to a wide array of stakeholders, the event aimed to inform policy and technology audiences not just about how terrorist groups exploit technology, but what can be done about it.
Photo Credit: Paul Morigi
100 College Street, originally home to Alexion Pharmaceutical’s global headquarters in New Haven, CT. Now houses “both departments from both the School of Medicine (YSM) and the Faculty of Arts and Sciences (FAS) — including Neuroscience (YSM) and Psychology (FAS) — in addition to other scholars and scientists from across campus. And it is the home of the Wu Tsai Institute, a university-wide initiative launched in 2021 to advance the study of human cognition.” (Source: “At 100 College St., building connections inside and out,” Yale News, 12/19/2023.)
La final de la primera edició de la competició Rin4', un exercici de divulgació científica adreçat a un públic no especialitzat a càrrec de joves científics doctorands d'aquest curs acadèmic, va tenir lloc ahir 8 de juny a la Sala Polivalent de l'edifici Mercè Rodoreda del campus de la Ciutadella de la UPF. Prèviament, del 2 al 7 de juny, es van dur a terme les fases classificatòries entre els 70 aspirants dels més de 100 inscrits, de les que en van sortir els nou finalistes que van competir pel 1r, 2n i 3r premis, a més d'un premi especial atorgat pel públic assistent, dotats de 900, 600, 300, i 200 euros, respectivament.
En un acte conduït per David Comas, investigador del Departament de Ciències Experimentals i de la Salut (CEXS), cadascun dels nou candidats, vuit del Doctorat de Biomedicina i un del Doctorat en Tecnologies de la Informació i les Comunicacions, van fer l'exposició del seu projecte de recerca en el temps rècord de quatre minuts com a màxim. En aquesta edició, les ponències finalistes van estar relacionades amb els àmbits de ciències de la salut i de la vida i de ciències cognitives i del llenguatge.
Jaume Casals, rector de la UPF va lliurar els premis. El primer premi va ser per a Cristina Galusca, que està fent la seva recerca en el Grup de Recerca Reasoning and Infant Cognition (RICO) del Centre de Cognició i Cervell (CBC) del Departament de Tecnologies de la Informació i les Comunicacions (DTIC), amb la ponència " Ull recorda això!".
El segon premi va ser per a Álvaro Castells, investigador del Centre de Regulació Genòmica (CRG), amb " Dinàmica del RNA emprant la microscopia d'alta definició"; el tercer premi va ser per a Mònica Domínguez i " El discurs prosòdic en la interacció home-màquina", recerca que està duent a terme al Grup de Recerca sobre el Tractament Automàtic del Llenguatge Natural (TALN) al DTIC. Finalment, el premi especial del públic va ser per a Carlota Rubio per " Buscant les forces que mouen el càncer", part de la recerca que fa dins del Grup de Recerca en Genòmica Biomèdica del Departament de Ciències Experimentals i de la Salut (CEXS).
Van formar part del jurat Núria Sebastián, directora de l' Escola de Doctorat de la UPF, Emma Rodero, professora del Departament de Comunicació de la UPF i Mónica López-Ferrado, periodista científica del diari Ara, guardonada en diverses ocasions per la seva tasca professional. Com van afirmar els membres del jurat: "La gran qualitat de les presentacions va fer molt difícil la decisió final".
#Info #graphics
#Information #graphics or #infographics are #graphic #visual representations of information, #data or #knowledge intended to present #information quickly and clearly. They can improve cognition by utilizing #graphics to enhance the #human visual system's ability to see #patterns and #trends.
For inforgraphics work and much more
##Contact:
0422-4373440
23 May 2019; Jordan Fisher, Standard Cognition, on Centre Stage during day three of Collision 2019 at Enercare Center in Toronto, Canada. Photo by Cody Glenn/Collision via Sportsfile
23 May 2019; Jordan Fisher, Standard Cognition, on Centre Stage during day three of Collision 2019 at Enercare Center in Toronto, Canada. Photo by Cody Glenn/Collision via Sportsfile
Scholars’ Studio is a fun, informal event that features 10 rapid-fire ignite-style presentations (5 minutes each) given by graduate students and postdocs doing research on topics related to an interdisciplinary theme. Hosted by the UW Libraries Research Commons and The Graduate School, Scholars' Studio gives students the opportunity to share their research across disciplines, make connections and build presentation skills.
Presenters:
Opening Presentation. Jenny Muilenburg, Data Curriculum and Communications Librarian
Should We Bother? Prioritizing New Cancer Technologies. Jeanette Birnbaum, Health Services.
Tsunami Prediction using Adjoint Methods. Brisa Davis, Applied Mathematics.
Looking Beyond Grades: Predicting Academic Success with Student Personality Traits. Chaya Jones, Evans School of Public Affairs.
Predicting Gender in Social Media. Gayathri Vasudevan, Institute of Technology.
Attempting to Know What We Don't Know: Combating Wage Theft in Washington State. Isaac Sederbaum, Evans School of Public Affairs.
The Rhetoric of Digital Futures. Ian Porter, Communication.
Augmenting Social and Spatial Cognition: Integrative Analysis Processes for San Francisco’s Bayview District. Rafa Murillo, Urban Planning and Landscape Architecture, College of Built Environments.
Predicting Costs of Medical Episodes using Analytics. Si-Chi Chin, Institute of Technology.
Computational Design of Protein-Based Nanomaterials. Jacob Bale, Biochemistry.
Forecasting the Future of Library Leadership. Sofia Leung, Information School and Evans School of Public Affairs.
La final de la primera edició de la competició Rin4', un exercici de divulgació científica adreçat a un públic no especialitzat a càrrec de joves científics doctorands d'aquest curs acadèmic, va tenir lloc ahir 8 de juny a la Sala Polivalent de l'edifici Mercè Rodoreda del campus de la Ciutadella de la UPF. Prèviament, del 2 al 7 de juny, es van dur a terme les fases classificatòries entre els 70 aspirants dels més de 100 inscrits, de les que en van sortir els nou finalistes que van competir pel 1r, 2n i 3r premis, a més d'un premi especial atorgat pel públic assistent, dotats de 900, 600, 300, i 200 euros, respectivament.
En un acte conduït per David Comas, investigador del Departament de Ciències Experimentals i de la Salut (CEXS), cadascun dels nou candidats, vuit del Doctorat de Biomedicina i un del Doctorat en Tecnologies de la Informació i les Comunicacions, van fer l'exposició del seu projecte de recerca en el temps rècord de quatre minuts com a màxim. En aquesta edició, les ponències finalistes van estar relacionades amb els àmbits de ciències de la salut i de la vida i de ciències cognitives i del llenguatge.
Jaume Casals, rector de la UPF va lliurar els premis. El primer premi va ser per a Cristina Galusca, que està fent la seva recerca en el Grup de Recerca Reasoning and Infant Cognition (RICO) del Centre de Cognició i Cervell (CBC) del Departament de Tecnologies de la Informació i les Comunicacions (DTIC), amb la ponència " Ull recorda això!".
El segon premi va ser per a Álvaro Castells, investigador del Centre de Regulació Genòmica (CRG), amb " Dinàmica del RNA emprant la microscopia d'alta definició"; el tercer premi va ser per a Mònica Domínguez i " El discurs prosòdic en la interacció home-màquina", recerca que està duent a terme al Grup de Recerca sobre el Tractament Automàtic del Llenguatge Natural (TALN) al DTIC. Finalment, el premi especial del públic va ser per a Carlota Rubio per " Buscant les forces que mouen el càncer", part de la recerca que fa dins del Grup de Recerca en Genòmica Biomèdica del Departament de Ciències Experimentals i de la Salut (CEXS).
Van formar part del jurat Núria Sebastián, directora de l' Escola de Doctorat de la UPF, Emma Rodero, professora del Departament de Comunicació de la UPF i Mónica López-Ferrado, periodista científica del diari Ara, guardonada en diverses ocasions per la seva tasca professional. Com van afirmar els membres del jurat: "La gran qualitat de les presentacions va fer molt difícil la decisió final".
Presentation: "Information Technologies, Methods and Practices for Mind Enhancement"
Slide: "IA history"
These Seven Principles of Human Learning taken from the National Academies Press free ebook Learning and Understanding (2002).
"During the last four decades, scientists have engaged in research that has increased our understanding of human cognition, providing greater insight into how knowledge is organized, how experience shapes understanding, how people monitor their own understanding, how learners differ from one another, and how people acquire expertise. From this emerging body of research, scientists and others have been able to synthesize a number of underlying principles of human learning. This growing understanding of how people learn has the potential to influence significantly the nature of education and its outcomes."
Image licensed under Creative Commons by philipbouchard: www.flickr.com/photos/pbouchard/3196503910/
La final de la primera edició de la competició Rin4', un exercici de divulgació científica adreçat a un públic no especialitzat a càrrec de joves científics doctorands d'aquest curs acadèmic, va tenir lloc ahir 8 de juny a la Sala Polivalent de l'edifici Mercè Rodoreda del campus de la Ciutadella de la UPF. Prèviament, del 2 al 7 de juny, es van dur a terme les fases classificatòries entre els 70 aspirants dels més de 100 inscrits, de les que en van sortir els nou finalistes que van competir pel 1r, 2n i 3r premis, a més d'un premi especial atorgat pel públic assistent, dotats de 900, 600, 300, i 200 euros, respectivament.
En un acte conduït per David Comas, investigador del Departament de Ciències Experimentals i de la Salut (CEXS), cadascun dels nou candidats, vuit del Doctorat de Biomedicina i un del Doctorat en Tecnologies de la Informació i les Comunicacions, van fer l'exposició del seu projecte de recerca en el temps rècord de quatre minuts com a màxim. En aquesta edició, les ponències finalistes van estar relacionades amb els àmbits de ciències de la salut i de la vida i de ciències cognitives i del llenguatge.
Jaume Casals, rector de la UPF va lliurar els premis. El primer premi va ser per a Cristina Galusca, que està fent la seva recerca en el Grup de Recerca Reasoning and Infant Cognition (RICO) del Centre de Cognició i Cervell (CBC) del Departament de Tecnologies de la Informació i les Comunicacions (DTIC), amb la ponència " Ull recorda això!".
El segon premi va ser per a Álvaro Castells, investigador del Centre de Regulació Genòmica (CRG), amb " Dinàmica del RNA emprant la microscopia d'alta definició"; el tercer premi va ser per a Mònica Domínguez i " El discurs prosòdic en la interacció home-màquina", recerca que està duent a terme al Grup de Recerca sobre el Tractament Automàtic del Llenguatge Natural (TALN) al DTIC. Finalment, el premi especial del públic va ser per a Carlota Rubio per " Buscant les forces que mouen el càncer", part de la recerca que fa dins del Grup de Recerca en Genòmica Biomèdica del Departament de Ciències Experimentals i de la Salut (CEXS).
Van formar part del jurat Núria Sebastián, directora de l' Escola de Doctorat de la UPF, Emma Rodero, professora del Departament de Comunicació de la UPF i Mónica López-Ferrado, periodista científica del diari Ara, guardonada en diverses ocasions per la seva tasca professional. Com van afirmar els membres del jurat: "La gran qualitat de les presentacions va fer molt difícil la decisió final".
Auburn’s new Detection Canine Sciences, Innovation, Technology and Education (DCSITE) program will integrate the best scientific practices in analytical chemistry, genetics, genomics, reproduction, veterinary and sports medicine, olfactory neuroscience, behavior and cognition, metrology and engineering to advance detection canine sciences.
23 May 2019; Jordan Fisher, Standard Cognition, on Centre Stage during day three of Collision 2019 at Enercare Center in Toronto, Canada. Photo by Cody Glenn/Collision via Sportsfile
Photos showing impressions of the Ars Electronica Garden Berlin: "Artificial Reality – Virtual Intelligence" by University of Applied Science Berlin – School of Culture and Design, Department of Communication Design (DE).
As our environment undergoes its digital transformation, what might be understood as ’objective’ reality is increasingly being modified by a superimposed virtual realm. Virtual reality and mixed reality technologies are laying the foundation for a transition to a new form of mass media. At the same time a global pandemic has subjected the dream of a new virtual and networked world to a wake-up call. Social distancing temporarily shuttered cultural spaces and educational institutions, and the need for virtual spaces and meeting places continues to grow. What do these worlds look like? Which rules should apply to them? Who is allowed to participate in them? The exhibition ARTIFICIAL REALITY – VIRTUAL INTELLIGENCE showcases student projects that deal with these questions: By means of a Brain Computer Interface, the emotional state of the participant influences the perception of the virtual world. The exhibition explores the limits of human cognition by linking the physically experienced environment and a simultaneously projected minimally altered VR environment, resulting in a form of psychic dissonance. Ongoing dialogue with a voice assistance system creates new virtual worlds and reproduces the themes of power and powerlessness vis-à-vis an omnipresent intelligent machine. The works, all created during the Corona pandemic in distance learning programs, address relevant social issues raised by digital transformation processes: ARTIFICIAL REALITY BIG ART GENERATIVE DATA and VIRTUAL INTELLIGENCE.
Credit: Andreas Ingerl
Scholars’ Studio is a fun, informal event that features 10 rapid-fire ignite-style presentations (5 minutes each) given by graduate students and postdocs doing research on topics related to an interdisciplinary theme. Hosted by the UW Libraries Research Commons and The Graduate School, Scholars' Studio gives students the opportunity to share their research across disciplines, make connections and build presentation skills.
Presenters:
Opening Presentation. Jenny Muilenburg, Data Curriculum and Communications Librarian
Should We Bother? Prioritizing New Cancer Technologies. Jeanette Birnbaum, Health Services.
Tsunami Prediction using Adjoint Methods. Brisa Davis, Applied Mathematics.
Looking Beyond Grades: Predicting Academic Success with Student Personality Traits. Chaya Jones, Evans School of Public Affairs.
Predicting Gender in Social Media. Gayathri Vasudevan, Institute of Technology.
Attempting to Know What We Don't Know: Combating Wage Theft in Washington State. Isaac Sederbaum, Evans School of Public Affairs.
The Rhetoric of Digital Futures. Ian Porter, Communication.
Augmenting Social and Spatial Cognition: Integrative Analysis Processes for San Francisco’s Bayview District. Rafa Murillo, Urban Planning and Landscape Architecture, College of Built Environments.
Predicting Costs of Medical Episodes using Analytics. Si-Chi Chin, Institute of Technology.
Computational Design of Protein-Based Nanomaterials. Jacob Bale, Biochemistry.
Forecasting the Future of Library Leadership. Sofia Leung, Information School and Evans School of Public Affairs.
The anonymity of the artist belongs to a type of culture dominated by the longing to be liberated from oneself. All the force of this philosophy is directed against the delusion “I am the doer.” “I” am not in fact the doer, but the instrument; human individuality is not an end but only a means.
The supreme achievement of individual consciousness is to lose or find (both words mean the same) itself in what is both its first beginning and its last end: “Whoever would save his psyche, let him lose it.”
All that is required of the instrument is efficiency and obedience; it is not for the subject to aspire to the throne; the constitution of man is not a democracy, but the hierarchy of body, soul and spirit.
Is it for the Christian to consider any work “his own,” when even Christ has said that “I do nothing of myself”? or for the Hindu, when Krishna has said that “The Comprehensor cannot form the concept ‘I am the doer’”? or the Buddhist, for whom it has been said that “To wish that it may be made known that ‘I was the author’ is the thought of a man not yet adult”?
It hardly occurred to the individual artist to sign his works, unless for practical purposes of distinction; and we find the same conditions prevailing in the scarcely yet defunct community of the Shakers, who made perfection of workmanship a part of their religion,but made it a rule that works should not be signed.
It is under such conditions that a really living art (unlike what Plato calls the arts of flattery) flourishes; and where the artist exploits his own personality and becomes an exhibitionist that art declines.
There is another aspect of the question that has to do with the patron rather than the artist; this too must be understood, if we are not to mistake the intentions of traditional art.
It will have been observed that in traditional arts, the effigy of an individual, for whatever purpose it may have been made, is very rarely a likeness in the sense that we conceive a likeness, but much rather the representation of a type.
The man is represented by his function rather than by his appearance; the effigy is of the king, the soldier, the merchant or the smith, rather than of So-and-so.
The ultimate reasons for this have nothing to do with any technical inabilities or lack of the power of observation in the artist, but are hard to explain to ourselves whose pre-occupations are so different and whose faith in the eternal values of “personality” is so naive; hard to explain to ourselves, who shrink from the saying that a man must “hate” himself “if he would be My disciple.”
The whole position is bound up with a traditional view that also finds expression in the doctrine of the hereditary transmission of character and function, because of which the man can die in peace, knowing that his work will be carried on by another representative. As So-and-so, the man is reborn in his descendants, each of whom occupies in turn what was much rather an office than a person. For in what we call personality, tradition sees only a temporal function “which you hold in lease.”
The very person of the king, surviving death, may be manifested in some way in some other ensemble of possibilities than these; but the royal personality descends from generation to generation, by hereditary and ritual delegation; and so we say, The king is dead, long live the king.
It is the same if the man has been a merchant or craftsman; if the son to whom his personality has been transmitted is not also, for example, a blacksmith, the blacksmith of a given community, the family line is at an end; and if personal functions are not in this way transmitted from generation to generation, the social order itself has come to an end, and chaos supervenes.
We find accordingly that if an ancestral image or tomb effigy is to be set up for reasons bound up with what is rather loosely called “ancestor worship,” this image has two peculiarities, (1) it is identified as the image of the deceased by the insignia and costume of his vocation and the inscription of his name, and (2) for the rest, it is an individually indeterminate type, or what is called an “ideal” likeness.
In this way both selves of the man are represented; the one that is to be inherited, and that which corresponds to an intrinsic and regenerated form that he should have built up for himself in the course of life itself, considered as a sacrificial operation terminating at death. The whole purpose of life has been that this man should realise himself in this other and essential form, in which alone the form of divinity can be thought of as adequately reflected.
As St. Augustine expresses it, “This likeness begins now to be formed again in us.” It is not surprising that even in life a man would rather be represented thus, not as he is, but as he ought to be, incomparably superior to the accidents of temporal manifestation.
It is characteristic of ancestral images in many parts of the East, that they cannot be recognized, except by their legends, as the portraits of individuals; there is nothing else to distinguish them from the form of the divinity to whom the spirit had been returned when the man “gave up the ghost”; almost in the same way an angelic serenity and the absence of human imperfection, and of the signs of age, are characteristic of the Christian effigy before the thirteenth century, when the study of death-masks came back into fashion and modern portraiture was born in the charnel house.
The traditional image is of the man as he would be at the Resurrection, in an ageless body of glory, not as he was accidentally: “I would go down unto Annihilation and Eternal Death, lest the Last Judgment come and find me Unannihilate, and I be seiz’d and giv’n into the hands of my own Selfhood.”
Let us not forget that it is only the intellectual virtues, and by no means our individual affections, that are thought of as surviving death.
The same holds good for the heroes of epic and romance; for modern criticism, these are “unreal types,” and there is no “psychological analysis.” We ought to have realised that if this is not a humanistic art, this may have been its essential virtue. We ought to have known that this was a typal art by right of long inheritance; the romance is still essentially an epic, the epic essentially a myth; and that it is just because the hero exhibits universal qualities, without individual peculiarity or limitations, that he can be a pattern imitable by every man alike in accordance with his own possibilities whatever these may be.
In the last analysis the hero is always God, whose only idiosyncrasy is being, and to whom it would be absurd to attribute individual characteristics.
It is only when the artist, whatever his subject may be, is chiefly concerned to exhibit himself, and when we descend to the level of the psychological novel, that the study and analysis of individuality acquires an importance. Then only portraiture in our sense takes the place of what was once an iconographic portrayal.
All these things apply only so much the more if we are to consider the deliberate portrayal of a divinity, the fundamental thesis of all traditional arts. An adequate knowledge of theology and cosmology is then indispensable to an understanding of the history of art, insofar as the actual shapes and structures of works of art are determined by their real content.
Christian art, for example, begins with the representation of deity by abstract symbols, which may be geometrical, vegetable or theriomorphic, and are devoid of any sentimental appeal whatever.
An anthropomorphic symbol follows, but this is still a form and not a figuration; not made as though to function biologically or as if to illustrate a text book of anatomy or of dramatic expression.
Still later, the form is sentimentalised; the features of the crucified are made to exhibit human suffering, the type is completely humanised, and where we began with the shape of humanity as an analogical representation of the idea of God, we end with the portrait of the artist’s mistress posing as the Madonna and the representation of an all-too-human baby; the Christ is no longer a man-God, but the sort of man that we can approve of.
With what extraordinary prescience St. Thomas Aquinas commends the use of the lower rather than the nobler forms of existence as divine symbols, “especially for those who can think of nothing nobler than bodies”!
The course of art reflects the course of thought. The artist, asserting a specious liberty, expresses himself; our age commends the man who thinks for himself, and therefore of himself. We can
see in the hero only an imperfectly remembered historical figure, around which there have gathered mythical and miraculous accretions; the hero’s manhood interests us more than his divinity, and this applies as much to our conception of Christ or Krishna or Buddha as it does to our conceptions of Cuchullain or Sigurd or Gilgamesh. We treat the mythical elements of the story, which are its essence, as its accidents, and substitute anecdote for meaning.
The secularisation of art and the rationalisation of religion are inseparably connected, however unaware of it we may be. It follows that for any man who can still believe in the eternal birth of any avatar (“Before Abraham was, I am”) the content of works of art cannot be a matter of indifference; the artistic humanisation of the Son or of the Mother of God is as much a denial of Christian truth as any form of verbal rationalism or other heretical position.
The vulgarity of humanism appears nakedly and unashamed in all euhemerism.
It is by no accident that it should have been discovered only comparatively recently that art is essentially an “aesthetic” activity. No real distinction can be drawn between aesthetic and materialistic; aisthesis being sensation, and matter what can be sensed.
So we regard the lack of interest in anatomy as a defect of art, the absenceof psychological analysis as evidence of undeveloped character; we deprecate the representation of the Bambino as a little man rather than as a child, and think of the frontality of the imagery as due to an inability to realise the three-dimensional mass of existing things; in place of the abstract light that corresponds to the gnomic aorists of the legend itself we demand the cast shadows that belong to momentary effects. We speak of a want of scientific perspective, forgetting that perspective in art is a kind of visual syntax and only a means to an end. We forget that while our perspective serves the purposes of representation in which we are primarily interested, there are other perspectives that are more intelligible and better adapted to the communicative purposes of the traditional arts.
In deprecating the secularisation of art we are not confusing religion with art, but seeking to understand the content of art at different times with a view to unbiased judgment. In speaking of the decadence of art, it is really the decadence of man from intellectual
to sentimental interests that we mean. For the artist’s skill may remain the same throughout: he is able to do what he intends.
It is the mental image to which he works that changes : that “art has fixed ends” is no longer true as soon as we know what we like instead of liking what we know. Our point is that without an understanding of the change, the integrity of even a supposedly objective historical study is destroyed; we judge the traditional works, not by their actual accomplishment, but by our own intentions, and so inevitably come to believe in a progress of art, as we do in the progress of man.
Ignorant of the traditional philosophy and of its formulae we often think of the artist as having been trying to do just what he may have been consciously avoiding. For example, if Damascene says that Christ from the moment of his conception possessed a “rational and intellectual soul,” if as St. Thomas Aquinas says “his body was perfectly formed and assumed in the first instant,” if the Buddha is said to have spoken in the womb, and to have taken seven strides at birth, from one end to the other of the universe, could the artist have intended to represent either of the newborn children as a puling infant?
If we are disturbed by what we call the “vacancy” of a Buddha’s expression, ought we not to bear in mind that he is thought of as the Eye in the World, the impassible spectator of things as they really are, and that it would have been impertinent to have given him features molded by human curiosity or passion?
If it was an artistic canon that veins and bones should not be made apparent, can we blame the Indian artist as an artist for not displaying such a knowledge of anatomy as might have evoked our admiration?
If we know from authoritative literary sources that the lotus on which the Buddha sits or stands is not a botanical specimen, but the universal ground of existence inflorescent in the waters of its indefinite possibilities, how inappropriate it would have been to represent him in the solid flesh precariously balanced on the surface of a real and fragile flower! The same considerations will apply to all our reading of mythology and fairy tale, and to all our judgments of primitive, savage or folk art: the anthropologist whose interest is in a culture is a better historian of such arts than is the critic whose only interest is in the aesthetic surfaces of the artifacts themselves.
In the traditional philosophy, as we cannot too often repeat, “art has to do with cognition”; beauty is the attractive power of a perfect expression. This we can only judge and only really enjoy as an “intelligible good, which is the good of reason” if we have really known what it was that was to be expressed. If sophistry be “ornament more than is appropriate to the thesis of the work,” can we judge of what is or is not sophistry if we ourselves remain indifferent to this content? Evidently not. One might as well attempt the study of Christian or Buddhist art without a knowledge of the corresponding philosophies as attempt the study of a mathematical papyrus without the knowledge of mathematics.
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A.K.C.: The Christian and Oriental, or True, Philosophy of Art
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October 11-15, 2014
SSIR Technology, Cognition and Behavior fall break trip to San Francisco, Palo Alto, and Mountain View, California