The Effect of Water Consumption on Schoolchildren's Fine Motor Skills, Cognitive Function and Mood

Previous research has suggested that dehydration may have a negative effect on some aspects of mood, cognitive performance and motor skills (Benton, 2011). Furthermore, a large proportion of children arrive at school in a dehydrated state (Baron, Courbebaisse, Lepicard, & Friedlander, 2015). The present work investigated whether supplementing children with water may, as a consequence of reducing dehydration, improve their cognitive performance and motor skills. In studies 1, 2, 3 and 5, it was found that tasks that predominantly tested motor skills, were improved in children who had a drink, compared to those who did not. Furthermore, study 3 showed that this effect was moderated by hydration status. One theoretical explanation for the poorer performance of dehydrated children is that they may lack the neurological resources to sustain their effort and thus performance does not improve over time. In support of this, these studies showed that, when re-hydrated, performance on these tasks improves to the level of non-dehydrated children. Study 2 showed that the number of errors increased in a StopSignal task in children that had high self-rated levels of thirst, compared to low levels: and hydration status did not moderate this effect. A possible explanation for the increased number of errors in children with high self-rated thirst is that the thirst sensation diverts attention away from the task, causing task performance to deteriorate. In study 4, it was observed that there was a large variation in intra-individual and inter-individual hydration scores throughout the day, which was not related to volume drank or levels of thirst. Further studies should use imaging techniques to study brain activity during dehydration and rehydration, and during periods of high thirst, to help to further elucidate the mechanism underlying the negative effect of dehydration on motor performance, and the effect of self-rated thirst on attention.

Positive psychology – The second wave

It is nearly twenty years since Martin Seligman used his 1998 American Psychological Association presidential address to inaugurate the notion of ‘positive psychology.’ The rationale for its creation was Seligman’s contention that psychology had hitherto tended to focus mainly on what is wrong with people, on dysfunction, disorder and distress. There were of course pockets of scholarship that held a candle for human potential and excellence, like humanistic psychology. Nevertheless, on the whole, he argued that concepts such as happiness did not attract much attention or credibility in mainstream psychology. Emerging to redress this lacuna, positive psychology soon became a fertile new paradigm, encompassing research into a panoply of processes and qualities that could be deemed ‘positive,’ from overarching constructs such as flourishing, to more specific concepts like hope.

May the Giant Be With You: Twin Peaks Season Two, Episode One and the Television Auteur

The premiere of Season Two of Twin Peaks garnered some of the highest ratings of the series, with celebrated filmmaker and co-creator David Lynch stepping back into the director’s chair. Yet, within this episode many traditional television conventions are flouted, and in response the following week the ratings dropped dramatically. From its slow-paced opening scenes in which an old man admonishes the wounded, bleeding protagonist to drink his warm milk before it gets cold, followed by a vision of a giant speaking in riddles, this episode not only tested its audience’s patience but also seemed to set out to deliberately confuse them. In this essay I will explore how this episode is an example of auteur television, an episode in which the director expresses a consistency of style and theme that is similar to their other work, as well as examine how Lynch’s approach to televisual aesthetics has influenced the way that contemporary film directors have crossed over into the television medium. However, when taking into account the differences in the two media of film and television notions of authorship, with regards to the position of the director, become complicated, especially when considering contemporary television and the rise of the showrunner as key creative force. Even when looking back at Lynch’s contribution to Twin Peaks it becomes clear that the series was deeply collaborative, with Lynch absent during parts of the filming. Yet, when examining the extensive material that has been written about Twin Peaks there is still a continuing tendency to place Lynch as the sole author. The placement of Lynch as author can be argued in relation to the episodes he directed (as will be explored below in relation to the first episode of Season Two), but cannot be attributed to him alone when considering the series as a whole. Finally, I will discuss how the figure of the television auteur has become a central element of television reception rather than production, an integral part of a viewer’s search for narrative meaning in a medium where complexity and mystery are now expected and enjoyed. Just as fans scrambled to uncover the many secrets and mysteries of Twin Peaks by looking to Lynch’s other works for answers, a similar process is experienced by fans of television shows existing today.

Live Work: The Impact of Direct Encounters in Statutory Child and Family Social Wor

The aim of this research project was to examine the impact of direct work on practitioners in the field of statutory child protection. The author’s premise was that this work was anything but straightforward and that surprisingly, given the intense scrutiny on Children’s Services following a child death, there was little research into the day-to-day practice of front line staff. The aim was to explore whether psychoanalytic theory could be useful in understanding and making sense of the social work task. Data was collected through observation and semi-structured interviews in one Local Authority Child in Need team over a period of six months. The findings indicated that practitioners experienced direct work with some individuals and families as profoundly disturbing and that this affected them physiologically as well as psychologically. These effects persisted over time and appeared very difficult for the workers to process or articulate. This could be expressed through embodied or non-verbal communication in the interview. Practitioners appeared to be ‘inhabited’ by particular clients, suggesting phenomena such as projective identification were in operation. The intensity and persistence of the impact on the practitioners appears to be directly related to the quality, nature and intensity of the psychic defences functioning for the particular client. Significantly, the research indicated that when practitioners were dealing with the negative and disturbing projections from the (adult) clients it seemed from the data that the focus on the child would slip so that the child appeared to recede from view. Symptoms experienced by the practitioners were akin to trauma and research and theory on primary and secondary trauma were considered. Other issues raised included shame, which affects the clients, practitioners and the organisation and the meaning and implications of this are explored. Links between neuroscience and projective identification are addressed as well as the role of the organisation, particularly as a container for these toxic and disturbing encounters.