111 resultados para Conscious Sedation


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Creative problem solving is essential to technology education. In our research project we explored the suggestion that creativity may need to include a time of ‘non-thinking’ during which innovative responses to problem tasks are generated. The period of non-conscious cognitive process (NCCP) time is considered to be when the brain makes connections between independent ideas and when inappropriate responses can be forgotten, allowing more relevant responses to be made available for problem solving. Our research provided an opportunity for several primary school teachers to focus on enhancing creativity in technology education and to explore the notion of the NCCP time for creative problem solving. In this chapter we review the current literature on enhancing creativity and comment on how the teachers fostered creativity as they implemented a design, make and appraise technological task to produce recycling devices in their classrooms. Classes and children were observed and teachers interviewed about their perception of children’s creativity and the NCCP time. In this study, a time frame of only several days appears to be ideal for non-conscious cognitive processing to occur and more time may hinder creativity. These findings have implications for teachers of technology who assign the same day and time each week for technology learning.
During the non-task time, which included the NCCP time, children were able to discuss their ideas with family members. As children learn in social and cultural contexts, these discussions can be fruitful. The teachers indicated that peer discussions also played an important role after the generation of designs.

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Vernacular dwelling buildings located in hot arid regions are well known for their sensitive architecture response to the region’s climatic conditions and the socio-cultural norms. The architectural value of these buildings is not only limited to their historical merit, but also to the human conscious adaptation to its context and the optimum utilisation of natural resources creating both a pleasant and a functional environment. The majority of these traditional dwellings are well recognised for their unique perforated fenestration system and courtyard arrangement that evolved to control the harsh solar, climatic conditions without compromising the quality of space and occupants’ wellbeing. However, the successful design of these features and solutions cannot be fully appreciated without understanding the nature of daylight and solar radiation in which these buildings are revealed. This paper investigates the impact of the characteristic of the dense narrow streets of medieval cities on the visual performance of a typical courtyard house in Cairo.The paper examines the daylight  behaviour of one of the well-known historic alleys and of a courtyard house in Cairo. The paper analyzes and measures the variability in the visual perception and comfort for a typical pedestrian street and the occupants of the house using a simulation modelling tool (Integrated Environmental Solutions (IES) software). The paper gives an insight into the overall visual performance of the urban fabric that shapes of the microclimate, which is an important ingredient of the overall identity of the place.

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John Dewey was very much against dividing the spiritual from the material and claimed that both are present in action, typically through the notion of ends-in-view. He argued that genuinely creative actions require individuals with “significant conscious desires”. However this sort of creativity does not often occur due to our “intellectual laziness” which detracts us from making the effort to truly uncover ultimate and significant desires in our lives. It will be argued in this paper that the creativity promoted through a Deweyan education encourages individuals to face their fear of inner freedom and actively inquire into the spiritual dimension of life which is existential rather than idealistic. The case will be made that educated persons should be enabled, through experience, to actively and freely inquire into ends-in-view, including the ultimate and significant issues regarding the meaning and purpose of life.

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Background Research has suggested that well siblings of children with chronic and life-threatening illnesses are at risk for negative outcomes and that parents’ responses to the illnesses can influence the adaptation of well siblings. Yet, parents’ efforts to look after well siblings in the context of illness are rarely considered in literature about sibling adaptation. The importance of attending to the needs of well siblings was a major theme to emerge from a qualitative analysis of the experiences of parents of adolescent girls with anorexia nervosa.

Methods In-depth interviews were conducted with 24 parents of adolescent girls with anorexia and analysed using grounded theory method.

Results The data indicated that parents viewed caring for well siblings in the context of anorexia as an important role and responsibility. Parents reported making conscious and active efforts to look after well siblings by: maintaining normality; compensating for changes to routines; protecting siblings; providing emotional support; and managing the consequences.

Conclusions This paper provides a picture of the actions parents take to help well siblings adapt to anorexia in the family. Further research is needed to develop and expand this understanding to families experiencing a wide range of chronic and life-threatening illnesses. The findings underline the importance of clinical attention and further research into the critical parental role of caring for well siblings.

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This essay proposes that a precondition for considering how teacher education can address issues of citizenship requires clarification of the identity of a civically active teacher and the purposes of teacher education. I argue for the development of critically conscious teachers, and examine how the construction and pedagogies of teacher education can support this goal. Drawing on selected examples of current practices in teacher education programs in Australia, it is argued that the aim of teacher education is to re-orientate pedagogies inside the tertiary classroom, and reposition the pedagogies of teacher education beyond the tertiary classroom to generate the transformative learning experiences needed to develop critically conscious teachers who can nurture citizens of the future.

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The strategic, tactical and operational levels of an organization may have different perceptions and convictions on how the organization’s behaviours and practices of business ethics should be managed in the marketplace and the surrounding society. We examine organizations’ behaviours and practices of business ethics in the marketplace and the surrounding society with the aid of complexity sciences. The objective is to describe organizations’ behaviours and practices of business ethics using different teleological approaches. Unethical behaviours and practices may be the outcome of conscious actions, but they may also be subconscious. We will discuss reasons for both possibilities of unethical behaviours and practices by organizations, their managers and employees. An important insight based upon the presented illustrations and analogies is that the different teleological approaches to business ethics in behaviours and practices may be consecutive and simultaneous within an organization. An essential subject for further research is how to deal with the durabilty and variabitlity of behaviours and practices of business ethics of organizations in the marketplace and the surrounding society.

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This is a report of a practice-as-research project. The chapter outlines McArdle's discoveries of means by which the pre-conscious processes of binocular vision and steropsis can be made visible in an effect which with one-eyed vision renders the scene 3-dimensional.

In the book's introduction editor Mehigan writes "[The] will to creation is only assayable once we estimate the role of the observer in the construction of space. McArdle's contribution, in engaging with the question of the animating presence of the observer focuses not just on what is caught in the lens of the photographer at the moment of depiction, but how the photographer's movement through space is the 'force field' that insinuates itself into the landscape and enters into a reciprocal relationship with it. The schematism of Euclidean geometry, for this reason, cannot account for the truth of the photographer's images; McArdle's metaphors are singularly non-Euclidean in their description of how objects are held together in the imaginative space of mental awareness."

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Distinctive architecture, which once served to identify peoples and places, has now, across the world, been subject to the standardising forces of history. Built environments still reflect the conceptual, spatial and physical construction of communities, though straightforward correlations between particular forms of architecture, places and people can no longer be taken for granted. This article explores these notions through discussion of several Southeast Asian examples, seeing how the relationship between architecture and culture might be framed by each of them, and then how definitions of culture might be differently expressed depending on each context. The first context is the village. Here, recent buildings are produced within a traditional, rural culture, generally without recourse to architects. Indigenous symbolism is overlaid, but not necessarily subsumed, by imported typologies and ideologies. The second context is urban and more formalised and involves self-conscious architectural attempts to straddle tradition and modernity, as well as notions of broader collective identity. The third context is one of a more diffused globalisation. Issues of conservation and heritage are complicated by the imperial or colonial histories of many urban environments, as well as by the pressures of economic development and population growth. In cultural terms, however, it is the life of cities that is foregrounded here. This disparate collection of architectural projects and agendas reflects a region where the forces of essentialism and fragmentation continue to be in creative tension (Ashraf 2005).

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The idea of sustainable development is distinct from the idea of restoring or conserving nature. This concept is embedded in the Rio Declaration on Environment and Development (1992) which Indonesia and several countries around the world have signed. Sustainable development seeks to interlace humans and nature, while restoration (especially at the large scale) often allows nature to be addressed separately, sometimes out of remorse for the damage caused by humans. In terms of attaining sustainable natural resource development, the opportunities offered by traditional ecological knowledge documentation are considered essential in enabling the achievement of sustainability because most of these Indigenous and/or local communities are situated in areas where many species have been historically cultivated and used in a sustainable way for thousands of years. The skill and techniques of these local communities can provide valuable information for the global community to evaluate current environmental policies. Such research and evaluation is often robustly and best undertaken through ethnoecological methodological paradigms. This paper examines the traditional environment knowledge of the Minahasan ethnic community, who live in the surrounds of Lake Tondano in the North Sulawesi, together with the Minahasan conscious and unconscious actions in conserving their forest ecology in addition to their knowledge of culture about forest protection in the region. In particular, contemporary use of traditional environmental knowledge is examined in terms of its relevance to in traditional resource management and land use planning, as avenues to better curate and manage natural resources through informed regional planning strategies and mechanisms.

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It is noted in the introduction to this book that ' Festivals are believed to recreate and emphasize relationships that are normally submerged; of being built in structures whilst following unstructured codes, of creating a separate world with its own rules, personnel and expectations; of encompassing contradictory ideas and practices while involving formal and informal institutions: So what is this 'separate world'? What relationships, normally unseen or unnoticed, are made apparent within the space of the festival? While the origins of festivals lie in the close relationship of the quotidian and ritual aspects of traditional communities, how do contemporary festivals relate to the diversity of multicultural societies? Conversely, how are they inflected by the forces of globalization, by the festivalization of culture that in recent years has become a widespread tactic for the promotion of cities and regions? While many traditional festivals still exist, increasing urbanization, improved communications and diversified migration have meant that many contemporary festivals are of recent origin, the products of what Giddens refers to as the post-traditional state of present societies (Giddens 1994). This description highlights the self-conscious nature of dealing with culture in a world of competing and overlapping world views. While cultural identity and authenticity are still used to infer the existence of qualities intrinsic to communities, ethnicities or nations, the fragmentation and interconnectedness of contemporary societies have long made assertions of essence untenable. Meanings have become dependent on performativity and context. Cultural identity, while traditionally applied to those sharing a particular geographic, linguistic, ethnic or religious background, has become extended to other senses of belonging, to communities based on sexuality, physicality or simply shared experience and taste. The notion that festivals might create separate worlds suggests that part of the reason for their recent proliferation in recent times is that they provide the ideal medium for both performance and participation in this diffuse and shifting environment.

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My novel is a collection of interrelated stories. Each story is framed by the idiosyncrasies and prejudices of a different first-person voice. There are gaps in narrative time and there is disparity between the narrators’ voices. The result is a ‘discontinuous narrative’; this term describes the early work of Frank Moorhouse: ‘an innovative narrative method using interconnected stories’ (Griffith University 2011).
As I draft and re-draft the stories, I am forced to assess the interaction between the voices. I am aware of the disjuncture, and I ask myself: Why not tell the story through the eyes of one narrator? Why not choose a third-person perspective, an omniscient narrator who might collect all of the voices together, in a coherent way?
As I second-guess my approach, I realise that the splintering of voices feels like the right way to tell the story and, in this way, I approach the question of methodology. I am aware that a sense of disjuncture arises out of the medley of voices, but I also realise that the disjuncture is carefully constructed; it is not accidental. This is an intuitive judgement.
If I edit my novel ethically, I ask what the discontinuity achieves, rather than how it fails in the context of logic. This means that I recognise that the narrative begins from a place that does not worry about logic, and I realise that second-guessing the surface content of the narrative, from a rational perspective, may be counterproductive.
The conscious mind, fettered as it is with inhibitions, may fail to see that the logical track is not necessarily the most productive route. The conscious mind may not recognise that going off-track is the way forward and, perhaps, the only way that the story can become something other than what I, in my rational mind, believe that it should be.
Ethical editing means that I am attentive to my intuitive response to the narrative; it means that I tolerate incongruous elements of the narrative, even if they do not fit the criteria of logic.
Ethical editing is a meeting of minds (both mine); the fully conscious mind meets the work of the subconscious mind with surprise and approval, at best, skepticism and derision, at worst. The work of the subconscious mind is elusive but it need not be subjugated to logical, rational considerations, for this means that I delimit the work of the subconscious; it means I assess the discontinuity on the basis of an external operating system; it means that I impose certain criteria upon the surface narrative, criteria that has nothing to do with understanding why the discontinuity exists in the first instance.
Alternatively, when I pay heed to a primal moment of narrative composition, a moment that is not necessarily consciously determined or logical, I apprise the surface of the narrative as a metaphorical map, I attempt to engage with the possibilities for meaning that the map encompasses; this constitutes a quest for the unstable how of meaning attribution.

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Medullary catecholamine and hypothalamic neurosecretory oxytocin cells are activated by hypotension, but previous studies have provided uncertain outcomes concerning their ability to respond to a purely hypovolaemic stimulus. In the present study, injections of PEG/water and pentolinium were used to elicit non-hypotensive, isosmotic hypovolaemia and isovolaemic, isosmotic hypotension, respectively, in conscious rats. Animals were sacrificed 2 h after treatment. Immunolabelling for Fos, tyrosine hydroxylase and oxytocin established that these two stimuli activate almost identical populations of catecholamine neurons in the ventrolateral and dorsomedial medulla, and very similar populations of oxytocin cells in the supraoptic and paraventricular nuclei of the hypothalamus.

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Since Licklider in the 1960s [27] influential proponents of networked computing have envisioned electronic information in terms of a relatively small (even singular) number of 'sources', distributed through technologies such as the Internet. Most recently, Levy writes, in Becoming Virtual, that "in cyberspace, since any point is directly accessible from any other point, there is an increasing tendency to replace copies of documents with hypertext links. Ultimately, there will only need to be a single physical exemplar of the text" [13 p.61]. Hypertext implies, in theory, the end of 'the copy', and the multiplication of access points to the original. But, in practice, the Internet abounds with copying, both large and small scale, both as conscious human practice, and also as autonomous computer function. Effective and cheap data storage that encourages computer users to keep anything of use they have downloaded, lest the links they have found, 'break'; while browsers don't 'browse' the Internet - they download copies of everything to client machines. Not surprisingly, there is significant regulation against 'copying' - regulation that constrains our understanding of 'copying' to maintain a legal fiction of the 'original' for the purposes of intellectual property protection. In this paper, I will firstly demonstrate, by a series of examples, how 'copying' is more than just copyright infringement of music and software, but is a defining, multi-faceted feature of Internet behaviour. I will then argue that the Internet produces an interaction between dematerialised, digital data and human subjectivity and desire that fundamentally challenges notions of originality and copy. Walter Benjamin noted about photography: "one can make any number of prints [from a negative]; to ask for the 'authentic' print makes no sense" [4 p.224]. In cyberspace, I conclude, it makes no sense to ask which one is the copy.

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The study aims to identify the reasons for, and outcomes from, unplanned transfers from subacute care to acute care. A retrospective patient record review of patients requiring unplanned transfer from subacute to an acute care emergency department (ED) from 1 July 2008 to 30 June 2009 was undertaken. Data collected included patient demographics, clinical characteristics in preceding transfer, and on ED arrival and outcome data. There were 136 patients included in the study with a median age of 81 years. The most common reasons for transfer were respiratory problems and altered conscious state. In the 24 h preceding transfer, 92.6% of patients had ≥ 1 physiological abnormality and 10.3% of patients had no physiological parameters documented. On ED arrival, 75% of patients had physiological abnormalities. Hospital admission occurred in 75% of patients and the inpatient mortality rate was 14.7%. Factors associated with inpatient mortality were tachypnoea and severe hypoxaemia in 24 h preceding transfer and tachypnoea, hypoxaemia, hypoxaemia, severe hypoxaemia and hypothermia on ED arrival. Patients requiring unplanned transfer had higher inpatient mortality than older hospital users. Reasons for unplanned transfer reflect known predictors of in-hospital adverse events so predictive use of physiological data and patient characteristics might optimize patient safety.

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Like many major urban developments designed by modernist architects. Kenzo Tange's Hiroshima Peace Memorial Park is considered by some to be founded upon tabula rasa- a blank site and/or architectural approach unconstrained by historic and aesthetic precedents. Tabula rasa is associated with a tendency to 'forget' or repress the past in order to opportunistically move on with the future. Constructed near 'ground zero' - on the site of just part of the established urban environment obliterated by the atomic bombing of Hiroshima on 6 August 1945- the tabula rasa here, however, is not achieved simply due to a conscious or critical urban design decision to move away from past urban forms and practices but through an unforseen trauma. This paper questions the application of an unqualified label of tabula rasa to Tange's Hiroshima Peace Memorial Park. Focusing on Tange's writing about the Peace Park - a 1954 article entitled "Hiroshima Plan 1946-1953" in particular - and reflecting on the repeated architectural returns of Kenzo Tange and Associates to the site, this paper raises Freud's "Mystic Writing Pad" as an alternative model. It argues for a more complex consideration of the memory-work of Tange's written practice and the light it may bring to a reconsideration of this foundational architectural project within his oeuvre.