Miami Art Show, June 1, 1974

In the late 1970s, FIU had an enrollment of less than 5,000 and two buildings made up the entire campus. Adjunct professor, at the time, Dahlia Morgan was asked to take over the art museum, which was then called the Visual Arts Gallery. During her long career with Florida International University, Dahlia Morgan transformed a modest student gallery on the Miami campus into an internationally celebrated art museum. In 1980, after teaching for five years in the visual arts department she accepted the directorship of the university’s Patricia & Phillip Frost Art Museum (formerly the Art Museum at FIU). As director and curator, Morgan instituted a lecture series, increased the frequency of exhibitions and developed numerous other programs including a student internship program. The Steven and Dorothea Green Critics’ Lecture Series was started by Morgan in 1981 and has now organized, hosted and presented over 100 lectures by internationally renowned artists, critics and scholars who include Pierre Rosenberg, former Director of the Louvre; Hilton Kramer, Art Critic; Helen Frankenthaler, American artist; and Michael Graves, architect and designer. In 1985 Morgan started the exhibition series “American Art Today,” which featured an annual examination of a specific subject or concept in American Art. Morgan curated and organized over 200 exhibitions during her directorship. Under Morgan, the Frost Art Museum grew to achieve local, national and international recognition as one of South Florida’s key cultural institutions. In 1999 the museum received accreditation from the American Association of Museums and in 2001 became an affiliate of the Smithsonian Institution. With the turn of the 21st Century the initiative to build a new facility took shape and in 2008, the new 46,000 square foot Patricia and Phillip Frost Art Museum opened to the public. Morgan is a four time National Endowment for the Arts Grants Panelist and member of the Art Basel Miami, Host Committee. She is listed in “Who’s Who in American Art” and in “Who’s Who of American Women.” Morgan’s largest accomplishment was seeing the completion of the 45,000 square foot Frost Art Museum built across from the Wertheim Performing Arts Center. Morgan’s fund raising techniques helped her raise over $12 million for its development. For 25 years, Morgan has served as director of FIU’s Frost Art Museum.

Miami Art Show, June 1, 1974

In the late 1970s, FIU had an enrollment of less than 5,000 and two buildings made up the entire campus. Adjunct professor, at the time, Dahlia Morgan was asked to take over the art museum, which was then called the Visual Arts Gallery. During her long career with Florida International University, Dahlia Morgan transformed a modest student gallery on the Miami campus into an internationally celebrated art museum. In 1980, after teaching for five years in the visual arts department she accepted the directorship of the university’s Patricia & Phillip Frost Art Museum (formerly the Art Museum at FIU). As director and curator, Morgan instituted a lecture series, increased the frequency of exhibitions and developed numerous other programs including a student internship program. The Steven and Dorothea Green Critics’ Lecture Series was started by Morgan in 1981 and has now organized, hosted and presented over 100 lectures by internationally renowned artists, critics and scholars who include Pierre Rosenberg, former Director of the Louvre; Hilton Kramer, Art Critic; Helen Frankenthaler, American artist; and Michael Graves, architect and designer. In 1985 Morgan started the exhibition series “American Art Today,” which featured an annual examination of a specific subject or concept in American Art. Morgan curated and organized over 200 exhibitions during her directorship. Under Morgan, the Frost Art Museum grew to achieve local, national and international recognition as one of South Florida’s key cultural institutions. In 1999 the museum received accreditation from the American Association of Museums and in 2001 became an affiliate of the Smithsonian Institution. With the turn of the 21st Century the initiative to build a new facility took shape and in 2008, the new 46,000 square foot Patricia and Phillip Frost Art Museum opened to the public. Morgan is a four time National Endowment for the Arts Grants Panelist and member of the Art Basel Miami, Host Committee. She is listed in “Who’s Who in American Art” and in “Who’s Who of American Women.” Morgan’s largest accomplishment was seeing the completion of the 45,000 square foot Frost Art Museum built across from the Wertheim Performing Arts Center. Morgan’s fund raising techniques helped her raise over $12 million for its development. For 25 years, Morgan has served as director of FIU’s Frost Art Museum.

The role of temporal synchrony in the facilitation of perceptual learning during prenatal development

This study explored the critical features of temporal synchrony for the facilitation of prenatal perceptual learning with respect to unimodal stimulation using an animal model, the bobwhite quail. The following related hypotheses were examined: (1) the availability of temporal synchrony is a critical feature to facilitate prenatal perceptual learning, (2) a single temporally synchronous note is sufficient to facilitate prenatal perceptual learning, with respect to unimodal stimulation, and (3) in situations where embryos are exposed to a single temporally synchronous note, facilitated perceptual learning, with respect to unimodal stimulation, will be optimal when the temporally synchronous note occurs at the onset of the stimulation bout. To assess these hypotheses, two experiments were conducted in which quail embryos were exposed to various audio-visual configurations of a bobwhite maternal call and tested at 24 hr after hatching for evidence of facilitated prenatal perceptual learning with respect to unimodal stimulation. Experiment 1 explored if intermodal equivalence was sufficient to facilitate prenatal perceptual learning with respect to unimodal stimulation. A Bimodal Sequential Temporal Equivalence (BSTE) condition was created that provided embryos with sequential auditory and visual stimulation in which the same amodal properties (rate, duration, rhythm) were made available across modalities. Experiment 2 assessed: (a) whether a limited number of temporally synchronous notes are sufficient for facilitated prenatal perceptual learning with respect to unimodal stimulation, and (b) whether there is a relationship between timing of occurrence of a temporally synchronous note and the facilitation of prenatal perceptual learning. Results revealed that prenatal exposure to BSTE was not sufficient to facilitate perceptual learning. In contrast, a maternal call that contained a single temporally synchronous note was sufficient to facilitate embryos’ prenatal perceptual learning with respect to unimodal stimulation. Furthermore, the most salient prenatal condition was that which contained the synchronous note at the onset of the call burst. Embryos’ prenatal perceptual learning of the call was four times faster in this condition than when exposed to a unimodal call. Taken together, bobwhite quail embryos’ remarkable sensitivity to temporal synchrony suggests that this amodal property plays a key role in attention and learning during prenatal development.

Acute Effects of Neuromuscular-Training with Handheld-Vibration on Elbow Joint Position Sense

Context: Clinicians use exercises in rehabilitation to enhance sensorimotor-function, however evidence supporting their use is scarce. Objective: To evaluate acute effects of handheld-vibration on joint position sense (JPS). Design: A repeated-measure, randomized, counter-balanced 3-condition design. Setting: Sports Medicine and Science Research Laboratory. Patients or Other Participants: 31 healthy college-aged volunteers (16-males, 15-females; age=23+3y, mass=76+14kg, height=173+8cm). Interventions: We measured elbow JPS and monitored training using the Flock-of-Birds system (Ascension Technology, Burlington, VT) and MotionMonitor software (Innsport, Chicago, IL), accurate to 0.5°. For each condition (15,5,0Hz vibration), subjects completed three 15-s bouts holding a 2.55kg Mini-VibraFlex dumbbell (Orthometric, New York, NY), and used software-generated audio/visual biofeedback to locate the target. Participants performed separate pre- and post-test JPS measures for each condition. For JPS testing, subjects held a non-vibrating dumbbell, identified the target (90°flexion) using biofeedback, and relaxed 3-5s. We removed feedback and subjects recreated the target and pressed a trigger. We used SPSS 14.0 (SPSS Inc., Chicago, IL) to perform separate ANOVAs (p<0.05) for each protocol and calculated effect sizes using standard-mean differences. Main Outcome Measures: Dependent variables were absolute and variable error between target and reproduced angles, pre-post vibration training. Results: 0Hz (F1,61=1.310,p=0.3) and 5Hz (F1,61=2.625,p=0.1) vibration did not affect accuracy. 15Hz vibration enhanced accuracy (6.5±0.6 to 5.0±0.5°) (F1,61=8.681,p=0.005,ES=0.3). 0Hz did not affect variability (F1,61=0.007,p=0.9). 5Hz vibration decreased variability (3.0±1.8 to 2.3±1.3°) (F1,61=7.250,p=0.009), as did 15Hz (2.8±1.8 to 1.8±1.2°) (F1,61=24.027, p<0.001). Conclusions: Our results support using handheld-vibration to improve sensorimotor-function. Future research should include injured subjects, functional multi-joint/multi-planar measures, and long-term effects of similar training.

The Role of Temporal Synchrony in the Facilitation of Perceptual Learning during Prenatal Development

This study explored the critical features of temporal synchrony for the facilitation of prenatal perceptual learning with respect to unimodal stimulation using an animal model, the bobwhite quail. The following related hypotheses were examined: (1) the availability of temporal synchrony is a critical feature to facilitate prenatal perceptual learning, (2) a single temporally synchronous note is sufficient to facilitate prenatal perceptual learning, with respect to unimodal stimulation, and (3) in situations where embryos are exposed to a single temporally synchronous note, facilitated perceptual learning, with respect to unimodal stimulation, will be optimal when the temporally synchronous note occurs at the onset of the stimulation bout. To assess these hypotheses, two experiments were conducted in which quail embryos were exposed to various audio-visual configurations of a bobwhite maternal call and tested at 24 hr after hatching for evidence of facilitated prenatal perceptual learning with respect to unimodal stimulation. Experiment 1 explored if intermodal equivalence was sufficient to facilitate prenatal perceptual learning with respect to unimodal stimulation. A Bimodal Sequential Temporal Equivalence (BSTE) condition was created that provided embryos with sequential auditory and visual stimulation in which the same amodal properties (rate, duration, rhythm) were made available across modalities. Experiment 2 assessed: (a) whether a limited number of temporally synchronous notes are sufficient for facilitated prenatal perceptual learning with respect to unimodal stimulation, and (b) whether there is a relationship between timing of occurrence of a temporally synchronous note and the facilitation of prenatal perceptual learning. Results revealed that prenatal exposure to BSTE was not sufficient to facilitate perceptual learning. In contrast, a maternal call that contained a single temporally synchronous note was sufficient to facilitate embryos’ prenatal perceptual learning with respect to unimodal stimulation. Furthermore, the most salient prenatal condition was that which contained the synchronous note at the onset of the call burst. Embryos’ prenatal perceptual learning of the call was four times faster in this condition than when exposed to a unimodal call. Taken together, bobwhite quail embryos’ remarkable sensitivity to temporal synchrony suggests that this amodal property plays a key role in attention and learning during prenatal development.

Art teachers' attitudes toward the Florida Sunshine State Standards for the Visual Arts

The State of Florida developed the Sunshine State Standards For the Arts Curriculum Framework as part of an initiative to raise student achievement in response to national calls for educational reform. The content-based art education approach used in the Sunshine State Standards reflects a viewpoint advocated by prominent art educators and professional art education organizations for more than two decades. Successful implementation of the Sunshine State Standards curriculum approach requires that art teachers be acquainted with and knowledgeable in the four foundational content areas of the arts: studio art, art history, art criticism, and aesthetics. ^ The purpose of this study was to examine art teachers' viewpoints and attitudes toward the content-based art education approach contained in the Florida Curriculum Framework Sunshine State Standards for the Visual Arts. A survey was conducted in order to obtain these viewpoints. Surveys were sent to 440 Miami-Dade County Public School art teachers. A total of 138 elementary, middle and senior high school level art teachers participated in the study. ^ Factors and variables explored in this study included teachers' level of education, type of community, and grade levels taught. The principal methods of analyses employed in the study were descriptive statistics used to display frequencies and percentages. In addition, cross tabulations with Chi-square tests, and Mann-Whitney U tests were used to examine responses to the survey items. ^ The results of the study revealed that the majority of art teachers supported the content-based art education approach used in the Sunshine State Standards for the Arts. However significant differences appeared in the responses to survey items as a result of art teachers' level of education, type of community, and grade levels. The results of this study indicate a need for further examination of teacher training and professional development programs. ^

System-on-a-Chip (SOC) based environmental monitoring platform for the detection of hazardous materials

The purpose of this research is design considerations for environmental monitoring platforms for the detection of hazardous materials using System-on-a-Chip (SoC) design. Design considerations focus on improving key areas such as: (1) sampling methodology; (2) context awareness; and (3) sensor placement. These design considerations for environmental monitoring platforms using wireless sensor networks (WSN) is applied to the detection of methylmercury (MeHg) and environmental parameters affecting its formation (methylation) and deformation (demethylation). ^ The sampling methodology investigates a proof-of-concept for the monitoring of MeHg using three primary components: (1) chemical derivatization; (2) preconcentration using the purge-and-trap (P&T) method; and (3) sensing using Quartz Crystal Microbalance (QCM) sensors. This study focuses on the measurement of inorganic mercury (Hg) (e.g., Hg2+) and applies lessons learned to organic Hg (e.g., MeHg) detection. ^ Context awareness of a WSN and sampling strategies is enhanced by using spatial analysis techniques, namely geostatistical analysis (i.e., classical variography and ordinary point kriging), to help predict the phenomena of interest in unmonitored locations (i.e., locations without sensors). This aids in making more informed decisions on control of the WSN (e.g., communications strategy, power management, resource allocation, sampling rate and strategy, etc.). This methodology improves the precision of controllability by adding potentially significant information of unmonitored locations.^ There are two types of sensors that are investigated in this study for near-optimal placement in a WSN: (1) environmental (e.g., humidity, moisture, temperature, etc.) and (2) visual (e.g., camera) sensors. The near-optimal placement of environmental sensors is found utilizing a strategy which minimizes the variance of spatial analysis based on randomly chosen points representing the sensor locations. Spatial analysis is employed using geostatistical analysis and optimization occurs with Monte Carlo analysis. Visual sensor placement is accomplished for omnidirectional cameras operating in a WSN using an optimal placement metric (OPM) which is calculated for each grid point based on line-of-site (LOS) in a defined number of directions where known obstacles are taken into consideration. Optimal areas of camera placement are determined based on areas generating the largest OPMs. Statistical analysis is examined by using Monte Carlo analysis with varying number of obstacles and cameras in a defined space. ^

Sculptors' Drawings 1910-1980, Selections from the Permanent Collection Whitney Museum of American Art

Catalog of an exhibition held at the Visual Arts Gallery, Florida International University. Essayby Paul Cummings

Miami Art Show, June 1, 1974

Dahlia Morgan with Charles Perry. In the late 1970s, FIU had an enrollment of less than 5,000 and two buildings made up the entire campus. Adjunct professor, at the time, Dahlia Morgan was asked to take over the art museum, which was then called the Visual Arts Gallery. During her long career with Florida International University, Dahlia Morgan transformed a modest student gallery on the Miami campus into an internationally celebrated art museum. In 1980, after teaching for five years in the visual arts department she accepted the directorship of the university’s Patricia & Phillip Frost Art Museum (formerly the Art Museum at FIU). As director and curator, Morgan instituted a lecture series, increased the frequency of exhibitions and developed numerous other programs including a student internship program. The Steven and Dorothea Green Critics’ Lecture Series was started by Morgan in 1981 and has now organized, hosted and presented over 100 lectures by internationally renowned artists, critics and scholars who include Pierre Rosenberg, former Director of the Louvre; Hilton Kramer, Art Critic; Helen Frankenthaler, American artist; and Michael Graves, architect and designer. In 1985 Morgan started the exhibition series “American Art Today,” which featured an annual examination of a specific subject or concept in American Art. Morgan curated and organized over 200 exhibitions during her directorship. Under Morgan, the Frost Art Museum grew to achieve local, national and international recognition as one of South Florida’s key cultural institutions. In 1999 the museum received accreditation from the American Association of Museums and in 2001 became an affiliate of the Smithsonian Institution. With the turn of the 21st Century the initiative to build a new facility took shape and in 2008, the new 46,000 square foot Patricia and Phillip Frost Art Museum opened to the public. Morgan is a four time National Endowment for the Arts Grants Panelist and member of the Art Basel Miami, Host Committee. She is listed in “Who’s Who in American Art” and in “Who’s Who of American Women.” Morgan’s largest accomplishment was seeing the completion of the 45,000 square foot Frost Art Museum built across from the Wertheim Performing Arts Center. Morgan’s fund raising techniques helped her raise over $12 million for its development. For 25 years, Morgan has served as director of FIU’s Frost Art Museum.

A visual critical ethnography of youth develoment in a Rio de Janeiro favela

Favelas are Brazilian informal housing settlements that are areas of concentrated poverty. In Rio de Janeiro, favelas are perceived as areas of heightened criminal activity and violence, and residents experience discrimination, and little access to quality education and employment opportunities. In this context, hundreds of non-formal educational arts and leisure programs work to build the self-esteem and identity of youth in Rio's favelas as a way of preventing the youth from negative local influences. The Morrinho organization, located in the Pereira da Silva favela in Rio, uses art as a way for the local male youth to communicate their lived reality. This study used a visual critical ethnographic methodology to describe the way in which the Morrinho participants interpret living in a favela. Seventeen semi-structured interviews with young men aged 15 to 29, the feature-length documentary film on the organization, 206 researcher produced documentary style photographs of the Morrinho artwork, and the researcher's field notes were analyzed. Truth claims, ways of seeing as communicated through words and actions, were induced through a cyclical process of reconstructive horizon analysis that incorporated the societal context and critical theory. The participants communicated their concerns about life in a favela; however, they did not describe their societal positions in terms of complete marginalization. They named multiple benefits of living in Pereira da Silva, discussed positive and negative experiences in school, and described ways they circumvented discrimination. Morrinho as an organization was described as an enthralling game and a social project that benefited dozens of local youth. Character development was a valuable result of participation at Morrinho. The Morrinho artwork communicates a nuanced vision of both benevolent and violent social actors, and counters the overwhelmingly negative dominant characterization of Rio de Janeiro's favelas. This study has implications for an inclusive critical pedagogy and the use of art as a means to facilitate a transformative education. Further research is recommended to explore terminology used to refer to favelas, and perceptions that favela residents have of their experiences in public education.

Using sonic enhancement to augment non-visual tabular navigation

More information is now readily available to computer users than at any time in human history; however, much of this information is often inaccessible to people with blindness or low-vision, for whom information must be presented non-visually. Currently, screen readers are able to verbalize on-screen text using text-to-speech (TTS) synthesis; however, much of this vocalization is inadequate for browsing the Internet. An auditory interface that incorporates auditory-spatial orientation was created and tested. For information that can be structured as a two-dimensional table, links can be semantically grouped as cells in a row within an auditory table, which provides a consistent structure for auditory navigation. An auditory display prototype was tested.^ Sixteen legally blind subjects participated in this research study. Results demonstrated that stereo panning was an effective technique for audio-spatially orienting non-visual navigation in a five-row, six-column HTML table as compared to a centered, stationary synthesized voice. These results were based on measuring the time- to-target (TTT), or the amount of time elapsed from the first prompting to the selection of each tabular link. Preliminary analysis of the TTT values recorded during the experiment showed that the populations did not conform to the ANOVA requirements of normality and equality of variances. Therefore, the data were transformed using the natural logarithm. The repeated-measures two-factor ANOVA results show that the logarithmically-transformed TTTs were significantly affected by the tonal variation method, F(1,15) = 6.194, p= 0.025. Similarly, the results show that the logarithmically transformed TTTs were marginally affected by the stereo spatialization method, F(1,15) = 4.240, p=0.057. The results show that the logarithmically transformed TTTs were not significantly affected by the interaction of both methods, F(1,15) = 1.381, p=0.258. These results suggest that some confusion may be caused in the subject when employing both of these methods simultaneously. The significant effect of tonal variation indicates that the effect is actually increasing the average TTT. In other words, the presence of preceding tones increases task completion time on average. The marginally-significant effect of stereo spatialization decreases the average log(TTT) from 2.405 to 2.264.^

The effect of sexist attitudes on the perception of visual artists by community college and university students

This study compared the effects of sexist labeling on the perceptions of visual artists by the community college and university students and determined their sex role orientation. The 370 students were shown five slides of an artist's works and were given six versions of an artist's biography. It contained embedded sexual labeling (woman, girl, person/ she, man, guy, person/he). The Artist Evaluation Questionnaire was administered to the female and male community college and university students that required the students to evaluate the female and male artists on several aspects of affective and cognitive measures. The questionnaire consisted of 9 items that had to be rated by the participants. In addition, the students filled out the Demographic Questionnaire and the BEM Sex Role Inventory, titled the Attitude Questionnaire. The Analysis of Variance testing procedures were administered to analyze the responses. The results disclosed gender differences in students' ratings. The female artist's work, when the artist was referred to by the neutral sexual label, "person", received significantly higher ratings from the female students. The male students gave the female artist her highest ratings when she was referred to by the low status sexual label, "girl". Both sexes did not express statistically significant preferences for any of the male sexual labels. Gender difference became apparent when it was found that female students rated both sexes equally, and their ratings were lower than those of the male students. The male students rated the female artist's work higher than the work of the male artist. The analysis of the sex role inventory questionnaire revealed the absence of the feminine (expressive) and masculine (instrumental) personalities among the students. The personalities of almost all the students were androgynous, with a few within the range of the near feminine, and a few within the range of the near masculine. The study reveals that there are differences in perception of sexual labels among the community college and university students.