Quantifying the heritability of task-related brain activation and performance during the N-back working memory task: A twin fMRI study

Working memory-related brain activation has been widely studied, and impaired activation patterns have been reported for several psychiatric disorders. We investigated whether variation in N-back working memory brain activation is genetically influenced in 60 pairs of twins, (29 monozygotic (MZ), 31 dizygotic (DZ); mean age 24.4 ± 1.7S.D.). Task-related brain response (BOLD percent signal difference of 2 minus 0-back) was measured in three regions of interest. Although statistical power was low due to the small sample size, for middle frontal gyrus, angular gyrus, and supramarginal gyrus, the MZ correlations were, in general, approximately twice those of the DZ pairs, with non-significant heritability estimates (14-30%) in the low-moderate range. Task performance was strongly influenced by genes (57-73%) and highly correlated with cognitive ability (0.44-0.55). This study, which will be expanded over the next 3 years, provides the first support that individual variation in working memory-related brain activation is to some extent influenced by genes.

O documental e o ficcional no cinema de Eduardo Coutinho

Documentário e ficção estiveram separados por longo tempo. A produção documental contemporânea tem explorado a relação que sempre existiu entre documental e ficcional apesar de ambos serem vistos como opostos. A obra do documentarista Eduardo Coutinho é um exemplo de como a mudança de ponto de vista em relação à ficção tem mudado no documentário. Elementos como a narrativa subjetiva indireta livre, a noção de fabulação, a visão do documentário como um dispositivo relacional e os deslocamentos no campo que apontam para um documentário expandido são desenvolvidos neste texto. A descrição e análise de três filmes de Eduardo Coutinho representativos dos deslocamentos do documentário em relação a si mesmo, à ficção e ao experimental é realizada a fim de exemplificar o desenvolvimento de uma outra linguagem para o documentário. A combinação da base teórica apresentada com as análises dos filmes confirmam essa tendência à experimentação do documentário contemporâneo, constituindo novas estéticas e poéticas de realização do documentário.

Improving the consensus performance via predictive mechanisms

Considering some predictive mechanisms, we show that ultrafast average-consensus can be achieved in networks of interconnected agents. More specifically, by predicting the dynamics of the network several steps ahead and using this information in the design of the consensus protocol of each agent, drastic improvements can be achieved in terms of the speed of consensus convergence, without changing the topology of the network. Moreover, using these predictive mechanisms, the range of sampling periods leading to consensus convergence is greatly expanded compared with the routine consensus protocol. This study provides a mathematical basis for the idea that some predictive mechanisms exist in widely-spread biological swarms, flocks, and networks. From the industrial engineering point of view, inclusion of an efficient predictive mechanism allows for a significant increase in the speed of consensus convergence and also a reduction of the communication energy required to achieve a predefined consensus performance.

Agency and animation: the performance of interactive game characters

As an animator and practice-based researcher with a background in games development, I am interested in technological change in the video game medium, with a focus on the tools and technologies that drive game character animation and interactive story. In particular, I am concerned with the issue of ‘user agency’, or the ability of the end user to affect story development—a key quality of the gaming experience and essential to the aesthetics of gaming, which is defined in large measure by its interactive elements. In this paper I consider the unique qualities of the video game1 as an artistic medium and the impact that these qualities have on the production of animated virtual character performances. I discuss the somewhat oppositional nature of animated character performances found in games from recent years, which range from inactive to active—in other words, low to high agency. Where procedural techniques (based on coded rules of movement) are used to model dynamic character performances, the user has the ability to interactively affect characters in real-time within the larger sphere of the game. This game play creates a high degree of user agency. However, it lacks the aesthetic nuances of the more crafted sections of games: the short cut-scenes, or narrative interludes where entire acted performances are mapped onto game characters (often via performance capture)2 and constructed into relatively cinematic representations. While visually spectacular, cut-scenes involve minimal interactivity, so user agency is low. Contemporary games typically float between these two distinct methods of animation, from a focus on user agency and dynamically responsive animation to a focus on animated character performance in sections where the user is a passive participant. We tend to think of the majority of action in games as taking place via playable figures: an avatar or central character that represents a player. However, there is another realm of characters that also partake in actions ranging from significant to incidental: non-playable characters, or NPCs, which populate action sequences where game play takes place as well as cut scenes that unfold without much or any interaction on the part of the player. NPCs are the equivalent to supporting roles, bit characters, or extras in the world of cinema. Minor NPCs may simply be background characters or enemies to defeat, but many NPCs are crucial to the overall game story. It is my argument that, thus far, no game has successfully utilized the full potential of these characters to contribute toward development of interactive, high performance action. In particular, a type of NPC that I have identified as ‘pivotal’3—those constituting the supporting cast of a video game—are essential to the telling of a game story, particularly in genres that focus on story and characters: adventure games, action games, and role-playing games. A game story can be defined as the entirety of the narrative, told through non-interactive cut-scenes as well a interactive sections of play, and development of more complex stories in games clearly impacts the animation of NPCs. I argue that NPCs in games must be capable of acting with emotion throughout a game—in the cutscenes, which are tightly controlled, but also in sections of game play, where player agency can potentially alter the story in real-time. When the animated performance of NPCs and user agency are not continuous throughout the game, the implication is that game stories may be primarily told through short movies within games, making it more difficult to define video games animation as a distinct artistic medium.

How often does direct real estate increase the risk-adjusted performance of the US mixed-asset portfolio?

The “case for real estate” in the mixed-asset portfolio is a topic of continuing interest to practitioners and academics. The argument is typically made by comparing efficient frontiers of portfolio with real estate to those that exclude real estate. However, most investors will have held inefficient portfolios. Thus, when analysing the real estate’s place in the mixed-asset portfolio it seems illogical to do so by comparing the difference in risk-adjusted performance between efficient portfolios, which few if any investor would have held. The approach adopted here, therefore, is to compare the risk-adjusted performance of a number of mixed-asset portfolios without real estate (which may or not be efficient) with a very large number of mixed-asset portfolios that include real estate (which again may or may not be efficient), to see the proportion of the time when there is an increase in risk-adjusted performance, significant or otherwise using appraisal-based and de-smoothed annual data from 1952-2003. So to the question how often does the addition of private real estate lead to increases the risk-adjusted performance compared with mixed-asset portfolios without real estate the answer is almost all the time. However, significant increases are harder to find. Additionally, a significant increase in risk-adjusted performance can come from either reductions in portfolio risk or increases in return depending on the investors’ initial portfolio structure. In other words, simply adding real estate to a mixed-asset portfolio is not enough to ensure significant increases in performance as the results are dependent on the percentage added and the proper reallocation of the initial portfolio mix in the expanded portfolio.

Tricksters, hucksters and suckers: Jonsonian cinema

Woolland, B. Tricksters, Hucksters and Suckers: Jonsonian Cinema. In: Woolland, B. (ed.) Jonsonians: Living Traditions, Aldershot, England and Burlington, USA: Ashgate, 2003, .

'Eden Cinema' by Marguerite Duras

Duras’s theatre work has been profoundly neglected by UK theatre academics and practitioners, and Eden Cinema has almost no performance history in Britain. My project asked three interconnected research questions: how developing the performance contributes to understanding Duras’s theatre and specifically Eden Cinema’s problems of performability; how multimedia performance emphasising mediated sound and the live body reconfigures memory, autobiography, storytelling, gender and racial identity; how to locate a performance style appropriate for Durasian narratives of displacement and death which reflect the discontinuous and mutable form of Duras’s ‘texte/film/théâtre’. Drawing on my research interests in gender, post-colonial hybridity and performed deconstruction, I focused my staging decisions on the discontinuities and ambivalences of the text. I addressed performability by avoiding the temptation to resolve the strange ellipses in the text and instead evoked the text’s imperfect and fragmented memories, and its uncertain spatial and temporal locations, by means of a fluid theatrical form. The mise-en-scène represented imagined and remembered spaces simultaneously, and co-existing historical moments. The performance style counterpointed live and mediated action and audio-visual forms. A complex through-composed soundscape, comprising voice-over, sound and music, became a key means for evoking overlapping temporalities, interconnected narratives and fragmented memories that were dispersed across the performance. The disempowerment of the mother figure and the silent indigenous servant in the text was demonstrated through their spatial centrality but physical stillness. The servant’s colonial subaltern identity was paralleled and linked with the mother’s disenfranchisement through their proxemic relationships. I elicited a performance style which evoked ‘characters’, whose being was deferred across different regimes of reality and who ‘haunted’ the stage rather than inhabited it. I developed the project further in the additional written outcomes and presentations, and the subsequent performance of Savannah Bay where problems of performability intensify until embodiment is almost erased except via voice.

Effects of target expansion on selection performance in older computer users

Point and click interactions using a mouse are an integral part of computer use for current desktop systems. Compared with younger users though, older adults experience greater difficulties performing cursor positioning tasks, and this can present limitations to using a computer easily and effectively. Target expansion is a technique for improving pointing performance, where the target dynamically grows as the cursor approaches. This has the advantage that targets conserve screen real estate in their unexpanded state, yet can still provide the benefits of a larger area to click on. This paper presents two studies of target expansion with older and younger participants, involving multidirectional point-select tasks with a computer mouse. Study 1 compares static versus expanding targets, and Study 2 compares static targets with three alternative techniques for expansion. Results show that expansion can improve times by up to 14%, and reduce error rates by up to 50%. Additionally, expanding targets are beneficial even when the expansion happens late in the movement, i.e. after the cursor has reached the expanded target area or even after it has reached the original target area. Participants’ subjective feedback on the target expansion are generally favorable, and this lends further support for the technique.

Postmodernism, culture and feminism: the aesthetics of space and performance in Rock Follies and Rock Follies of '77

This article discusses the aesthetic and spatial representational strategies of the popular studio-based musical television drama serials Rock Follies and Rock Follies of ’77. It analyses how the texts’ themes relating to women and the entertainment industry are mediated through their postmodern ironic mode and representation of fantastic spaces. Rock Follies’ distinctive stylised aesthetic and mode of caricature are analysed with reference to the visual intentions and ‘voice’ of the writer, Howard Schuman. Through considering the programmes’ various spatial strategies, the article draws attention to the importance of visual and performance style in their postmodern discourse on culture, fantasy, gender and subjectivity. Analysis of the spaces of musical performance, characters’ domestic environments and simulated entertainment spaces reveals how a dialectic is established between the escapist imaginative pleasures of fantasy and the manipulative and exploitative practices of the culture industry. The shift from the optimism of the first series, when the LittleLadies first form, to the darker mood of the second series, in which they are increasingly divided by industry pressures, is traced through changes in the aesthetics of space and characterisation. As a space of artifice, performance and electronic visual manipulation that facilitates the texts’ reflexive representation of culture and feminised fantasy, the studio’s unique aesthetic strengths emerge through this case study.

Authenticity and performance of class in British factual TV series

The chapter characterises British ‘Reality TV’ as a hybrid of factual and fictional television genres, as signaled by the more accurate genre designation ‘structured reality’ television. From the 1990s onwards, in order to develop programmes that are attractive to audiences and inexpensive to produce, programme makers have focused on hybrids of dramatic and documentary modes. This chapter argues that many recent Reality TV programmes privilege soap opera’s emphasis on character, storyline and performance. This affects the ways that class authenticity is understood, undermining factual programmes’ usual claim to legitimacy based on reference to a pre-existing reality, and transforming hierarchies that separate highly-valued from low-valued types of programme.

PERFORMANCE EVOLUTION OF PEER TO PEER NETWORKS

This thesis work concerns about the Performance evolution of peer to peer networks, where we used different distribution technique’s of peer distribution like Weibull, Lognormal and Pareto distribution process. Then we used a network simulator to evaluate the performance of these three distribution techniques.During the last decade the Internet has expanded into a world-wide network connecting millions of hosts and users and providing services for everyone. Many emerging applications are bandwidth-intensive in their nature; the size of downloaded files including music and videos can be huge, from ten megabits to many gigabits. The efficient use of network resources is thus crucial for the survivability of the Internet. Traffic engineering (TE) covers a range of mechanisms for optimizing operational networks from the traffic perspective. The time scale in traffic engineering varies from the short-term network control to network planning over a longer time period.Here in this thesis work we considered the peer distribution technique in-order to minimise the peer arrival and service process with three different techniques, where we calculated the congestion parameters like blocking time for each peer before entering into the service process, waiting time for a peers while the other peer has been served in the service block and the delay time for each peer. Then calculated the average of each process and graphs have been plotted using Matlab to analyse the results

Consolidação bancária e a performance dos bancos pequenos no Brasil

A indústria bancária brasileira foi transformada nas últimas décadas em meio a um fenômeno conhecido como consolidação, que marca uma concentração do mercado em poucas instituições. O objetivo do trabalho é testar empiricamente quais as causas desse processo no Brasil. As duas hipóteses testadas foram formuladas por Berger, Dick et al. (2007): a hipótese da eficiência indica que avanços tecnológicos melhoram a competitividade dos grandes em relação aos pequenos. Deste modo, os resultados dos pequenos são sacrificados por esse fator. Por outro lado, a hipótese da arrogância afirma que os administradores realizam fusões e aquisições pelos maiores bônus dos grandes conglomerados, mas as deseconomias de escala são superiores aos ganhos competitivos da tecnologia e, com o tempo, os pequenos passam a competir em vantagem. Modelos de dados em painel foram utilizados para testar se houve pressões competitivas durante o processo de consolidação. A conclusão foi de que a hipótese da eficiência explica melhor empiricamente o fenômeno brasileiro, assim como o norte-americano. A pressão para diminuição de receitas financeiras foi o fator determinante para que os bancos pequenos sofressem efeitos deletérios com o aumento do peso dos grandes na indústria.

Cinema e educação :interfaces, conceitos e práticas docentes

This project goes beyond the interfacial field of cinema, History and education. We take as our object the epistemological potential of the cinema at the educational scenario, specifically the use of films integrated to the practices of History teachers and educative processes in which we have taken part as a builder. Our objective is to map, initially, the knowledge around this use to search a synthesis and its empirical application. From the methodological point of view, we have made use of different perspectives: (a) interviews with the educator subjects; (b) observation of their practices and formative circumstances; (c) filmic analysis and the relation of the cinema s epistemology with the other areas ones (initially History and further Journalism). Our analysis allowed us to portrait the film such as an epistemological-troubling category, what makes the cinema rather a builder technology and not simply a complementary and illustrative technological resource. Therefore, we have realized that the restriction to the cinema s educational function is linked to the restrictions to the theoretical categories to an only interfacial aspect: historical film as a film which portraits the past (at the historical field) and film on journalism as a film which approaches a single object of Journalism (at the journalistic field). These discussions happen, consequently, at the arena of the nature of cinema s genres (fiction and documentary), which are understood in a naïve way, simpler than its epistemological possibilities, boosted at this research when we analyze the confluence between fiction and reality. The reflections on educative practices and in formation related to the cinema had occurred in three empirical realities: research with professors in performance, practices docent s and accompaniment of students of history. Have to do with our personal career as a teacher and researcher and, when analyzed other practices, have become, unavoidably, the subject and object of this project

Cinema itinerante no Rio Grande do Norte: aspectos da recepção

In itinerant film projects made in Brazil, the unique experience of watching movies on the big screen is held in open spaces, through the establishment of a contemporary ritual, under which the presence of spectators is primordial. Considering this dynamic of the performance of itinerant cinema, the main objective of this research is to analyze the process of reception of the spectators of the sessions of Cine Sesi Cultural, conducted by the Social Service Industry - Sesi, in Rio Grande do Norte state. The body of research was composed by the audience of the movie sessions of the edition developed in 2010. Analyses were made from the look on the specific audience of open sessions of this cinema project throughout a case study. Theoretical authors of Latin American as Jesus Martin-Barbero, Guillermo Orozco, Eliseo Veron and Nestor Garcia Canclini, which have important theoretical basis for the analysis of research on the cinematographic reception of the spectators, were taken as a basis. In this discussion are associated with contributions from Brazilian authors as Roseli Paulino, Fernando Mascarello, Mauro Wilton Souza, Nilda Jacks and Carolina Escostesguy. Besides the reception study, the research focuses on aspects that relate to and explain the circumstances in which itinerant cinema emerges as an alternative exhibition, for example, the context of the exhibition of films in the country, lack of public policies in the audiovisual sector, and mainly the closing of movie theaters in the inner cities of the country and the consequent migration of these rooms to the malls. Seeking to reduce the existing gap in the studies of the reception of spectators to the cinema in the country, this research presents a deeper analysis of the reception of the public of the itinerant cinema as a contribution to an important database for the diagnosis of projects such as the Cine Sesi Cultural

Performance and composition of bacterial communiies in anaerobic fluidized bed reactors for hydrogen production: Effects of organic loading rate and alkalinity

Conselho Nacional de Desenvolvimento Científico e Tecnológico (CNPq)