Hotel Human Resources Directors Identify Ethical Issues

Hotel human resources directors report that the most important ethical issues they face are a lack of work ethic, drug use, and employee theft. When asked about ethical problems experienced in their own hotels. Managers’ report that employees' lack of respect for each other, racial and gender conflicts, guest abuse, dishonesty, and homosexual issues are the biggest problems. The author discusses these ethical dilemmas and suggests ways they can be addressed.

Hotel Managers Identify Ethical Problems: A Survey of their Concerns

This study identified and examined the concerns of hotel general managers regarding ethics in the hospitality industry. Thirty-five managers were interviewed during and immediately following the economic recession to determine which ethical issues in the hotel industry and at their own properties concerned them the most. Results showed that more people and organizations attempted to renegotiate hotel rates, which actions, in turn, led to some lapses in ethical behavior. Managers said that because of the economic downturn, they felt pressure from both private owners and corporate headquarters. They also said a lack of work ethic, low motivation, and low pay caused many workers to underperform in ways that raised ethical issues. Managers also mentioned diversity issues and theft by both guests and employees as ethical issues of concern, and shared stories about their experiences.

Joint-specific changes in locomotor complexity in the absence of muscle atrophy following incomplete spinal cord injury

ackground Following incomplete spinal cord injury (iSCI), descending drive is impaired, possibly leading to a decrease in the complexity of gait. To test the hypothesis that iSCI impairs gait coordination and decreases locomotor complexity, we collected 3D joint angle kinematics and muscle parameters of rats with a sham or an incomplete spinal cord injury. Methods 12 adult, female, Long-Evans rats, 6 sham and 6 mild-moderate T8 iSCI, were tested 4 weeks following injury. The Basso Beattie Bresnahan locomotor score was used to verify injury severity. Animals had reflective markers placed on the bony prominences of their limb joints and were filmed in 3D while walking on a treadmill. Joint angles and segment motion were analyzed quantitatively, and complexity of joint angle trajectory and overall gait were calculated using permutation entropy and principal component analysis, respectively. Following treadmill testing, the animals were euthanized and hindlimb muscles removed. Excised muscles were tested for mass, density, fiber length, pennation angle, and relaxed sarcomere length. Results Muscle parameters were similar between groups with no evidence of muscle atrophy. The animals showed overextension of the ankle, which was compensated for by a decreased range of motion at the knee. Left-right coordination was altered, leading to left and right knee movements that are entirely out of phase, with one joint moving while the other is stationary. Movement patterns remained symmetric. Permutation entropy measures indicated changes in complexity on a joint specific basis, with the largest changes at the ankle. No significant difference was seen using principal component analysis. Rats were able to achieve stable weight bearing locomotion at reasonable speeds on the treadmill despite these deficiencies. Conclusions Decrease in supraspinal control following iSCI causes a loss of complexity of ankle kinematics. This loss can be entirely due to loss of supraspinal control in the absence of muscle atrophy and may be quantified using permutation entropy. Joint-specific differences in kinematic complexity may be attributed to different sources of motor control. This work indicates the importance of the ankle for rehabilitation interventions following spinal cord injury.

State of Exile Studies

Guy Stern, the Florida International University/Betsy Scholar in Residence and Wayne State University Professor Emeritus, lectures on various points in the field of exile studies. Lecture held at the Green Library, Modesto Maidique Campus, Florida International University.

Martin Heidegger's Mathematical Dialectic: Uncovering the Structure of Modernity

Martin Heidegger is generally regarded as one of the most significant—if also the most controversial—philosophers of the 20th century. Most scholarly engagement with Heidegger’s thought on Modernity approaches his work with a special focus on either his critique of technology, or on his more general critique of subjectivity. This dissertation project attempts to elucidate Martin Heidegger’s diagnosis of modernity, and, by extension, his thought as a whole, from the neglected standpoint of his understanding of mathematics, which he explicitly identifies as the essence of modernity.

Accordingly, our project attempts to work through the development of Modernity, as Heidegger understands it, on the basis of what we call a “mathematical dialectic.“ The basis of our analysis is that Heidegger’s understanding of Modernity, both on its own terms and in the context of his theory of history [Seinsgeschichte], is best understood in terms of the interaction between two essential, “mathematical” characteristics, namely, self-grounding and homogeneity. This project first investigates the mathematical qualities of these components of Modernity individually, and then attempts to trace the historical and philosophical development of Modernity on the basis of the interaction between these two components—an interaction that is, we argue, itself regulated by the structure of the mathematical, according to Heidegger’s understanding of the term.

The project undertaken here intends not only to serve as an interpretive, scholarly function of elucidating Heidegger’s understanding of Modernity, but also to advance the larger aim of defending the prescience, structural coherence, and relevance of Heidegger’s diagnosis of Modernity as such.

Speeches and paradoxes of cultural mediation: A practice between the elite and the cultural poverty

This text analyzes the speeches of a group of cultural mediators working in Madrid in public and private institutions of arts. The group was organized as part of the activities of the European Project Divercity: Diving into Diversity in Museums and the City of the Complutense University in March 2015. The aim of the interview was to unravel what they mean by diversity in the profession, and analyze the contradictions and objectives professions that arise in this new field of work.

To breathe or fight? Siamese fighting fish differ when facing a real opponent or mirror image.

Displays are a feature of animal contest behaviour and have been interpreted as a means of gathering information on opponent fighting ability, as well as signalling aggressive motivation. In fish, contest displays often include frontal and lateral elements, which in the latter involves contestants showing their flanks to an opponent. Previous work in a range of fish species has demonstrated population-level lateralization of these displays, preferentially showing one side to their opponent. Mirrors are commonly used in place of a real opponent to study aggression in fish, yet they may disrupt the normal pattern of display behaviour. Here, using Siamese fighting fish, Betta splendens, we compare the aggressive behaviour of males to a mirror image and real opponent behind a transparent barrier. As this species is a facultative air-breather, we also quantify surface breathing, providing insights into underlying fight motivation. Consistent with previous work, we found evidence of population-level
lateralization, with a bias to present the left side and use the left eye when facing a real opponent. Contrary to expectations, there were no differences in the aggressive displays to a mirror and real opponent, with positive correlations between the behaviour in the two scenarios. However, there were important differences in surface breathing, which was more frequent and of longer duration in the mirror treatment. The reasons for these differences are discussed in relation to the repertoire of contest behaviour and motivation when facing a real opponent.

To breathe or fight? Siamese fighting fish differ when facing a real opponent or mirror image

Displays are a feature of animal contest behaviour and have been interpreted as a means of gathering information on opponent fighting ability, as well as signalling aggressive motivation. In fish, contest displays often include frontal and lateral elements, which in the latter involves contestants showing their flanks to an opponent. Previous work in a range of fish species has demonstrated population-level lateralization of these displays, preferentially showing one side to their opponent. Mirrors are commonly used in place of a real opponent to study aggression in fish, yet they may disrupt the normal pattern of display behaviour. Here, using Siamese fighting fish, Betta splendens, we compare the aggressive behaviour of males to a mirror image and real opponent behind a transparent barrier. As this species is a facultative air-breather, we also quantify surface breathing, providing insights into underlying fight motivation. Consistent with previous work, we found evidence of population-level lateralization, with a bias to present the left side and use the left eye when facing a real opponent. Contrary to expectations, there were no differences in the aggressive displays to a mirror and real opponent, with positive correlations between the behaviour in the two scenarios. However, there were important differences in surface breathing, which was more frequent and of longer duration in the mirror treatment. The reasons for these differences are discussed in relation to the repertoire of contest behaviour and motivation when facing a real opponent.

Development and preliminary psychometric properties of the Care Experience Feedback Improvement Tool (CEFIT).

Objective To develop a structurally valid and reliable, yet brief measure of patient experience of hospital quality of care, the Care Experience Feedback Improvement Tool (CEFIT). Also, to examine aspects of utility of CEFIT. Background Measuring quality improvement at the clinical interface has become a necessary component of healthcare measurement and improvement plans, but the effectiveness of measuring such complexity is dependent on the purpose and utility of the instrument used. Methods CEFIT was designed from a theoretical model, derived from the literature and a content validity index (CVI) procedure. A telephone population surveyed 802 eligible participants (healthcare experience within the previous 12 months) to complete CEFIT. Internal consistency reliability was tested using Cronbach's α. Principal component analysis was conducted to examine the factor structure and determine structural validity. Quality criteria were applied to judge aspects of utility. Results CVI found a statistically significant proportion of agreement between patient and practitioner experts for CEFIT construction. 802 eligible participants answered the CEFIT questions. Cronbach's α coefficient for internal consistency indicated high reliability (0.78). Interitem (question) total correlations (0.28–0.73) were used to establish the final instrument. Principal component analysis identified one factor accounting for 57.3% variance. Quality critique rated CEFIT as fair for content validity, excellent for structural validity, good for cost, poor for acceptability and good for educational impact. Conclusions CEFIT offers a brief yet structurally sound measure of patient experience of quality of care. The briefness of the 5-item instrument arguably offers high utility in practice. Further studies are needed to explore the utility of CEFIT to provide a robust basis for feedback to local clinical teams and drive quality improvement in the provision of care experience for patients. Further development of aspects of utility is also required.

Wrong side of the road

On its release in 1981, Ned Lander's 'Wrong Side of the Road' won that year's Jury Prize at the Australian Film Institute Awards. Emphasising the film's status as a pre-eminent Australian production, the theorist and critic Sylvia Lawson, writing in 2013, called Wrong Side of the Road 'the best Australian film of 1981 and indeed of many other years'. Progressing at a restrained pace, it breaks 'Hollywood conventions (which most Australian films obediently copy) about what constitutes a proper narrative focus', with the result that the film stands as 'something of an event in Australian cinema'. In this way, Wrong Side of the Road is the 'first narrative feature to take the experience of a contemporary Aboriginal group [of characters] as its theme instead of using them as contrasts or complements to the main action'.

Reworking direct cinema: performative display in rockumentary

early 1960s, a staple of American direct cinema. In keeping with its associations with observational direct cinema, rockumentary emphasizes showing over telling: that is, rockumentary privileges the visual capacities of documentary over patterns of exposition. While the ‘documentary display’ of rockumentary is comparable to certain features of the early ‘cinema of attractions’ it exceeds such features in its focus on performance. Typically, an emphasis within documentary theory on unmediated and unreconstructed access to the real as the basis of documentary film has not admitted a place for notions of performance before the camera. Rockumentary, with its relentless foregrounding of the performing body and the performance of musicians, revises this understanding. This essay examines rockumentary within the context of observational direct cinema as a mode centred on a documentary performative display as it operates within selected works from the 1960s to the early twenty-first century. The film theorist Brian Winston has claimed that ‘[d]irect cinema made the rock performance/tour movie into the most popular and commercially viable documentary form thus far.’ The inverse of this assessment is closer to the mark: the rockumentary turned direct cinema into a commercially viable and popular form, one which the rockumentary has at times returned to and innovatively superseded in its scopic attention to performative display.

Dont look back

The award-winning film Don't Look Back (1967) captures Bob Dylan on tour and on the cusp of change in 1965. Dylan was rapidly shedding his image as a folk musician and being reborn as a rock persona – and D. A. Pennebaker was there to record this fascinating transformation.This insightful book charts the ways in which Pennebaker revised aspects of observational 'direct cinema', a style of film-making that he helped to pioneer, in order to represent in innovative ways Dylan's onstage performances and backstage actions. Keith Beattie's perceptive and nuanced analysis explains the relationship between 'pose' and the performative presentation of 'persona', which forms the basis of the film's portrayal, and explores Pennebaker's relationship with Dylan in the film-making process. In doing so, the book highlights many remarkable moments fromDont Look Back and demonstrates how this landmark film eschewed the informationalism of the documentary form, revealing a captivating portrait of its beguiling subject.

Littlefield Organ Series Halloween Organ Concert October 28, 2016

Concert Program