The state of the art in organizational cognitive neuroscience:the therapeutic gap and possible implications for clinical practice

In the last decade, researchers in the social sciences have increasingly adopted neuroscientific techniques, with the consequent rise of research inspired by neuroscience in disciplines such as economics, marketing, decision sciences, and leadership. In 2007, we introduced the term organizational cognitive neuroscience (OCN), in an attempt to clearly demarcate research carried out in these many areas, and provide an overarching paradigm for research utilizing cognitive neuroscientific methods, theories, and concepts, within the organizational and business research fields. Here we will revisit and further refine the OCN paradigm, and define an approach where we feel the marriage of organizational theory and neuroscience will return even greater dividends in the future and that is within the field of clinical practice.

"Comparing the incomparable":hospital costing and the art of medicine in post-war Britain

This paper examines the relationship between medical and hospital accounting discourses during the two decades after the 1946 National Health Service (NHS) Act for England and Wales. It argues that the departmental costing system introduced into the NHS in 1957 was concerned with the administrative aspects of hospital costliness as contemporary hospital accountants suggested that the perceived incomparability, immeasurability and uncontrollability of medical practice precluded the application of cost accounting to the clinical functions of hospitals. The paper links these suggestions to medical discourses which portrayed the practice of medicine as an intuitive and experience-based art and argues that post-war conceptions of clinical medicine represented this domain in a manner that was neither susceptible to the calculations of cost accountants nor to calculating and normalising intervention more generally. The paper concludes by suggesting that a closer engagement with medical discourses may enhance our understanding of historical as well as present day attempts to make medicine calculable.

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. ^

American Art Today: Contemporary Landscape

Catalog of an exhibition held at the Art Museum at Florida International University. Essay by Jed Perl. Organized by Dahlia Morgan.

Pedem referens: art historical memory and the analogue in the work of Tacita Dean, Jeremy Millar and Lucy Skaer

This thesis explores the new art historical turn in contemporary art through close engagement with three British artworks. These are Tacita Dean���s, Section Cinema (Homage to Marcel Broodthaers), 2002, Jeremy Millar���s, The Man Who Looked Back, 2010, and Lucy Skaer���s, Leonora, 2006. Each of these artworks combines an art historical agenda with a celebration of the specificities of analogue film and photography in the context of our digital age. This thesis combines twentieth century photographic theory from Roland Barthes, Andr�� Bazin and Walter Benjamin, among others, with the psychoanalytic theory of Jacques Lacan in order to argue that the indexical qualities of analogue film and photography place the medium in close proximity to the Lacanian Real. In its obsolescence the analogue���s language of both touch and loss is heightened. Each chapter of this thesis explores a different aspect of the Real in relation to specific attributes of the analogue, such as its propensity for archiving cultural traumas, its receptiveness to chance, and its proximity to death.

Organic Surveillance: Security and Myth in the Rural

This project looks at the ways Northeastern Ontario citizens in rural communities regulate their private property through traditional and contemporary surveillance means. Through art and objects, this project allows viewers the opportunity to experience surveillance in rural areas through visual and creative ways that encourage interaction and critique. This project defines organic surveillance by looking at the ways ruralists in Markstay Ontario practice surveillance and deterrence which is influenced by characteristics of land, risks and other determining factors such as psychology, resourcefulness, sustainability, technology and private property. Organic surveillance argues that surveillance and deterrence is prevalent far beyond datamining, GPS tracking and social media. Surveillance and deterrence as methods of survival are found everywhere, even in the farthest, most ���wild��� and forested areas.

The War at Home

The reform of cities spaces and housing has been a key issue with campaigners on the left for more than a century. These campaigns have found allies in the work of socially committed photographers from Jacob Riis at the turn of the twentieth century to Margaret Morton and Camilo Jose Vergara today. Globally the current phase of neo-liberalism has brought its own issues to the city as ���regeneration��� strategies dispossess the urban poor in areas that are potentially lucrative to real estate development. In this process known as ���accumulation by dispossession��� large profits are accumulated in the process of dispossessing people of their land, rights and homes. Central to the theoretical component of this paper, is an interrogation of contemporary ideas on the production and photographic representation of urban space. The research hence questions photography���s ability to make ���legible��� the key drivers of today���s emergent terrains and to visualize their connections to the networks of power and capital that articulate the current political economy (Sassen 2011:36). One strand here will be the ���fleshing out��� of the cultural practices behind photographers mediating urban development (Jones 2013: 1.2). Alongside current corporate depictions historical precedents will be discussed. Photographers as far back as Charles Marville in Paris of the 1850���s have documented urban reconstruction (Kennel 2013). Often employed by those undertaking the demolition, these photographic images frequently suppress certain narratives of the unbuilding process. Acting as a propaganda tool they eliminate the impact on the lives of inhabitants or the economic realities driving the valorization of reconstruction schemes (James 2004). Reformist documentary images have also played their part in justifying large-scale urban reconstruction that involved the eventual displacement of existing communities (Rose 1997: Blaikie 2006). Focusing on the gentrification of social housing in Pendleton, Salford (Greater Manchester) the presentation will explore the artists��� own work through a critical discussion, photographic images and excerpts from site writing they���ve undertaken in the area since 2004. It asks can an alternative photographic and visual strategy provide a meaningful political counter narrative to combat persuasive corporate discourses on ���urban revitalization���? The paper will explore strategies and techniques of witnessing and ask whether these types of record can counter neo-liberal visualizations that mediate the material transformation of city areas. Can such representations begin a critical conversation about the nature of urban change and who benefits from these transformations (Wyly 2010)? Can we develop this critical photography into a type of practice that moves beyond generalisations and talks about social relations though an ���explicit analysis of society��� (Rosler 2004:195).

Building Information Modelling in UK Construction Projects: A State of the Art Review

This paper aims to present a state-of-the-art review of the scope and practical implications of the Building Information Modelling (BIM) platform in the UK construction practice. Theoretical developments suggest that BIM is an integration of both product and process innovation, not just a disparate set of software tools. BIM provides effective collaboration, visual representation and data management, which enable the smooth flow of information throughout the project���s lifecycle. The most frequently reported benefits are related to Capital Cost (capex) and Operational costs (opex) and time savings. Key challenges, however, focus on the interoperability of software, capital installation costs, in-house experience, client preference and cultural issues within design teams and within the organisation. The paper concludes with a critical commentary on the changing roles and a process required to implement BIM in UK construction projects, and suggests areas for further research.

���Don���t look down!���: A short history of rooftopping photography

The article examines the practice known as ���rooftopping photography��� and its significance for the representation of vertical cities. It begins by charting the historical development of architecture as a viewing platform in the age of the camera, and dwells on the imagery of cityscapes from above that emerged in the inter-war period. Against this background, the essay investigates how rooftopping arose out of the urban exploration movement and became a global trend in the early 2010s. This phenomenon is situated within its wider social and cultural context, and is discussed with reference to the online media discourse that contributed to its public visibility. A set of ideas from the philosophy of photography and visual culture inform the critical analysis of rooftopping photographs: this broad and diverse body of images is examined with a focus on two predominant modes of representation���panoramic and plunging views. The affective responses elicited by so-called ���vertigo-inducing��� images are discussed through the concept of vicarious kinaesthesia, which offers insights into the nexus between visceral experience and visual representation that lies at the core of rooftopping. By unpacking this interplay, the essay explores a phenomenon that has hitherto been given little scholarly attention and reflects on its broader implications for the relationship between photography and architecture today.

Estrategias museogr��ficas actuales relacionadas con la museolog��a cr��tica

Este art��culo evita la mera disquisici��n te��rica sobre museolog��a cr��tica, sugiriendo en lugar de ello algunas pistas para calibrar su influencia en la praxis museal. Ante todo, se propone como emblem��tico de la museograf��a cr��tica el uso de interrogaciones en lugar de discursos asertivos; en segundo lugar, la sustituci��n de la impersonal autoridad institucional por pr��cticas participativas e interpretaciones compartidas, para dar idea de una variedad de opiniones, incluyendo las de gentes ajenas al museo; finalmente, es un rasgo distintivo el ��nfasis en la naturaleza subjetiva de los montajes muse��sticos, mostrando sus cambios a trav��s de la historia, y se��alando la autor��a personal de las presentaciones y textos en el museo.

Performatividad y arte computacional. Hacia una ���DIY society���

El art��culo analiza la figura del prosumidor desde los estudios visuales a partir de la combinaci��n de la teor��a de los actos de habla y los nuevos medios. El objetivo es evaluar si la distinci��n entre productores y consumidores, estrategias y t��cticas de Michel de Certeau contin��a siendo operativa en las interfaces gr��ficas de la cultura global de la informaci��n de Scott Lash. Para ello distingue dos tipos de performatividad de los actos de habla: la performatividad top-down del software, y la bottom-up de los juegos del lenguaje y las formas de vida. Estos tipos se aplican al an��lisis del discurso de los esl��ganes que aparecen en los sitios web de las iniciativas ���open��� y de econom��a colaborativa, ya que las primeras est��n dedicadas a la producci��n de bienes inmateriales y las segundas a la producci��n de bienes materiales. El desarrollo muestra c��mo los dos tipos de performatividad transforman el an��lisis textual de los estudios literarios y cinematogr��ficos en una metodolog��a capaz de investigar acciones materiales, humanas y no humanas. Las conclusiones describen el surgimiento de nuevas convenciones narrativas de poder y control ajenas a la ficci��n que apuntan a una ���DIY society���.

Naming the pain in requirements engineering: Contemporary problems, causes, and effects in practice

Requirements Engineering (RE) has received much attention in research and practice due to its importance to software project success. Its inter-disciplinary nature, the dependency to the customer, and its inherent uncertainty still render the discipline diffcult to investigate. This results in a lack of empirical data. These are necessary, however, to demonstrate which practically relevant RE problems exist and to what extent they matter. Motivated by this situation, we initiated the Naming the Pain in Requirements Engineering (NaPiRE) initiative which constitutes a globally distributed, bi-yearly replicated family of surveys on the status quo and problems in practical RE. <br/><br/>In this article, we report on the analysis of data obtained from 228 companies in 10 countries. We apply Grounded Theory to the data obtained from NaPiRE and reveal which contemporary problems practitioners encounter. To this end, we analyse 21 problems derived from the literature with respect to their relevance and criticality in dependency to their context, and we complement this picture with a cause-effect analysis showing the causes and effects surrounding the most critical problems.<br/><br/>Our results give us a better understanding of which problems exist and how they manifest themselves in practical environments. Thus, we provide a rst step to ground contributions to RE on empirical observations which, by now, were dominated by conventional wisdom only.

���Art Will Not Disappear Into Nothing; It Will Disappear Into Everything���: The Black Audio Film Collective and Latin America

The development of Latin American cinema in the 1960s was underwritten by a number of key texts that outlined the aesthetic and political direction of individual filmmakers and collectives (Solanas and Getino, 1969; Rocha, 1965; Espinosa, 1969). Although asserting the specificity of Latin American culture, the theoretical foundations of its New Wave influenced oppositional filmmaking way beyond its own regional boundaries. This chapter looks at how movements in British art cinema, especially the Black Audio Film Collective, were inspired and propelled by the theories behind New Latin American cinema. Facilitated by English translations in journals such as Jump Cut in the early ���80s, Cuban and Argentine cinematic manifestoes provided a radical alternative to the traditional language of film theory available to filmmakers in Europe and works such as Signs of Empire (1983-4); Handsworth Songs (1986) and Seven Songs for Malcolm X (1993) grew out of this trans-continental exchange. The Black Audio Film Collective represented a merging of politics, popular culture, and art that was, at once, oppositional and melodic. Fusing postcolonial discourse with pop music, the avant-garde and re-imaginings of subalternity, the work of ���The Collective��� provides us with a useful example of how British art cinema has drawn from theoretical foundations formed outside of Europe and the West. As this chapter will argue however, the Black Audio Film Collective���s work can also be read as a reaction to the specificity of British socio-politics of the ���80s and ���90s. Its engagement with the aesthetico-political strategies of Latin American cinema, then, undercut what was a solidly British project, rooted in (post)colonial history and emerging ideas of disaporic identity. If the propulsive thrust of The Black Audio Film Collective���s art was shaped by Third Cinema, its images and concerns were self-consciously British.

La suggestion de pistes narratives - Comment ��voquer une histoire, un souvenir, un instant en art vid��o

L���essentiel de ce texte se veut une r��flexion sur la mani��re de raconter une histoire ou, plut��t, de l�����voquer��: un questionnement qui fonde ma pratique de l���image photographique et vid��ographique. Afin de mener �� bien cette r��flexion, plusieurs aspects de mon questionnement par rapport �� l���image seront abord��s��: la notion de v��racit�� historique, l���image photographique, l���image d���archives, la complexit��, un ����univers de possibles����, ainsi que l���analyse de ma m��thodologie de travail. Cet approfondissement th��orique sera d��velopp�� de connivence avec ma pratique visuelle qui, dans le cadre de ma ma��trise en arts visuels, s���est principalement d��ploy��e sous la forme de l���installation vid��ographique. Mots-cl��s��: histoire, archives, ��vocation, complexit��, art vid��ographique.