Practice in lucid dreams enhances performance during wakefulness

Motor practice in lucid dreams is a form of mental rehearsal where the dreamer can con-sciously rehearse motor skills in the dream state while being physically asleep (Erlacher, Stumbrys & Schredl, 2011). A previous pilot study showed that practice in lucid dreams can improve subsequent performance (Erlacher & Schredl, 2010). This study aimed to replicated those findings with a different (serial reaction) task (finger-tapping; e.g. Walker et al., 2002) and compare the effectiveness of lucid dream practice not only to physical but also to mental practice in wakefulness.

Gregory Nagy. Poetry as Performance, Homer and Beyond. Cambrige-New York-Melbourne, Cambridge University Press, 1996, ix + 254 pp. ; Gregory Nagy. Homeric Questions, Austin, University of Texas Press, 1996, ix + 180 pp.

Fil: Zecchin de Fasano, Graciela Cristina. Universidad Nacional de La Plata. Facultad de Humanidades y Ciencias de la Educación; Argentina.

Plenary papers of the 1999 Conference on Criminal Justice Research and Evaluation--enhancing policy and practice through research.

"Sept. 2000" (v. 3).

Mental health consultation theory, practice, and research 1973-1978 : an annotated reference guide /

Mode of access: Internet.

Handbook of research on strategic performance management and measurement using data envelopment analysis

Organizations can use the valuable tool of data envelopment analysis (DEA) to make informed decisions on developing successful strategies, setting specific goals, and identifying underperforming activities to improve the output or outcome of performance measurement. The Handbook of Research on Strategic Performance Management and Measurement Using Data Envelopment Analysis highlights the advantages of using DEA as a tool to improve business performance and identify sources of inefficiency in public and private organizations. These recently developed theories and applications of DEA will be useful for policymakers, managers, and practitioners in the areas of sustainable development of our society including environment, agriculture, finance, and higher education sectors. All rights reserved.

Knot/Knotting Practice in Craft and Space

Knot/knotting Practice in Craft and Space is a three part research-creation project that used a study of knotting techniques to locate craft in an expanded field of spatial practice. The first part consisted of practical, studio based exercises in which I worked with various natural and synthetic fibres to learn common knotting techniques. The second part was an art historical study that combined craft and architecture history with critical theory related to the social production of space. The third part was an exhibition of drawing and knotted objects titled Opening Closures. This document unifies the lines inquiry that define my project. The first chapter presents the art historical justification for knotting to be understood as a spatial practice. Nineteenth-century German architect and theorist Gottfried Semper’s idea that architectural form is derived from four basic material practices allies craft and architecture in my project and is the point of departure from which I make my argument. In the second chapter, to consider the methodological concerns of research-creation as a form of knowledge production and dissemination, I adopt the format of an instruction manual to conduct an analysis of knot types and to provide instructions for the production of several common knots. In the third chapter, I address the formal and conceptual underpinnings of each artwork presented in my exhibition. I conclude with a proposal for an expanded field of spatial practice by adapting art critic and theorist Rosalind Krauss’s well-known framework for assessing sculpture in 1960s.

Caught in the dance : dream poems, experiential narrative, and the continuity hypothesis

This thesis explores the efficacy of the dream poem as a narrative device and is the outcome of practice-led research. The creative component, a novella, includes significant dreams of the main characters in the form of lyric poetry. The author’s own dream reports are used as source material for the poetry, and are contextualised within a prose fiction framework. Caught in the Dance is an experiment in combining prose with dream poetry and in investigating the experiential power of dreams on the formation of character identity. The exegesis discusses dreaming as an experience and the place of that experience in the context of identity narratives. Central to this discussion is the continuity hypothesis regarding the symbiosis of waking and sleeping life. Fludernik’s theory of experiential narrative is applied to dreaming and to the composition of poetry. This theory moves the emphasis of narrativity from events and the action of telling to ‘grounding narrativity in the representation of experientiality’ (Fludernik 1996:20). Ricoeur’s theories on identity and narrative are also applied to the reading of dreams, and experiences in general. He calls the system through which we ‘read’ life the ‘semantics of action’ (Ricoeur 1991b:28). Fludernik’s and Ricoeur’s approaches build on each other and they are brought together in the context of theories of the self, consciousness, and the processing of experience. Lyric poetry, as a creative product of that same consciousness, is discussed as experienced narrative moment. Furthermore, those moments are identified as defining elements in the identity narratives of characters. By combining the experience of dreaming with the experience imparted through lyric poetry, this thesis argues that the continuity hypothesis serves effectively as a demonstration of the wider narratological importance of experiential narrative.