Throwing frame and performance of elite male seated shot-putters

Seated shot-putters rely on a customized assistive device called a throwing frame. Currently, the construction of each individual throwing frame is mainly driven by an empirical approach. One way to refine the conception is to improve the basic understanding of performance of seated shot-putters. The relationship between performance and throwing technique has been well described. Remarkably, the relationship between performance and throwing frame characteristics has received limited attention. The primary objective of this study was to present a cataloguing of characteristics of throwing frames used by seated shot-putters. This cataloguing consisted of defining and grouping 26 characteristics into three main categories (i.e., whole body, foot and upper limb specific characteristics) and seven sub-categories. The secondary objective of this study was to provide raw characterisations of the throwing frames for a group of athletes who participated in a world-class event. The characterisation consisted of describing the characteristics of each throwing frame. Potential relationships between characteristics, performance and classification were also identified. The cataloguing was achieved using a 6-step heuristic approach, involving expert opinions and the analysis of 215 attempts produced by 55 male athletes during the 2006 IPC Athletics World Championships. The distribution of samples across characteristics suggested a relevant level of comprehensiveness for the proposed cataloguing. The raw data, the profile of best athletes and the frequency of characteristics provided key benchmark information for construction of a throwing frame as well as coaching, classification and officiating. Analysis of data sets relating to characteristics, performance and classification were inconclusive.

It's only temporary: Time frame and the dynamics of creative project teams

The success of many knowledge-intensive industries depends on creative projects that lie at the heart of their logic of production. The temporality of such projects, however, is an issue that is insufficiently understood. To address this, we study the perceived time frame of teams that work on creative projects and its effects on project dynamics. An experiment with 267 managers assigned to creative project teams with varying time frames demonstrates that compared to creative project teams with a relatively longer time frame, project teams with a shorter time frame focus more on the immediate present, are less immersed in their task, and utilize a more heuristic mode of information processing. Furthermore, we find that time frame moderates the negative effect of team conflict on team cohesion. These results are consistent with our theory that the temporary nature of creative projects shapes different time frames among project participants, and that it is this time frame that is an important predictor of task and team processes.

A report on frame and catch assessment surveys on Lake Nakuwa, Lake Kyoga Basin, Uganda

Lake Nakuwa is one of the large lakes among the Kyoga drainage system lakes, located 132 km north east Off Jinja town, at 01° 091N 33° 21 1 E, an elevation 1037 m, surface area of 200 km2 and an average depth of 3.3 m. The lake is shared by the districts of Kamuli, Pallisa and the newly created district of Kaliro. howerever 80% of the landing sites are in Kaliro and less than 20% are shared between the districts of Kamuli and Pallisa. The lake is free of submerged and floating macrophytes, with lots of floating papyrus (sudds). Papyrus, hippo grass and reeds dominate the shoreline vegetation. Lake Nakuwa like the main lake Kyoga was stocked with the Nile perch and the tilapiine species namely Oreochromis niloticus, Oreochromis leucostictus and Tilapia zillii in the general stocking exercise of small lakes alild dams in the early 1970's.

A report on frame and catch assessment surveys on Nabugabo lakes, north west, Lake Victoria Basin, Uganda

The Nabugabo lakes are an important source of affordable protein food in the form of fish, income, water for domestic and commercial purposes (aquaculture farm and Hotels), handcraft materials (mats, hats, roof thatch) and fishing floats and rafts. Nabugabo lakes provide employment, income and export earnings to Uganda that flow from the act of harvesting the fish. In Uganda the fisheries sector directly employs 350,000 people and indirectly 1.2 million people. In 2005, it is estimated that about 370,000 mt fish export (97-98% Nile perch) earned Uganda US $ 143 Million up from US $ 103 million in 2004 .and up from US $ 45 million in 1996. , making it almost become the first non' traditional export commodity. The Nabugabo lakes are also import for cultural values and fish species from these lakes are important in evolutionary studies. The fishery sector is therefore very important in Uganda's socio-economic life. Despite the above values to the communities and global biodiversity roles, the amount of fish caught and the number fishing fleets operating on the Nabugabo lakes to guide management of the lake are lacking. The fishery that exists in these lakes is largely for subsistence and commercial purposes specific for Lake Nabugabo based on introduced species (Nile perch and Nile Tilapia). The fish is caught using mainly gill nets and long line hooks.

Technical report of frame and catch assessment surveys of Lakes Edward and George; and the Kazinga Channel conducted in January and July 2011- 2013

This study aimed at evaluating the production levels in terms of catch estimates of the artisanal fisheries of the Edward-George system in addition to providing information on the facilities and services at landing sites and the composition, magnitude and distribution of fishing effort to guide development and management of the fisheries resources of the Edward and George lakes and Kazinga channel. Specifically, the study was expected to come up with the following outputs:- a) Information on the number of fish landing sites on the basin lakes; b) Information on the facilities available at the fish landing sites to service the fisheries sector ; c) Information on the number of fishers; d) Information on the number and types of fishing crafts; e) Information on the modes of propulsion of the fishing crafts; f) Information on the number types and sizes of fishing gears including the number of illegal fishing gears in the fishery; and g) Recommendations on development and management of the fisheries of the Edward and George lakes and Kazinga channel. h) Beach values in terms of annual catches and annual revenue from the water bodies.

The human frame and the laws of health,

Title within ornamental border.

Identity, Ideology, and Cinema: Making Sense of Japan's Foreign and Security Policies in the 1950s and 2000s

Japan is an important ally of the United States–the world’s third biggest economy, and one of the regional great powers in Asia. Making sense of Japan’s foreign and security policies is crucial for the future of peace and stability in Northeast Asia, where the possible sources of conflict such as territorial disputes or the disputes over Japan’s war legacy issues are observed. This dissertation explored Japan’s foreign and security policies based on Japan’s identities and unconscious ideologies. It employed an analysis of selected Japanese films from the late 1940s to the late 1950s, as well as from the late 1990s to the mid-2000s. The analysis demonstrated that Japan’s foreign and security policies could be understood in terms of a broader social narrative that was visible in Japanese popular cultural products, including films and literatures. Narratives of Japanese families from the patriarch’s point of view, for example, had constantly shaped Japan’s foreign and security policies. As a result, the world was ordered hierarchically in the eyes of the Japan Self. In the 1950s, Japan tenaciously constructed close but asymmetrical security relations with the U.S. in which Japan willingly subjugated itself to the U.S. In the 2000s, Japan again constructed close relations with the U.S. by doing its best to support American responses to the 9/11 terrorist attacks by mobilizing Japan’s SDFs in the way Japan had never done in the past. The concepts of identity and unconscious ideology are helpful in understanding how Japan’s own understanding of self, of others, and of the world have shaped its own behaviors. These concepts also enable Japan to reevaluate its own behaviors reflexively, which departs from existing alternative approaches. This study provided a critical analytical explanation of the dynamics at work in Japan’s sense of identity, particularly with regard to its foreign and security policies.

Identity, ideology, and cinema: Making sense of Japan's foreign and security policies in the 1950s and 2000s

Japan is an important ally of the United States–the world’s third biggest economy, and one of the regional great powers in Asia. Making sense of Japan’s foreign and security policies is crucial for the future of peace and stability in Northeast Asia, where the possible sources of conflict such as territorial disputes or the disputes over Japan’s war legacy issues are observed.^ This dissertation explored Japan’s foreign and security policies based on Japan’s identities and unconscious ideologies. It employed an analysis of selected Japanese films from the late 1940s to the late 1950s, as well as from the late 1990s to the mid-2000s. The analysis demonstrated that Japan’s foreign and security policies could be understood in terms of a broader social narrative that was visible in Japanese popular cultural products, including films and literatures. Narratives of Japanese families from the patriarch’s point of view, for example, had constantly shaped Japan’s foreign and security policies. As a result, the world was ordered hierarchically in the eyes of the Japan Self. In the 1950s, Japan tenaciously constructed close but asymmetrical security relations with the U.S. in which Japan willingly subjugated itself to the U.S. In the 2000s, Japan again constructed close relations with the U.S. by doing its best to support American responses to the 9/11 terrorist attacks by mobilizing Japan’s SDFs in the way Japan had never done in the past.^ The concepts of identity and unconscious ideology are helpful in understanding how Japan’s own understanding of self, of others, and of the world have shaped its own behaviors. These concepts also enable Japan to reevaluate its own behaviors reflexively, which departs from existing alternative approaches. This study provided a critical analytical explanation of the dynamics at work in Japan’s sense of identity, particularly with regard to its foreign and security policies.^

Pour une histoire et une esthétique de l'écran fragmenté au cinéma

Bien que son existence soit presque aussi vieille que le cinéma, l‘écran fragmenté (que les académiciens et autres professionnels du cinéma de langue anglaise désignent communément sous l‘appellation « split screen ») n‘a jamais fait l‘objet d‘analyses véritablement approfondies. Quand il est mentionné dans les livres d‘histoire, l‘écran fragmenté est rapidement esquivé. Pourtant, ses apparitions sont nombreuses. Ce mémoire de maîtrise cherche à corriger nombre d‘idées préétablies en exposant l‘histoire de cette manifestation visuelle, en commençant des débuts (le « cinéma des premiers temps ») jusqu‘à l‘arrivée du « cinéma numérique » du nouveau millénaire.

Australasian horror special issue editorial : putting Australian and New Zealand horror movies on the map of cinema studies

This Australasian horror special issue is an important step forward in putting Australian and New Zealand horror movies on the map of film and cinema studies as a subject worthy of intellectual debate. The journal issue is the first devoted solely to the academic discussion of Australasian horror movies. While an Australian horror movie tradition has produced numerous titles since the 1970s achieving commercial success and cult popularity worldwide, the horror genre is largely missing from Australian film history. While there have been occasional essays on standout titles such as Wolf Creek (Mclean, 2005), an increasing number of articles on ‘Ozploitation’ movies, and irregular discussion about Australian Gothic, overall the nature of Australian horror as a genre remains poorly understood. In terms of New Zealand, debate has tended to revolve around ‘Kiwi Gothic’ and of course Peter Jackon’s early splatter films, rather than Kiwi horror as a specific filmmaking tradition.