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Autonomous adaptive optimization of NMR experimental conditions for precise inference of minor conformational states of proteins based on chemical exchange saturation transfer
No full textTo provide software and data related to the research
Escala de autoeficacia percibida específica de situaciones académicas (EAPESA) en adolescentes en Lima Metropolitana 2025
No full textPavlovian impatience: The anticipation of immediate rewards increases approach behaviour
No full textDigitaler Präventionskurs zur Vermeidung von Fehl- und Mangelernährung, Marlie: einfach intuitiv essen
No full textEffectiveness study for our Marlie Ap
The Eye Movement Database of Passage Reading in Vertically Written Traditional Mongolian
No full textUnderstanding Creativity: A Field-Wide Ontology of Core Constructs
No full textThis project has two main aims. One aim is to parse and understand separate meanings of the term, “Creativity.” We will focus on three usages of creativity: creativity as process, creativity as the attribute of a product, and creativity as the attribute of a person/agent. For each of these usages, we will seek to identify terms that are the most definitionally essential – the component processes most essential for creativity, the attributes most essential to the creativity of a product, the attributes most essential to the creativity of a person. In a multi-phase study, a large and broadly representative group of creativity expert authors will be invited to generate candidate terms, weigh in on groupings and omissions, and then ultimately rate them on the extent to which they are central to each meaning of creativity (process, attribute of product, attribute of person/agent).
Another aim of the project is to identify distinctions and commonalities between creativity and other expert-selected constructs that are frequently used interchangeably with creativity (whether they should be or not!). We will start by focusing on creativity as a process (and likewise focus on the other selected constructs as processes). Critically, these similarities and differences will be clearly identified in the form of expert-generated terms, as opposed to maps or other graphic/visual representations and metrics. These latter methods have great value, but our goal is to offer a clear and jargon-free presentation of namable distinctions and commonalities that can be easily understood by both experts and newcomers to creativity research. This approach can enable simple and direct comparisons and contrasts between the constructs, allowing many possible applications for research, theory, and practice
Social learning of foreign language words
No full textThe current study investigates learning of foreign words in a digital environment. It investigates effects of social tutoring with and without visual cues of lip movements in contrast to non-social learning condition. Participants will learn foreign language words based on videos featuring i) a speaking tutor (visual cues for speech available), ii) a silent tutor (no visual cues for speech, because speech is presented through speakers) and iii) no tutor at all (speech is presented through speakers, i.e., a non-social situation without sensory cues). All the participants are presented with the three conditions (a within-subjects design). The hypothesis is that social condition with enriched sensory cues can the best support learning. Word learning will be tested in two ways: with an identification task where participants will get feedback on their response accuracy at the end of the experiment, and in a test where participants are required to translate each heard word into their native language and say it aloud. In addition, the transfer effect to word pronunciation will be tested. We explore the behavioral, brain and autonomic nervous system changes associated with effective word learning
Nonlinear second-order dynamics describe labial constriction trajectories across languages and contexts
No full textdata, analysis code, and simulation code for results reported in:
Stern, M. C., & Shaw, J. A. (2025). Nonlinear second-order dynamics describe labial constriction trajectories across languages and contexts. Journal of Phonetics, 111