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Wavelet-Based Mechanomyographic Intensity Responses to Sustained Tasks Anchored to Low Versus High Ratings of Perceived Exertion
No full textPurpose: This study examined the effects of sustained, isometric forearm flexion tasks anchored to ratings of perceived exertion of 2 (RPE2FT) versus 8 (RPE8FT) on the wavelet-based mechanomyographic (MMG) intensity responses from pretest and posttest maximal voluntary isometric contractions (MVICs) as well as the time course of changes in the MMG intensity responses throughout the sustained tasks. Methods: Eleven men (mean±SD: age=20.9±2.3 yrs) performed MVICs before and after the sustained tasks. The wavelet analyses decomposed the MMG signals onto a set of 11 wavelet bands (WBs). Repeated measures ANOVAs were used to analyze the MMG intensity data. Results: For the MVICs, there were WB-specific differences in MMG intensity (lowest:0.02%[WB1] and highest:49.77%[WB3]), but no RPE- or time-specific differences. For both sustained tasks, MMG intensity decreased at WBs 3-11, which resulted in a decrease in total intensity (100.00% vs. 17.10%), but no changes at WBs 1 and 2. Conclusion: The lack of change in MMG intensity from pretest to posttest MVIC was likely due to the restriction of the lateral oscillations of the activated muscle fibers that resulted from muscle stiffness, intramuscular fluid pressure, and/or a fusion-like state of the motor units due to their high firing rate. The decreases in MMG intensity throughout the sustained tasks at the medium and higher WBs were likely due to the de-recruitment of medium and higher thresholds motor units, but not of lower threshold motor units. Thus, the responses during maximal measurements versus the time course of changes provided different information, however, the responses were not RPE-dependent
Nacido Del Fuego (Born in Fire)
No full textMia Permuy (b. 1999) is a multimedia visual artist of Cuban-American-Filipino heritage. Her work is known for merging spiritual and mythological scenes with street art aesthetics that elevate and refine urban grit with delicate refinement. This is often further contextualized through a personal narrative being communicated through the specific imagery she uses in each piece. Permuy has exhibited her work alongside renowned international artists Mariette Pathy Allen, Jamie McCartney, Baruj Salinas and Wifredo Lam. She has been featured in Strike Magazine, Art Basel Miami Beach/Miami Art Week, the FSU Museum of Fine Arts, as well as in fine art auctions in support of charity. Permuy has been commissioned to produce public art for the Miccosukee Tribe of Indians and is included in the Wilzig Museum permanent collection.
This piece, Nacido Del Fuego, was produced in 2022 for an exhibition in Miami, FL where it was unveiled in honor of a local music performer. It incorporates mythological themes with Eastern and Street Art influenced imagery and various approaches to free form art, such as Los Angeles-based Korean-American painter David Choe. It emphasizes movement and color and uses the symbol of the phoenix to convey themes of rebirth through the ashes of personal challenges and perseverance. To further the metaphor, the piece was made in a setting of darkness to more fully capture the idea of rebirth from strife and personal darkness, as well as from the precipice of the unknown.https://nsuworks.nova.edu/nsudigital_permuycollection/1022/thumbnail.jp
How to Search for Articles
No full textThis video shows how to search for scholarly articles using keywords in the Alvin Sherman Library databases. It demonstrates how to apply filters and refine your results.https://nsuworks.nova.edu/library_learn_all/1089/thumbnail.jp
Student Mentees’ Perceptions of Research Proposal Mentorship Using the Critical Incident Technique
No full textThis qualitative study explored how undergraduate student mentees in an English-as-a-Foreign-Language (EFL) context perceive effective research proposal mentorship. Conducted within the English Education Study Program at Pattimura University, Indonesia, the study employed the Critical Incident Technique (CIT) to capture student reflections on specific mentoring experiences. Seven undergraduate students who had completed their research proposals participated in in-depth interviews, sharing both effective and ineffective mentoring incidents. Thematic analysis reveals three key characteristics of effective mentorship: (a) supportive mentorship that fosters emotional safety and sustained motivation; (b) effective guidance, characterized by dialogic, actionable feedback and modeling of research practices; and (c) mentor availability and accessibility, including responsiveness through both in-person and digital channels. Findings highlight the importance of relational and contextual factors in shaping mentorship quality, particularly in under-resourced, culturally hierarchical, and linguistically complex EFL settings. The study offers practical implications for improving mentor training, institutional support structures, and equity in undergraduate research supervision
Untitled
No full textGabriel Sorzano (1925-2021) was a notable figure in Cuban art and in the Cuban exile community who was active in Cuba, the United States, and Europe. He won several major awards, including Cuba’s First Prize for Gigantic Wood Sculpture in 1958 resulting in a public art commission for the National Theatre in Havana, as well as winning a two-year travel purse to study in Italy from Cuba’s Ministry of Education (1960-61).
Sorzano then emigrated to the United States in 1961, leaving the censorship of the Cuban government for New York City where he worked as an estimator in several major projects, including the construction of the World Trade Center in the late 1960s, as well as JFK Airport’s expansions in the Pan American and TWA terminals. After relocating to Miami in 1973, Sorzano would become one the contributing artists that would be credited with helping to establish Latin American art in South Florida and forging the framework for the current international Miami art market. In this context, Sorzano was particularly associated with the group of Cuban artists that included Miguel Jorge, Lourdes Gómez-Franca, Dionisio Perkins, and Margarita Cano and was active in several key early venues of Cuban art, including Permuy Gallery and Bacardi Gallery.
In 1975 Sorzano won the City of Miami’s Artist in Residency and the following year was commissioned to create the renown Virgen de la Cardidad mural in Miami’s Domino Park in collaboration with fellow Cuban painter and close associate, Ricardo Pedreguera. Sponsored by the City of Miami, the mural became a notable work of public art that was widely published and recognized as a landmark in the area’s history. Sorzano was a participating artist in the 1977 Re-Encuentro Cubano art fair and exhibition, the second ever art fair in the United States held dedicated to Cuban art. The following year Sorzano was the subject of a solo exhibition in Bacardi Gallery, operated by the Bacardi Corporation, and in 1979 was invited to appear in the popular TV program Over Easy hosted by Hugh Downs.
Later in his career Sorzano was commissioned to design the Cerviel: Angel of Strength sculpture to serve as the model for the 1994 Vista Magazine Corporate Achievement Award given to then-First Lady Hillary Clinton. He is mentioned in important literature on Cuban art in exile, including the book Cuban-American Art in Exile, and his work is featured in the permanent collection of the Wilzig Museum in Miami Beach.
While known for his vivid depictions of tropical vegetation, this piece shows Sorzano’s work within the field of abstraction. Dating between the 1980s and 1990s,
Untitled, is an exploration of form, color, and line executed on Tyvek paper, a kind of plastic paper that is used for construction, an unusual medium that underscores Sorzano’s knowledge of the architecture and construction industry, and was a preference of Sorzano’s due the way the paint applied onto the paper. Sorzano remained active in painting until his death in 2021 at the age of 96.https://nsuworks.nova.edu/nsudigital_permuycollection/1017/thumbnail.jp
Popocatepetl
No full textBaruj Salinas, recently deceased, was a leading member of the Cuban diaspora. He was personally associated with many of the most renowned and formative figures in 20th century Western Art, including Joan Miró, Marc Chagall, Alexander Calder, Wifredo Lam, and Rufino Tamayo. Salinas co-founded the first known Latin American artist association in Florida, the Grupo GALA, which included other prominent Cuban artists Enrique Riverón, Rafael Soriano, and José Mijares. Salinas was its last surviving member.
His work was accepted into the permanent collection of several leading institutions including: the Art Institute of Chicago, Art Museum of the Americas in Washington D.C., the Museo del Barrio in New York City, the Israel Museum, the Joan Miró Foundation Centre in Barcelona, and, perhaps most famously, The Vatican where his accepted works were received in a ceremony featuring Salinas and Pope Francis in 2017. Salinas won multiple art awards in his lifetime, had over 100 personal exhibitions in more than 20 countries, and had sold several works on the leading auction house Christie’s New York. He was the subject of a book (1979), documentary film (2000), and major career retrospective in 2022.
This piece is a rare Artist Proof for a lithograph based on his personal experiences witnessing the eruption of the Popocatepetl volcano in Mexico. This donation is notable for marking Salinas’ first entry into an institutional permanent collection since his death, and coincides with his being honored by the City of Coral Gables with an official Proclamation on August 26, 2025 declaring “Baruj Salinas Day” in recognition of his cultural impact and artistic impact.https://nsuworks.nova.edu/nsudigital_permuycollection/1013/thumbnail.jp
Vase of Flowers
No full textJosignacio is one of the most significant figures in contemporary art to emerge from Latin America in the late 20th century. He is known for creating the Plastic Paint Medium, becoming the first artist globally to paint entirely with pigment-mixed melted resin inspired by the Abstract Expressionist (AbEx) New York School. Aesthetically, his work is noted for using the Plastic Paint Medium to syncretize most of the major Contemporary movements of the preceding century, including AbEx, Pop Art, and Neo-Expressionism/Postmodernism with layered conceptual and narrative-symbolic elements.
His early artistic development was marked by both early achievements and significant interference from the Cuban government for perceived lack of support of the Castro regime. This including being blocked from attending art school and later having a public commission for the Havana Carnival reassigned to another artist. Despite his lack of formal education and institutional support, Josignacio received direct training from many of Cuba’s leading artists who would frequently visit his family home, including René Portocarrero, Mariano Rodriguez, Antonia Eiriz, and Raul Milián. Before solidifying his artistic stature with the Plastic Paint Medium, Josignacio also received significant early attention for winning awards and exhibiting in several of the country’s leading galleries. Ultimately, however, his repeated struggles with the Cuban government culminated in his invitation to exhibit internationally in two major venues in Mexico City—The Gallery of the National Auditorium and Centro Cultural Los Talleres in Coyoacán—being suddenly revoked by the Cuban Embassy in Mexico, leading him to leave Cuba for the United States on September 14, 1989.
Since relocating to the United States, Josigancio quickly participated in art auction and secured representation form leading art galleries. In 1996 he won South Florida’s oldest and most prestigious art award, the Hortt Prize Best In Show, bringing him national and eventually international recognition. This has has included attracting multiple prominent collectors, such as former U.S. President Bill Clinton, the Bill Gates Foundation, the Bacardi Family, as well as celebrities Madonna, Beyoncé, Gloria Estefan, and Andy Garcia.
In 2016 he set the global record in London for highest price ever reached at auction by a Living Latin American artist with a hammer price of $3,480,000. He is included in the permanent collection of the Tampa Museum of Art, the Wilzig Museum in Miami Beach, and the National Library of Cuba. This piece is from his series of florals, titled Flores meae numquam marcescun —My flowers never wilt, one of the longest running of his career and predates his development of the Plastic Paint Medium. The series began in the early 1970s when he was then being mentored frequently by Cuban painter Felipe Lopez who had taught him methods to best mix colors as well as color theory. During this period Lopez had advised Josigancio that the best way to find new subtle and exact color variations was to find, study, and replicate flowers of different colors and paint them from life rather than images. With this he began the series, initially resulting in lifelike, hyper realist still lifes.
While his floral works are now executed in his recognizable and established style within the Plastic Paint Medium, they remain a bold expression of color. They also represent a bridge of continuity from his upbringing in Cuba to his international success upon relocating to the United States. This specific piece, Vase of Flowers, was created during the COVID-19 Pandemic and shows influence of his mentor Portocarrero, as well as Americans Jackson Pollock and Georgia O’Keeffe. He also used it to communicate a complex range of emotions and ideas. On the surface, it primarily represents an expression of hope, life, and a symbolic flourishing from within that, despite being contained in a vase, remaines connected to the natural world and universe at large. This is seen in outsized perspective of the petals, the bursting imagery arising from the vase, as well as the interstellar imagery that he has implied through the use of iridescent sparkling paint, which changes in hue based on the perspective of the viewer.
Despite this, Josigancio also acknowledges the starkness of that period in time by avoiding his typical colorfield backgrounds and replacing it with a comparatively minimalist, predominantly white background. This represents an atmosphere of numbness, sterility, and lack of definition from which the piece emerged. In addition to conceptually contrasting hope within starkness, the choice for a white background also visually enhances the focus given to the flowers depicted.
Finally, here Josignacio pushes the limits of the boundary between abstraction and figuration by refusing to delineate the individual flower petals, allowing only the flower pestle to serve as the sole visual guides to indicate the number of flowers depicted while the petals themselves merge into a largely amorphous and ambiguous cloud erupting from the within the vase, suggesting volcanic imagery and hinting to further elements of the artist’s mindset during its creation.https://nsuworks.nova.edu/nsudigital_permuycollection/1012/thumbnail.jp
