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Perceptual and Physiological Responses to Carbohydrate and Menthol Mouth-Swilling Solutions: A Repeated Measures Cross-Over Preliminary Trial
Get PDFCarbohydrate and menthol mouth-swilling have been used to enhance exercise performance in the heat. However, these strategies differ in mechanism and subjective experience. Participants (n = 12) sat for 60 min in hot conditions (35 °C; 15 ± 2%) following a 15 min control period, during which the participants undertook three 15 min testing blocks. A randomised swill (carbohydrate; menthol; water) was administered per testing block (one swill every three minutes within each block). Heart rate, tympanic temperature, thermal comfort, thermal sensation and thirst were recorded every three minutes. Data were analysed by ANOVA, with carbohydrate intake controlled for via ANCOVA. Small elevations in heart rate were observed after carbohydrate (ES: 0.22 ± 90% CI: −0.09–0.52) and water swilling (0.26; −0.04–0.54). Menthol showed small improvements in thermal comfort relative to carbohydrate (−0.33; −0.63–0.03) and water (−0.40; from −0.70 to −0.10), and induced moderate reductions in thermal sensation (−0.71; from −1.01 to −0.40 and −0.66; from −0.97 to −0.35, respectively). Menthol reduced thirst by a small to moderate extent. These effects persisted when controlling for dietary carbohydrate intake. Carbohydrate and water may elevate heart rate, whereas menthol elicits small improvements in thermal comfort, moderately improves thermal sensation and may mitigate thirst; these effects persist when dietary carbohydrate intake is controlled for
Collaborating for a changing future in education
Get PDFAs technology and demand changes day by day, we as educators must be up to date too in the area of education.. We must adapt and grow our-self first in this environment. It is each teacher's accountability to invest learners to adapt changes, face challenges, be innovative and grab any opportunities that come their way. So to collaborate in teaching for the future we teachers must be ready and organised to be information accumulators, developers, predictors, curriculum professionals, researchers and problem-solvers
Mum's kitchen: Scoring loss in a contemporary New Zealand musical
Get PDFThis paper functions in part as an exegesis of a recently premiered New Zealand musical, Mum’s Kitchen, which was collaboratively written and composed by a team of four creatives (Nick Braae, composer-lyricist; Kyle Chuen, librettist; Jeremy Mayall, orchestrator; David Sidwell, composer). The show centres around three brothers who return to their family farm after their Mum passes away, and they must settle the estate, while processing their various states of grief for their childhood home and family. Mum’s Kitchen treads relatively familiar New Zealand theatrical ground, then, in terms of exploring themes of masculinity, emotional performance, and familial communication.
The question of a distinct New Zealand musical language is one that has occupied writers for many years, and this becomes even more pressing in an idiom (musical theatre) that has such a limited tradition in this country (di Somma, 2016) – in other words, how to write musical theatre songs to tell a distinctly New Zealand story when such a musical language (arguably) does not exist? While the musical was not created to answer this question, the creative responses of the two primary composers (Braae and Sidwell) provides some answers to this question, which, in turn, is revealing of how style and compositional choices are perceived to function in a musical.
Taking its cue from Murphy (2014), this paper analyses the songs in Mum’s Kitchen that directly addresses themes of loss and nostalgia. I suggest that despite the different composers on the project, there is a unified set of strategies as to how loss is “scored” into the songs: use of “anachronistic” styles (such as the country waltz) to evoke a past era, and a collection of contemporary harmonic devices (open chord voicings, harmonic ambiguity) that evoke emptiness and uncertainty
Convenor of creative practice at/and the In-Betweens Research Symposium, Wintec, 1 July 2021.
Get PDFCreative practitioners within a tertiary education context may identify a number of strands of in-betweens in their existence. For some, this takes the form of multi-, inter-, or trans-disciplinary practices: producing work that fuses and utilises different media to articulate a singular meaning; or exploring how different forms of knowledge can be used to solve a common problem. In other instances, the in-between may be result of cross- and multi-cultural creative dialogue: how different artistic traditions and cultural practices can be brought into a fruitful embrace; or how one locates a space, metaphorical or literal, between different cultural identities.
We might also reflect on our dual roles as creative practitioners and educators – how do our experiences in each
area of life relationally inform and shape the other? Or, alternatively, what experiences should be informing the other? How does artistic practice relate to best teaching practice? On a final and related point, there is the ever- pressing role that Te Pūkenga – not only as an educational institution but as an educational framework – might play in influencing creative practice and how those skills and knowledge are taught and researched. What are the different regional artistic voices within Aotearoa? What do they look and sound like? And how might they operate within a national context?
While we should not be so presumptuous to think that answers to these questions will necessarily materialise today, it is hoped that there may be room for contemplation and discussion at the very least. Moreover, we hope that the sharing of perspectives, methodologies, and projects in these realms may spark interest and connections amongst participants, with a view of developing further collaborations, extending artistic work, and demonstrating the need for creative arts research within our sector and society at this time
Bold words, a hero or a traitor? – Fang Fang’s diaries of the Wuhan lockdown on Chinese social media
No full textThe central Chinese city of Wuhan was the initial epicentre of the COVID-19 pandemic and the first city to experience lockdown. The 11 million residents of Wuhan were locked down for seventy-six consecutive days, beginning in late January 2020. Fang Fang, a well-known Chinese writer, as well as a resident of the city published her personal accounts of the lockdown experience in the form of diaries on Weibo and WeChat, two of the most popular Chinese social media platforms. At the beginning, the diaries were well-received by Chinese netizens because of their bold critique of social injustice, corruption, abuse of power, and other sensitive issues in China that deterred the efficient government response to the pandemic. However, soon after the diaries were translated in English and German and published with a fast-track process overseas, Chinese public views towards the diaries drastically swung against it. Many initial supporters turned to express their concerns and suspicions of the intention of the publication. The prevailing opinion was that the writing sabotaged China’s efforts to fight the pandemic and fed into conspiracy theories and wider anti-China political sentiment. The author was criticised as an opportunist and traitor who capitalised on the health crisis to enhance her own credentials. In Chinese social media, a polarised reception of the diaries emerged.
This chapter explores how the diaries have provided a rare discursive site for the Chinese public to engage in political deliberations and ideological debate on democratic liberalism and populist patriotism which co-exist in contemporary China. Empirical data includes some key commentary articles1 about the diaries from both sides of arguments that circulated on WeChat and the responses these articles attracted. The chapter also explores some of the lived experiences during lockdown, as described in Fang Fang’s diaries
The potential contribution of soy isoflavones in the health of menopausal women, revealing the avenues for soy food manufacturing industry
Get PDFMost of the women above the age of 45years are experiencing the consequences of natural menopause.
Menopausal women simultaneously face the challenge of menopausal symptoms plus the risk associated with non-communicable diseases. Cardiovascular diseases and
steoporosis are abundant. Natural remedies are sought widely for this condition rejecting hormone replacement therapy blaming the risks associated. The intake of soybean isoflavones is the best choice as the natural treatment strategy for both symptom relief and disease prevention. This review focused on general information about soy isoflavones, their impact on menopausal health, isoflavone contents in different soy food, and their manufacturing suggestions. Founded in the literature evidence, soy food and isoflavones are satisfactorily effective and secure for menopausal health
Youth in care with emotional and behavioural challenges: Alternative pathways to tertiary education
Get PDFThis article aims to start a discussion on whether an alternative pathway to tertiary education can be found for
New Zealand youth who are in care and who are experiencing mental health and/or behavioural difficulties and,
more specifically, conduct problems. Our purpose is to challenge the conventional approaches to education and
to propose a method that could support the development of more tailored and effective educational pathways.
These proposed, potentially more effective, pathways would see youth in care – who would not ordinarily achieve
New Zealand’s National Certificate of Education Achievement (NCEA) levels 1 and 2 (due to externalising
behaviours which impact progress to tertiary education) – gain success in these qualifications
Caucusing: Creating space to confront our fears.... Twelve years on
Get PDFBreaking into Tangata Whenua and Tangata Tiriti caucuses during classes regarding Aotearoa’s colonizing history, is a practice employed at Wintec on undergraduate Social Work and Counselling programs (Bachelor of Social Work and Paetahi Tumu Korero, Wintec, 2021) continuously for approximately 15 years. In 2009 research of students’ experience of the practice was published revealed among other things marked differences between the way Māori and non-Māori students experienced the practice, positive shifts in consciousness regarding white privilege and development of cultural identity. Since 2009 both programs have been re-developed. While aspects of the teaching differ today, caucusing and adjacent supporting practices remain. Tutors continue to observe relevant benefits gained by students, as well as grappling with challenges provided by the approach.
Twelve years since the study the original researchers prepare to investigate the practice, including current students’ experiences, so as to establish further understanding. In preparation they invite symposium participants to a discussion of the practice, original research and plans for the next stage
Fabrication of titanium coatings for medical device applications
Get PDFAbstract
Titanium is widely used for medical purposes It related to bone repair because of its favorable mechanical properties
and biocompatible ability to osseointegrate in host bone tissue A good and lasting connection of the implant with the bone tissue is possible when there are sufficient conditions for the bone to grow into the pores of the material, therefore the use of a porous titanium coating may be helpful in solving this problem In this paper, shrouded plasma spray is used to produce low oxide containing titanium coatings and lower the cost as titanium is a very reactive metal at high temperatures A solid conical shroud
was designed for plasma spray The titanium coatings were assessed by scanning electron microscopy and energy dispersive Xray spectroscopy An analysis in microstructure had been carried out The results showed that the shroud attachment played an important role in protecting the titanium particles in flight during the process of plasma spraying An enhanced microstructure with moderate porosity in the titanium coatings plasma sprayed with the shroud was observed The reduction in air entrainment with the shroud resulted in a good heating of the particles The plasma sprayed titanium coating was mainly composed of α Ti
with a low quantity of Ti
Mum’s Kitchen: Scoring Loss in a Contemporary New Zealand Musical. Paper presented at Creative Practice at/and the In-Betweens Research Symposium, Wintec, 1 July 2021
Get PDFThis paper functions in part as an exegesis of a recently premiered New Zealand musical, Mum’s Kitchen, which was collaboratively written and composed by a team of four creatives. The show centres around three brothers who return to their family farm after their Mum passes away, and they must settle the estate, while processing their various states of grief for their childhood home and family. Mum’s Kitchen treads relatively familiar New Zealand theatrical ground, then, in terms of exploring themes of masculinity, emotional performance, and familial communication.
The question of a distinct New Zealand musical language is one that has occupied writers for many years, and
this becomes even more pressing in an idiom (musical theatre) that has such a limited tradition in this country (di Somma, 2016) – in other words, how to write musical theatre songs to tell a distinctly New Zealand story when such a musical language (arguably) does not exist? While the musical was not created to answer this question, the creative responses of the two primary composers provides some answers to this question, which, in turn, is revealing of how style and compositional choices are perceived to function in a musical.
Taking its cue from Murphy (2014), this paper analyses the songs in Mum’s Kitchen that directly addresses themes of loss and nostalgia. I suggest that despite the different composers on the project, there is a unified set of strategies as to how loss is “scored” into the songs: use of “anachronistic” styles (such as the country waltz) to evoke a past era, and a collection of contemporary harmonic devices (open chord voicings, harmonic ambiguity) that evoke emptiness and uncertainty