20 research outputs found
Differential perceptions of business majors in training of job applicants with disabilities versus non disabled job applicants
No full textPlan BThis research is being conducted to determine if potential business employers have differential perceptions of job applicants with disabilities when compared to a non-disabled job applicant. Research indicates that the unemployment rate for people with disabilities is seventy percent. One possible reason for this may be due to biases in the work place. This study will investigate attitudes of employers-in-training using survey methodology. This research project will be a quasi-experimental design. Prior to research, permission will be gained from Stout Business School faculty to access business students within the business department. Subjects will consist of business students within a specified course at Stout. Participation will be strictly voluntary. Subjects will view information pertaining to a hypothetical job applicant. Confidentiality will be maintained throughout the study. No names will be requested of the subjects. The only identifiers will be which condition the subjects has (i.e. disabled versus non-disabled). Packets will be randomly administered with two conditions of physical disabilities (i.e. carpal tunnel syndrome and lower back injury) and one control condition (non-disabled job applicant). Carpal tunnel syndrome and lower back injury were chosen because research indicates they are the most frequently occurring work-related physical conditions. Within the packets will be a consent form, job description, cover letter, resume, and survey. After viewing one hypothetical job applicant, subjects will then rate the job applicant according to their perceptions of the applicant’s vocational potential, dependability, and competence. The hypothesis of interest will not be disclosed until after the survey is complete. After the data collection, the subjects of this study will be debriefed regarding the primary hypothesis under investigation. Results will be provided to the business school and others who are interested. It is hoped that this study may enhance understanding and awareness of employer selection processes pertaining to applicants with disabilities
Edible/inedible
No full textEdible-Inedible is a series of acrylic paintings that focuses upon perceptions of food (or consumables) as being either edible or inedible. There are eleven paintings in the series constructed in a comparison/contrast presentation. Food is undeniably composed of objects we see daily. As a visual object, food is naturally temporary. What we seldom consider ( or perceive) is why and how we select and come to accept what we eat. At the core of the food selection process are cultural and environmental considerations. Edible-Inedible provokes the idea that what and how we eat depends on where we live. The objects of consumption are perceived differently depending upon our points of view. "To say . .. that men [ and women] and cultures are often very different from one another is not to deny that a man [and woman] can understand someone with a perspective very different from his [ and her] own. " �Hirsch peppers, the surprise of salty meats and sauces. I have indeed come to appreciate pizza. My perception has certainly changed. "Far from being an extraordinary or illusory feat . .. entertaining two perspectives at once is the ground of all human discourse. " -Hirsch Edible-Inedible is not conceived simply upon what is edible and/or inedible. The series instead utilizes food images as a way of contemplating what is socially and culturally acceptable and unacceptable. Food is a universal need. However, in very cosmopolitan Los Angeles, food demarcates borders and separates cultures. For example, chicken feet in a Beverly Hills restaurant is inconceivable while simultaneously, fillet mignon in East Los Angeles may be unobtainable. What causes this difference in perception? "The meaning perceived by an interpreter must be at best subtly different from the meaning perceived by the author [creator}." -Hirsch I spent months traversing the wonderfully multicultural aisles of markets and grocery stores in and around Los Angeles simply looking at food. I paid close attention to which markets offered what types of food. Jon's Market --------------------Sheep head 99 Ranch Market----------------Bovine intestines, partial kidneys attached chicken feet Greenland Market---------------Gargantuan clam, attached to shell Albertson' s-----------------------Salmon fillets (no heads, no tails, no skin) Ralph' s----------------------------Marbled Steak What I discovered: In typically "American" markets, meat products were presented in the following uniform manner (1) skinless (2) headless (3) tail-less ( 4) footless (5) internal organs removed from sight What I discovered: In typically "ethnic" markets, meat products were presented in the following uniform manner (1) skins are necessarily attached (2) heads are necessarily attached (3) tails are necessarily attached ( 4) feet are necessarily attached (5) internal organs are necessarily attached (6) frogs, crawfish, turtles, pigeons are included as meat products If my paintings are a cultural text, then they represent that I, as an author, will perceive my object (meat) in a slightly different perspective than my audience. It is a difference in perspective that is easy to synthesize. If my paintings are a representation of a text I consider edible - will my audience agree? Or will their definition of edibility and acceptability differ? How might differences result in a third perspective, a new perspective - a new way of visioning? What forn1 of "human intercourse" will such a presentation invoke? "Cultural perspectivism . .. forgets that the distance is a huge metaphysical gap [and we must} leap to understand the perspective of another person. " -Hirsch [If] you are what you eat, [Then] you are what you will not eat. [Therefore] you are what you will eat and what you will not eat. On a painted canvas I ask my audience, will you make the leap? Will you leap towards - chicken feet sheep heads bovine hearts and intestines tongue tissues OR squid gargantuan clams pork snouts and feet canned eel dehydrated noodles Will you leap towards - marbled steaks filleted salmons beheaded lobsters skinned shrimp de-boned tuna TV dinners E. D. Hirsch defines perspectivism (and perception) as a result of "viewpoint, standpoint, mental perspective, and attitude." Viewpoint: Standpoint: Mental Perspective: Attitude: Artistic Findings: How did I overcome my distaste for pizza? How did I forget my taste for intestines and feet? Did I leap (culturally) backward or forward? Am I now, what I will eat and what I have forgotten to eat? Edible-Inedible is a reflection on cultural attitudes formed by individual perspectives on food. The work creates binaries: acceptable-unacceptable social-private personal-public As well as providing cultural perspectives on food, it is also a geographic representation of cultural availability. Along the lines of "you are what you eat," Edible- Inedible provokes the idea that we eat where we live, and that what we find appealing and understandable is based largely upon cultural and regional environments and influences. My paintings may make us more aware of the boundaries of acceptable and unacceptable food consumption. Subversively and symbolically they may also make us more aware of other cultural boundaries that exist. Food for thought.California State University, Northridge. Department of Art
Hidden darkness, secret beauty
No full textWhile doing research recently for a paper, I came across an old textbook of mine from the late 1970's, Readings in American Art. Years ago I had written in the margin, "Art of the twentieth-century seems to have chosen intellectualism over an earlier standard of beauty for its own sake." When I reread this note I realized that beauty has always fascinated me. In my own art I have always sought to have a type of beauty which is deep, emotional, and mysterious - though not a beauty exclusive of the intellect. I want my art to have a powerful, poignant message, where the pain is visible, genuine, connecting with the viewer. The beauty of childhood is often hidden by this pain and abuse. I have used beauty in my own life as a source of pleasure to overcome great sorrows. Looking at a beautiful flower, or the beauty of the snow on the rugged mountains, has always given me great solace. It can also be what makes life worth living for those in great pain, as abused children often are. To create a hidden beauty within my own paintings, I use rich colors and obscure them with textures, just as abuse obscures the beauty of childhood. The deep, jewel-like colors start off as bright, cheerful colors, which are then covered with multiple layers of transparent paint alternating with dark opaque drips. The effect is mysterious and foreboding. The beauty is obscured further by the addition of manipulated plaster, opaque paint, washes, and transparent colors in thick gel mediums. Button holes, objects from the sewing drawer, zippers, and lace are all sewn into the canvas for more texture. The canvas with these objects sewn into it resembles fabric with a tactile appeal, as fabric of fine clothes would have. My surfaces can be read as multi-layered paintings, where the viewer must get close to the surface to see all the layers, textures and colors. My paintings produce a sense of mystery with the colors and are alluring to the sense of touch. Storytelling has always been important to us. It is our primal connection to one another. The reason novels are read, I was told long ago, is so that we would know we are not alone in this world with our problems or joys. When I started to paint I knew that one of my stronger points in creating art was the story I could tell in visual images. After reading Wolfgang Iser, I realized that reading was the connection of reader to text, to author, and back again. This is part of the creative process that innvolves the reader to interpret and create for themselves (Lodge 190). The same process happens in the art work, especially when the art tells a story. The art creates a tie, a connection, between the artist and the viewer. It is in this connection that each novel and each work of art then becomes important for what it says to the receiver. If the written word is important, then the visual story is equally important. It is to achieve this connection between the artist, the work, and the viewer that I tell my story and the stories of many children - the stories of children hidden in dark rooms of their homes, often overlooked, rarely told in a visual sense. I have come to call my work abstract narratives; stories on abstract backgrounds created with silhouettes of objects, animals and people, sometimes in textured surfaces or in windows which create a sense of mystery. The viewer must decipher the message and read the art in their own imaginative way. The visual symbols used - a child on a swing, or a man with a knife, wilting flowers, broken coffee cups - create an edge or unease about the narrative. I build my own canvases, starting with 2" x 2" strips of wood and masonite board, a building process that symbolizes the archetypical father figure. The father figure is also represented by nails, screws, staples or building supplies, harshly intruding into the picture plane. Then I sew into the fabric of the canvas, which is torn apart and sewn back together like quilt squares, with zippers, lace, pins, and other actual sewing materials to symbolize the archetypical mother. The child is symbolized in the toys, stuffed dolls, and teddy bears. These objects are often in fragments as in Screws and Zippers (page 5) or surrounded by drips of paint, as in Closed Zipper (page 8). I have also used more obscure references to my own ancestry. For example the use of broken feathers illustrating the broken promises or commitments from one person to a.T1other, is from my Native American ancestry, as represented in Promises (page 11). The rips in the fabric, or zippers left gaping, as in Running (page 9) and Broken Flowers (page 10), are representative of the wounds of childhood. There are windows cut into the canvas showing the masonite beneath, as in Just a Story (page 12). These windows are a view into a story, depriving the viewer from seeing everything. The separate areas of color in all my paintings symbolize the fragmentation of a child's memory. Childhood has its own tales. Some are our own, and some we can read and see in the media which we can relate in some small way to the hidden side of the domestic problems that abound in our society. Some childhood tales are mythic, as childhood memories are not accurate and have become mythic tales of their own. My art is a means to tell that story and to create more awareness, in a powerful way, of the hiddeness of childhood and domestic wounds in our society - stories not often told. My paintings use an obscured beauty and narrative to draw the viewer into the often-brutal world of child abuse and domestic problems. Each work of art should be valued for its own tale, just as every novel is valued, and as every child should be valued in our society.Includes bibliographical references (leaf 17)California State University, Northridge. Department of Art
Slice-Less Optical Arbitrary Waveform Measurement (OAWM) in a Bandwidth of More Than 600 GHz
No full textWe demonstrate an optical arbitrary waveform measurement (OAWM) technique that exploits optical frequency combs as multi-wavelength local oscillators (LO) and that does not require any optical slicing filters. In a proof-of-concept experiment, we achieve record-high bandwidths exceeding 600 GHz. (C) 2022 The Author(s)LPQ
Optic-Electronic-Optic Interferometer: A First Experimental Demonstration
No full textPaper SF1L.1We demonstrate an interferometer that is opaque in one arm, where the optical signal is coherently detected, processed, and remodulated. In case of constructive interference, stable operation is shown for 5 Gbit/s OOK signaling
Non-sliced optical arbitrary waveform measurement (OAWM) using soliton microcombs
No full textComb-based optical arbitrary waveform measurement (OAWM) techniques can overcome the bandwidth limitations of conventional coherent detection schemes, thereby enabling ultra-broadband signal acquisition in a wide range of scien-tific and industrial applications. For efficient and robust implementation of such OAWM systems, miniaturization into chip-scale form factors is key. In this paper, we propose and demonstrate an OAWM scheme that exploits chip-scale Kerr soliton combs as compact and highly scalable multi-wavelength local oscillators (LO) and that does not require optical slicing filters, thus lending itself to efficient implementation on state-of-the-art high-index-contrast integration plat-forms such as silicon photonics. The scheme allows for measuring truly arbitrary waveforms with high accuracy based on a dedicated system model that is calibrated by means of a femtosecond laser with a known pulse shape. We demonstrate the viability of our approach in a proof-of-concept experiment by capturing optical waveforms with multiple 16QAM and 64QAM wavelength-division multiplexed (WDM) data signals, reaching overall line rates of up to 1.92 Tbit/s within an optical acquisition bandwidth of 610 GHz. To the best of our knowledge, this is the highest bandwidth that has so far been demonstrated in an OAWM experiment. Our work opens a path towards efficient implementation of OAWM systems, offering THz acquisition bandwidths in highly compact and robust assemblies that can rely on chip -scale frequency-comb generators and simple filter-less detector circuits. (c) 2023 Optica Publishing Group under the terms of the Optica Open Access Publishing AgreementLPQ
Identification of a Vibrio cholerae RTX toxin gene cluster that is tightly linked to the cholera toxin prophage
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