1,721,104 research outputs found
Proteomic response to intracellular proteins of Monascus pilosus grown under phosphate-limited complex medium with different growth rates and pigment production
No full textProteome Response of Monascus pilosus during Rice Starch Limitation with Suppression of Monascorubramine Production
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Metabolic protein patterns and monascorubrin production revealed through proteomic approach for Monascus pilosus treated with cycloheximide
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Beta Band Rhythms Influence Reaction Times
No full textDespite their involvement in many cognitive functions, s oscillations are among the least understood brain rhythms. Reports on whether the functional role of s is primarily inhibitory or excitatory have been contradictory. Our framework attempts to reconcile these findings and proposes that several s rhythms co-exist at different frequencies. s Frequency shifts and their potential influence on behavior have thus far received little attention. In this human magnetoencephalography (MEG) experiment, we asked whether changes in s power or frequency in auditory cortex and motor cortex influence behavior (reaction times) during an auditory sweep discrimination task. We found that in motor cortex, increased s power slowed down responses, while in auditory cortex, increased s frequency slowed down responses. We further characterized s as transient burst events with distinct spectro-temporal profiles influencing reaction times. Finally, we found that increased motor-to-auditory s connectivity also slowed down responses. In sum, s power, frequency, bursting properties, cortical focus, and connectivity profile all influenced behavioral outcomes. Our results imply that the study of s oscillations requires caution as s dynamics are multifaceted phenomena, and that several dynamics must be taken into account to reconcile mixed findings in the literature.This research was funded in whole, or in part, by the Austrian Science Fund (FWF) Erwin Schrödinger Fellowship J4580 to ER. For the purpose of open access, the author has applied a CC BY public copyright license to any Author Accepted Manuscript version arising from this submission. SH is supported by NWO Vidi 016.Vidi.185.137 and NIH R01 MH123679
Going Beyond Counting First Authors in Author Co-citation Analysis
Full text linkThe present study examines one of the fundamental aspects of author co-citation analysis (ACA) - the way co-citation
counts are defined. Co-citation counting provides the data on which all subsequent statistical analyses and mappings
are based, and we compare ACA results based on two different types of co-citation counting - the traditional type that
only counts the first one among a cited work's authors on the one hand and a non-traditional type that takes into
account the first 5 authors of a cited work on the other hand. Results indicate that the picture produced through this non-traditional author co-citation counting contains more coherent author groups and is therefore considerably clearer. However, this picture represents fewer specialties in the research field being studied than that produced through the traditional first-author co-citation counting when the same number of top-ranked authors is selected and analyzed. Reasons for these effects are discussed
Variations on the Author
Full text link“Variations on the Author” discusses two of Eduardo Coutinho’s recent films (Um Dia na Vida, from 2010, and Últimas Conversas, posthumously released in 2015) and their contribution to the general question of documentary authorship. The director’s filmography is characterized by a consistent yet self-effacing form of authorial self-inscription: Coutinho often features as an interviewer that rather than express opinions propels discourses; an interviewer that is good at listening. This mode of self-inscription characterizes him as an author who is not expressive but who is nonetheless markedly present on the screen. In Um Dia na Vida, however, Coutinho is completely absent form the image, while Últimas Conversas, on the contrary, includes a confessional prologue that moves the director from the margins to the center of his films. This article examines the ways in which these works stand out in the filmography of a director who offers new insights into the notion of cinematic authorship
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