1,720,966 research outputs found
Differences between musicians and non-musicians in exogenous attentional orienting: a preliminary study
No full textMusical training induces structural and functional neuroplastic changes, which produce behavioral and cognitive differences. Several studies have focused on differences in hemispheric asymmetries, with musicians showing reduced asymmetries in inter-hemispheric transfer times, as well as reduced leftward biases in line bisection tasks. The present study aims at investigating visual hemifields biases in musicians and non-musicians in an exogenous attentional task
Cognitive style modulates semantic interference effects: evidence from field dependency
Full text linkThe so-called semantic interference effect is a delay in selecting an appropriate target word in a context where semantic neighbours are strongly activated. Semantic interference effect has been described to vary from one individual to another. These differences in the susceptibility to semantic interference may be due to either differences in the ability to engage in lexical-specific selection mechanisms or to differences in the ability to engage more general, top-down inhibition mechanisms which suppress unwanted responses based on task-demands. However, semantic interference may also be modulated by an individual’s disposition to separate relevant perceptual signals from noise, such as a field-independent (FI) or a field-dependent (FD) cognitive style. We investigated the relationship between semantic interference in picture naming and in an STM probe task and both the ability to inhibit responses top-down (measured through a Stroop task) and a FI/FD cognitive style measured through the embedded figures test (EFT). We found a significant relationship between semantic interference in picture naming and cognitive style—with semantic interference increasing as a function of the degree of field dependence—but no associations with the semantic probe and the Stroop task. Our results suggest that semantic interference can be modulated by cognitive style, but not by differences in the ability to engage top-down control mechanisms, at least as measured by the Stroop task
Computerized training of executive functions in a child with specific learning disorders: a descriptive study
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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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