524,402 research outputs found
Factors Influencing Physical Risk Taking in Rock Climbing
No full textThis study was designed to investigate factors influencing physical risk taking in the sport of rock climbing. Specifically, the relationships between physical risk taking, sensation seeking, spheres of control, and desirability of control were examined. One hundred five rock climbers from the United States completed a series of surveys measuring each of the above-mentioned psychological variables. As predicted, physical risk taking demonstrated significant positive relationships to both total sensation seeking and thrill/adventure seeking (TAS). The expected relationships between physical risk taking, personal control and desirability of control were not supported. As hypothesized, no substantive patterns were revealed between physical risk taking and interpersonal control or sociopolitical control. Finally, comparisons between high and low physical risk taking rock climbers revealed significant group differences for total sensation seeking, TAS, and disinhibition. The identification of predictors of physical risk taking is a key step toward identifying individuals likely to engage in high physical risk behavior, and under what circumstances they are likely to do so
Overconfidence and risk taking in foreign policy decision making: The case of Turkey’s Syria policy
No full textThis book introduces a new perspective on risk seeking behaviour, developing a framework based on various cognitive theories, and applying it to the specific case-study of Turkey’s foreign policy toward Syria. The author examines why policy makers commit themselves to polices that they do not have the capacity to deliver, and develops an alternative theoretical model to prospect theory in explaining risk taking behaviour based on the concept of overconfidence. The volume suggests that overconfident individuals exhibit risk seeking behaviour that contradicts the risk averse behaviour of individuals in the domain of gain, as predicted by prospect theory. Using a set of testable hypothesis deduced from the model, it presents an empirical investigation of the causes behind Turkish decision makers’ unprecedented level of risk taking toward the uprising in Syria and the consequences of this policy. © The Editor(s) and The Author(s) 2017
One small step outside the here and now: what stories can tell us about children’s perspective-taking
No full textThe enjoyment of fiction and narrative depends on our ability to step outside our own perspective and take that of another person in a different spatial and temporal reference frame. Readers form rich and vibrant representations of events or scenes described in text, which have many of the same properties as events that are encountered in the real world. Zwaan (1999; Zwaan & Radvansky, 1998) in reviewing the literature on adult readers’ mental models presented evidence that situation models share properties with the situation they represent in the dimensions of time, space, causation, intentionality and protagonists. By comparison to the wealth of adult literature, the study of children’s mental models in narrative has been relatively neglected. This seems particularly surprising given the enjoyment children gain from stories and fiction (Harris, 2000), the importance narrative has for their social development (Carpendale & Lewis, 2004) and the opportunity for researchers to use narrative to learn about children’s ability to create situation models that are grounded in the ability to simulate. Indeed, narrative comprehension and social interactions both often depend on the ability to take someone else’s perspective, and narratives therefore offer the opportunity to study children’s perspective-taking in a playful and familiar context.Here I present evidence from a series of studies using different experimental paradigms with children to show that perspective taking in stories and narrative is present even when the protagonist is an inanimate object, but it is not as strong as it is for protagonists who are people. This suggests a dual process of perspective taking that is partly empathic, but also partly driven by pragmatic cues of language. Perspective taking is therefore strongest when the cues of language combine with the opportunity to imaginatively project into the space occupied by the protagonist through an empathic process.</p
One small step outside the here and now: what stories can tell us about children’s perspective-taking
No full textThe enjoyment of fiction and narrative depends on our ability to step outside our own perspective and take that of another person in a different spatial and temporal reference frame. Readers form rich and vibrant representations of events or scenes described in text, which have many of the same properties as events that are encountered in the real world. Zwaan (1999; Zwaan & Radvansky, 1998) in reviewing the literature on adult readers’ mental models presented evidence that situation models share properties with the situation they represent in the dimensions of time, space, causation, intentionality and protagonists. By comparison to the wealth of adult literature, the study of children’s mental models in narrative has been relatively neglected. This seems particularly surprising given the enjoyment children gain from stories and fiction (Harris, 2000), the importance narrative has for their social development (Carpendale & Lewis, 2004) and the opportunity for researchers to use narrative to learn about children’s ability to create situation models that are grounded in the ability to simulate. Indeed, narrative comprehension and social interactions both often depend on the ability to take someone else’s perspective, and narratives therefore offer the opportunity to study children’s perspective-taking in a playful and familiar context.Here I present evidence from a series of studies using different experimental paradigms with children to show that perspective taking in stories and narrative is present even when the protagonist is an inanimate object, but it is not as strong as it is for protagonists who are people. This suggests a dual process of perspective taking that is partly empathic, but also partly driven by pragmatic cues of language. Perspective taking is therefore strongest when the cues of language combine with the opportunity to imaginatively project into the space occupied by the protagonist through an empathic process.</p
A cross-linguistic study on turn-taking and temporal alignment in verbal interaction
No full textKousidis S, Schlangen D, Skopeteas S. A cross-linguistic study on turn-taking and temporal alignment in verbal interaction. In: Proceedings of Interspeech 2013. 2013
Diffusive author(s), cohesive author: Analysis of S/N (1994)
No full textThis study indicates the ways in which various aspects of the author(s) are brought forth in Dumb type’s performance art, the S/N production. Previous research has suggested a non-hierarchical organization of Dumb type and the absence of a “privileged author” in Dumb type’s collaborative work, S/N. However, the results that I have investigated from member’s interviews on the creative process of S/N along with my analysis of the recorded images of S/N, indicate a different aspect of the author(s). First, S/N was created through, so to speak, the collective ideas of the members of Dumb type. Further, S/N has at least nine quotations from previous performances, installations, and printed writings, besides the work-in-progress technique. Explicating one of the “author functions” as given by Michel Foucault, each text has plural subjects of the author. However, it has been revealed from members’ interviews that Teiji Furuhashi had a decision-making role in selecting the members’ ideas within the performance. Since then, S/N has had plural subjects of creation; however, Furuhashi is one of the subjects of creation along with the “privileged author.” S/N has plural authors (diffusive authors) yet at the same time, it has a “privileged author,” Teiji Furuhashi (cohesive author)
Going Beyond Counting First Authors in Author Co-citation Analysis
No full textThe 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
Corporate Risk Taking and Ownership Structure
No full textThis paper investigates the determinants of corporate risk taking. Shareholders with substantial equity ownership in a single company may advocate conservative investment policies due to greater exposure to firm risk. Using a large cross-country sample, I find a positive relationship between corporate risk taking and equity ownership of the largest shareholder. This result is entirely driven by investors holding the largest equity stakes in more than one company. Family shareholders avoid corporate risk taking as their ownership increases unlike mutual funds, banks, financial and industrial companies. Stronger legal protection of shareholder rights is associated with more risk taking, while stronger legal protection of creditor rights reduces risk taking.Financial markets; International topics
Taking My Skin
No full text16mm film which tracks a dialogue between the artist and her mother, exploring the pleasures of maternal embodiment as a model for a different kind of imagined spectatorship. Directed, written, produced, performed, shot and edited by Pucill. Won Marion MacMahon Award for best women's autobiographic experimental film at Toronto (April 2007). ‘Taking My Skin’ tracks a dialogue between Pucill and her mother. Their exchange ranges from narrating the filming process ‘in
the moment’ to relations in an earlier time – ‘how long do you think it takes for a child to become separate?’ Throughout the
journey film spaces continuously dissolve and collapse only to separate again. Sometimes the artist is behind the camera,
sometimes the mother, sometimes both simultaneously behind and in front, or neither. Both perform, film, and alternately
instruct, position and direct the other. Formally and thematically, the film is an exploration of closeness, of synching, and the
threat this poses to the self. The film touches lightly upon the pleasures of maternal embodiment as a model for a different kind
of imagined spectatorship, presenting a carefully staged experiment in the physical and ethical relationship between camera
and subject.
The filming process was integral to the film, eliding distinctions between filming and performing. Pucill and her mother, who had
never used a camera before, arranged the filming themselves. The use of synch sound and dialogue marked a significant
development in Pucill’s filmmaking process.
The film won the Marion MacMahon Award for best women's autobiographic experimental film at Images Festival of Film and
Video, Toronto (April 2007). Other festival screenings include Cork (2006), European Media Art Festival, Osnabruck, (28.04.07).
Gallery screenings include ‘Intervention’, Fieldgate Gallery, London (14.09.07 – 15.10.07); Millenium Film Workshop, New York,
(November 2006); 'Mother Cut', New Jersey University Gallery (forthcoming 2008, co-exhibitors include Mary Kelly and Mona
Hatoum); Greenwich Picture House (2007) as part of Pucill’s ‘Subjective Camera’ curation. The project won funding from ACE
(£10,000) and AHRC (£17,000). It is distributed by Lux, BFI, and distributors in Paris, Toronto and USA. Reviews include
Vertigo (Spring 07)
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