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Emerging Standards and the Hybrid Model for Organizing Scientific Events During and After the COVID-19 Pandemic
- Sara Hanaei, Amirhossein Takian, Reza Majdzadeh, Christopher Ryan Maboloc, Igor Grossmann, Orlando Gomes, Milos Milosevic, Manoj Gupta, Alireza A. Shamshirsaz, Amine Harbi, Amer M. Burhan, Lucina Q. Uddin, Arutha Kulasinghe, Chi-Ming Lam, Seeram Ramakrishna, Abass Alavi, Jan L Nouwen, Tommaso Dorigo, Michael Schreiber, Ajith Abraham, Natalya Shelkovaya, Wojtek Krysztofiak, Majid Ebrahimi Warkiani, Frank Sellke, Shuji Ogino, Francisco J. Barba, Serge Brand, Clara Vasconcelos, Deepak B. Salunke, Nima Rezaei
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- Journal:
- Disaster Medicine and Public Health Preparedness / Volume 16 / Issue 3 / June 2022
- Published online by Cambridge University Press:
- 26 October 2020, pp. 1172-1177
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Since the beginning of 2020, the coronavirus disease (COVID-19) pandemic has dramatically influenced almost every aspect of human life. Activities requiring human gatherings have either been postponed, canceled, or held completely virtually. To supplement lack of in-person contact, people have increasingly turned to virtual settings online, advantages of which include increased inclusivity and accessibility and a reduced carbon footprint. However, emerging online technologies cannot fully replace in-person scientific events. In-person meetings are not susceptible to poor Internet connectivity problems, and they provide novel opportunities for socialization, creating new collaborations and sharing ideas. To continue such activities, a hybrid model for scientific events could be a solution offering both in-person and virtual components. While participants can freely choose the mode of their participation, virtual meetings would most benefit those who cannot attend in-person due to the limitations. In-person portions of meetings should be organized with full consideration of prevention and safety strategies, including risk assessment and mitigation, venue and environmental sanitation, participant protection and disease prevention, and promoting the hybrid model. This new way of interaction between scholars can be considered as a part of a resilience system, which was neglected previously and should become a part of routine practice in the scientific community.
Vegetation over the last glacial maximum at Girraween Lagoon, monsoonal northern Australia
- Cassandra Rowe, Christopher M. Wurster, Costijn Zwart, Michael Brand, Lindsay B. Hutley, Vladimir Levchenko, Michael I. Bird
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- Journal:
- Quaternary Research / Volume 102 / July 2021
- Published online by Cambridge University Press:
- 14 July 2020, pp. 39-52
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Northern Australia is a region where limited information exists on environments at the last glacial maximum (LGM). Girraween Lagoon is located on the central northern coast of Australia and is a site representative of regional tropical savanna woodlands. Girraween Lagoon remained a perennial waterbody throughout the LGM, and as a result retains a complete proxy record of last-glacial climate, vegetation and fire. This study combines independent palynological and geochemical analyses to demonstrate a dramatic reduction in both tree cover and woody richness, and an expansion of grassland, relative to current vegetation at the site. The process of tree decline was primarily controlled by the cool-dry glacial climate and CO2 effects, though more localised site characteristics restricted wetland-associated vegetation. Fire processes played less of a role in determining vegetation than during the Holocene and modern day, with reduced fire activity consistent with significantly lower biomass available to burn. Girraween Lagoon's unique and detailed palaeoecological record provides the opportunity to explore and assess modelling studies of vegetation distribution during the LGM, particularly where a number of different global vegetation and/or climate simulations are inconsistent for northern Australia, and at a range of resolutions.
EPA guidance on physical activity as a treatment for severe mental illness: a meta-review of the evidence and Position Statement from the European Psychiatric Association (EPA), supported by the International Organization of Physical Therapists in Mental Health (IOPTMH)
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- Brendon Stubbs, Davy Vancampfort, Mats Hallgren, Joseph Firth, Nicola Veronese, Marco Solmi, Serge Brand, Joachim Cordes, Berend Malchow, Markus Gerber, Andrea Schmitt, Christoph U. Correll, Marc De Hert, Fiona Gaughran, Frank Schneider, Florence Kinnafick, Peter Falkai, Hans-Jürgen Möller, Kai G. Kahl
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- Journal:
- European Psychiatry / Volume 54 / October 2018
- Published online by Cambridge University Press:
- 18 July 2018, pp. 124-144
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Physical activity (PA) may be therapeutic for people with severe mental illness (SMI) who generally have low PA and experience numerous life style-related medical complications. We conducted a meta-review of PA interventions and their impact on health outcomes for people with SMI, including schizophrenia-spectrum disorders, major depressive disorder (MDD) and bipolar disorder. We searched major electronic databases until January 2018 for systematic reviews with/without meta-analysis that investigated PA for any SMI. We rated the quality of studies with the AMSTAR tool, grading the quality of evidence, and identifying gaps, future research needs and clinical practice recommendations. For MDD, consistent evidence indicated that PA can improve depressive symptoms versus control conditions, with effects comparable to those of antidepressants and psychotherapy. PA can also improve cardiorespiratory fitness and quality of life in people with MDD, although the impact on physical health outcomes was limited. There were no differences in adverse events versus control conditions. For MDD, larger effect sizes were seen when PA was delivered at moderate-vigorous intensity and supervised by an exercise specialist. For schizophrenia-spectrum disorders, evidence indicates that aerobic PA can reduce psychiatric symptoms, improves cognition and various subdomains, cardiorespiratory fitness, whilst evidence for the impact on anthropometric measures was inconsistent. There was a paucity of studies investigating PA in bipolar disorder, precluding any definitive recommendations. No cost effectiveness analyses in any SMI condition were identified. We make multiple recommendations to fill existing research gaps and increase the use of PA in routine clinical care aimed at improving psychiatric and medical outcomes.
The Development and Psychometric Evaluation of the Group Schema Therapy Rating Scale – Revised
- Emily Bastick, Suili Bot, Simone J. W. Verhagen, Gerhard Zarbock, Joan Farrell, Odette Brand-de Wilde, Arnoud Arntz, Christopher William Lee
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- Journal:
- Behavioural and Cognitive Psychotherapy / Volume 46 / Issue 5 / September 2018
- Published online by Cambridge University Press:
- 26 January 2018, pp. 601-618
- Print publication:
- September 2018
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Background: Recent research has supported the efficacy of schema therapy as a treatment for personality disorders. A group format has been developed (group schema therapy; GST), which has been suggested to improve both the clinical and cost-effectiveness of the treatment. Aims: Efficacy studies of GST need to assess treatment fidelity. The aims of the present study were to improve, describe and evaluate a fidelity measure for GST, the Group Schema Therapy Rating Scale – Revised (GSTRS-R). Method: Following a pilot study on an initial version of the scale (GSTRS), items were revised and guidelines were modified in order to improve the reliability of the scale. Students highly experienced with the scale rated recorded GST therapy sessions using the GSTRS-R in addition to a group cohesion measure, the Harvard Community Health Plan Group Cohesiveness Scale – II (GCS-II). The scores were used to assess internal consistency and inter-rater reliability. Discriminant validity was assessed by comparing the scores on the GSTRS-R with the GCS-II. Results: The GSTRS-R displayed substantial internal consistency and inter-rater reliability, and adequate discriminate validity, evidenced by a weak positive correlation with the GCS-II. Conclusions: Overall, the GSTRS-R is a reliable tool that may be useful for evaluating therapist fidelity to GST model, and assisting GST training and supervision. Initial validity was supported by a weak association with GCS-II, indicating that although associated with cohesiveness, the instrument also assesses factors specific to GST. Limitations are discussed.
Contributors
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- By Mitchell Aboulafia, Frederick Adams, Marilyn McCord Adams, Robert M. Adams, Laird Addis, James W. Allard, David Allison, William P. Alston, Karl Ameriks, C. Anthony Anderson, David Leech Anderson, Lanier Anderson, Roger Ariew, David Armstrong, Denis G. Arnold, E. J. Ashworth, Margaret Atherton, Robin Attfield, Bruce Aune, Edward Wilson Averill, Jody Azzouni, Kent Bach, Andrew Bailey, Lynne Rudder Baker, Thomas R. Baldwin, Jon Barwise, George Bealer, William Bechtel, Lawrence C. Becker, Mark A. Bedau, Ernst Behler, José A. Benardete, Ermanno Bencivenga, Jan Berg, Michael Bergmann, Robert L. Bernasconi, Sven Bernecker, Bernard Berofsky, Rod Bertolet, Charles J. Beyer, Christian Beyer, Joseph Bien, Joseph Bien, Peg Birmingham, Ivan Boh, James Bohman, Daniel Bonevac, Laurence BonJour, William J. Bouwsma, Raymond D. Bradley, Myles Brand, Richard B. Brandt, Michael E. Bratman, Stephen E. Braude, Daniel Breazeale, Angela Breitenbach, Jason Bridges, David O. Brink, Gordon G. Brittan, Justin Broackes, Dan W. Brock, Aaron Bronfman, Jeffrey E. Brower, Bartosz Brozek, Anthony Brueckner, Jeffrey Bub, Lara Buchak, Otavio Bueno, Ann E. Bumpus, Robert W. Burch, John Burgess, Arthur W. Burks, Panayot Butchvarov, Robert E. Butts, Marina Bykova, Patrick Byrne, David Carr, Noël Carroll, Edward S. Casey, Victor Caston, Victor Caston, Albert Casullo, Robert L. Causey, Alan K. L. Chan, Ruth Chang, Deen K. Chatterjee, Andrew Chignell, Roderick M. Chisholm, Kelly J. Clark, E. J. Coffman, Robin Collins, Brian P. Copenhaver, John Corcoran, John Cottingham, Roger Crisp, Frederick J. Crosson, Antonio S. Cua, Phillip D. Cummins, Martin Curd, Adam Cureton, Andrew Cutrofello, Stephen Darwall, Paul Sheldon Davies, Wayne A. Davis, Timothy Joseph Day, Claudio de Almeida, Mario De Caro, Mario De Caro, John Deigh, C. F. Delaney, Daniel C. Dennett, Michael R. DePaul, Michael Detlefsen, Daniel Trent Devereux, Philip E. Devine, John M. Dillon, Martin C. Dillon, Robert DiSalle, Mary Domski, Alan Donagan, Paul Draper, Fred Dretske, Mircea Dumitru, Wilhelm Dupré, Gerald Dworkin, John Earman, Ellery Eells, Catherine Z. Elgin, Berent Enç, Ronald P. Endicott, Edward Erwin, John Etchemendy, C. Stephen Evans, Susan L. Feagin, Solomon Feferman, Richard Feldman, Arthur Fine, Maurice A. Finocchiaro, William FitzPatrick, Richard E. Flathman, Gvozden Flego, Richard Foley, Graeme Forbes, Rainer Forst, Malcolm R. Forster, Daniel Fouke, Patrick Francken, Samuel Freeman, Elizabeth Fricker, Miranda Fricker, Michael Friedman, Michael Fuerstein, Richard A. Fumerton, Alan Gabbey, Pieranna Garavaso, Daniel Garber, Jorge L. A. Garcia, Robert K. Garcia, Don Garrett, Philip Gasper, Gerald Gaus, Berys Gaut, Bernard Gert, Roger F. Gibson, Cody Gilmore, Carl Ginet, Alan H. Goldman, Alvin I. Goldman, Alfonso Gömez-Lobo, Lenn E. Goodman, Robert M. Gordon, Stefan Gosepath, Jorge J. E. Gracia, Daniel W. Graham, George A. Graham, Peter J. Graham, Richard E. Grandy, I. Grattan-Guinness, John Greco, Philip T. Grier, Nicholas Griffin, Nicholas Griffin, David A. Griffiths, Paul J. Griffiths, Stephen R. Grimm, Charles L. Griswold, Charles B. Guignon, Pete A. Y. Gunter, Dimitri Gutas, Gary Gutting, Paul Guyer, Kwame Gyekye, Oscar A. Haac, Raul Hakli, Raul Hakli, Michael Hallett, Edward C. Halper, Jean Hampton, R. James Hankinson, K. R. Hanley, Russell Hardin, Robert M. Harnish, William Harper, David Harrah, Kevin Hart, Ali Hasan, William Hasker, John Haugeland, Roger Hausheer, William Heald, Peter Heath, Richard Heck, John F. Heil, Vincent F. Hendricks, Stephen Hetherington, Francis Heylighen, Kathleen Marie Higgins, Risto Hilpinen, Harold T. Hodes, Joshua Hoffman, Alan Holland, Robert L. Holmes, Richard Holton, Brad W. Hooker, Terence E. Horgan, Tamara Horowitz, Paul Horwich, Vittorio Hösle, Paul Hoβfeld, Daniel Howard-Snyder, Frances Howard-Snyder, Anne Hudson, Deal W. Hudson, Carl A. Huffman, David L. Hull, Patricia Huntington, Thomas Hurka, Paul Hurley, Rosalind Hursthouse, Guillermo Hurtado, Ronald E. Hustwit, Sarah Hutton, Jonathan Jenkins Ichikawa, Harry A. Ide, David Ingram, Philip J. Ivanhoe, Alfred L. Ivry, Frank Jackson, Dale Jacquette, Joseph Jedwab, Richard Jeffrey, David Alan Johnson, Edward Johnson, Mark D. Jordan, Richard Joyce, Hwa Yol Jung, Robert Hillary Kane, Tomis Kapitan, Jacquelyn Ann K. Kegley, James A. Keller, Ralph Kennedy, Sergei Khoruzhii, Jaegwon Kim, Yersu Kim, Nathan L. King, Patricia Kitcher, Peter D. Klein, E. D. Klemke, Virginia Klenk, George L. Kline, Christian Klotz, Simo Knuuttila, Joseph J. Kockelmans, Konstantin Kolenda, Sebastian Tomasz Kołodziejczyk, Isaac Kramnick, Richard Kraut, Fred Kroon, Manfred Kuehn, Steven T. Kuhn, Henry E. Kyburg, John Lachs, Jennifer Lackey, Stephen E. Lahey, Andrea Lavazza, Thomas H. Leahey, Joo Heung Lee, Keith Lehrer, Dorothy Leland, Noah M. Lemos, Ernest LePore, Sarah-Jane Leslie, Isaac Levi, Andrew Levine, Alan E. Lewis, Daniel E. Little, Shu-hsien Liu, Shu-hsien Liu, Alan K. L. Chan, Brian Loar, Lawrence B. Lombard, John Longeway, Dominic McIver Lopes, Michael J. Loux, E. J. Lowe, Steven Luper, Eugene C. Luschei, William G. Lycan, David Lyons, David Macarthur, Danielle Macbeth, Scott MacDonald, Jacob L. Mackey, Louis H. Mackey, Penelope Mackie, Edward H. Madden, Penelope Maddy, G. B. Madison, Bernd Magnus, Pekka Mäkelä, Rudolf A. Makkreel, David Manley, William E. Mann (W.E.M.), Vladimir Marchenkov, Peter Markie, Jean-Pierre Marquis, Ausonio Marras, Mike W. Martin, A. P. Martinich, William L. McBride, David McCabe, Storrs McCall, Hugh J. McCann, Robert N. McCauley, John J. McDermott, Sarah McGrath, Ralph McInerny, Daniel J. McKaughan, Thomas McKay, Michael McKinsey, Brian P. McLaughlin, Ernan McMullin, Anthonie Meijers, Jack W. Meiland, William Jason Melanson, Alfred R. Mele, Joseph R. Mendola, Christopher Menzel, Michael J. Meyer, Christian B. Miller, David W. Miller, Peter Millican, Robert N. Minor, Phillip Mitsis, James A. Montmarquet, Michael S. Moore, Tim Moore, Benjamin Morison, Donald R. Morrison, Stephen J. Morse, Paul K. Moser, Alexander P. D. Mourelatos, Ian Mueller, James Bernard Murphy, Mark C. Murphy, Steven Nadler, Jan Narveson, Alan Nelson, Jerome Neu, Samuel Newlands, Kai Nielsen, Ilkka Niiniluoto, Carlos G. Noreña, Calvin G. Normore, David Fate Norton, Nikolaj Nottelmann, Donald Nute, David S. Oderberg, Steve Odin, Michael O’Rourke, Willard G. Oxtoby, Heinz Paetzold, George S. Pappas, Anthony J. Parel, Lydia Patton, R. P. Peerenboom, Francis Jeffry Pelletier, Adriaan T. Peperzak, Derk Pereboom, Jaroslav Peregrin, Glen Pettigrove, Philip Pettit, Edmund L. Pincoffs, Andrew Pinsent, Robert B. Pippin, Alvin Plantinga, Louis P. Pojman, Richard H. Popkin, John F. Post, Carl J. Posy, William J. Prior, Richard Purtill, Michael Quante, Philip L. Quinn, Philip L. Quinn, Elizabeth S. Radcliffe, Diana Raffman, Gerard Raulet, Stephen L. Read, Andrews Reath, Andrew Reisner, Nicholas Rescher, Henry S. Richardson, Robert C. Richardson, Thomas Ricketts, Wayne D. Riggs, Mark Roberts, Robert C. Roberts, Luke Robinson, Alexander Rosenberg, Gary Rosenkranz, Bernice Glatzer Rosenthal, Adina L. Roskies, William L. Rowe, T. M. Rudavsky, Michael Ruse, Bruce Russell, Lilly-Marlene Russow, Dan Ryder, R. M. Sainsbury, Joseph Salerno, Nathan Salmon, Wesley C. Salmon, Constantine Sandis, David H. Sanford, Marco Santambrogio, David Sapire, Ruth A. Saunders, Geoffrey Sayre-McCord, Charles Sayward, James P. Scanlan, Richard Schacht, Tamar Schapiro, Frederick F. Schmitt, Jerome B. Schneewind, Calvin O. Schrag, Alan D. Schrift, George F. Schumm, Jean-Loup Seban, David N. Sedley, Kenneth Seeskin, Krister Segerberg, Charlene Haddock Seigfried, Dennis M. Senchuk, James F. Sennett, William Lad Sessions, Stewart Shapiro, Tommie Shelby, Donald W. Sherburne, Christopher Shields, Roger A. Shiner, Sydney Shoemaker, Robert K. Shope, Kwong-loi Shun, Wilfried Sieg, A. John Simmons, Robert L. Simon, Marcus G. Singer, Georgette Sinkler, Walter Sinnott-Armstrong, Matti T. Sintonen, Lawrence Sklar, Brian Skyrms, Robert C. Sleigh, Michael Anthony Slote, Hans Sluga, Barry Smith, Michael Smith, Robin Smith, Robert Sokolowski, Robert C. Solomon, Marta Soniewicka, Philip Soper, Ernest Sosa, Nicholas Southwood, Paul Vincent Spade, T. L. S. Sprigge, Eric O. Springsted, George J. Stack, Rebecca Stangl, Jason Stanley, Florian Steinberger, Sören Stenlund, Christopher Stephens, James P. Sterba, Josef Stern, Matthias Steup, M. A. Stewart, Leopold Stubenberg, Edith Dudley Sulla, Frederick Suppe, Jere Paul Surber, David George Sussman, Sigrún Svavarsdóttir, Zeno G. Swijtink, Richard Swinburne, Charles C. Taliaferro, Robert B. Talisse, John Tasioulas, Paul Teller, Larry S. Temkin, Mark Textor, H. S. Thayer, Peter Thielke, Alan Thomas, Amie L. Thomasson, Katherine Thomson-Jones, Joshua C. Thurow, Vzalerie Tiberius, Terrence N. Tice, Paul Tidman, Mark C. Timmons, William Tolhurst, James E. Tomberlin, Rosemarie Tong, Lawrence Torcello, Kelly Trogdon, J. D. Trout, Robert E. Tully, Raimo Tuomela, John Turri, Martin M. Tweedale, Thomas Uebel, Jennifer Uleman, James Van Cleve, Harry van der Linden, Peter van Inwagen, Bryan W. Van Norden, René van Woudenberg, Donald Phillip Verene, Samantha Vice, Thomas Vinci, Donald Wayne Viney, Barbara Von Eckardt, Peter B. M. Vranas, Steven J. Wagner, William J. Wainwright, Paul E. Walker, Robert E. Wall, Craig Walton, Douglas Walton, Eric Watkins, Richard A. Watson, Michael V. Wedin, Rudolph H. Weingartner, Paul Weirich, Paul J. Weithman, Carl Wellman, Howard Wettstein, Samuel C. Wheeler, Stephen A. White, Jennifer Whiting, Edward R. Wierenga, Michael Williams, Fred Wilson, W. Kent Wilson, Kenneth P. Winkler, John F. Wippel, Jan Woleński, Allan B. Wolter, Nicholas P. Wolterstorff, Rega Wood, W. Jay Wood, Paul Woodruff, Alison Wylie, Gideon Yaffe, Takashi Yagisawa, Yutaka Yamamoto, Keith E. Yandell, Xiaomei Yang, Dean Zimmerman, Günter Zoller, Catherine Zuckert, Michael Zuckert, Jack A. Zupko (J.A.Z.)
- Edited by Robert Audi, University of Notre Dame, Indiana
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- The Cambridge Dictionary of Philosophy
- Published online:
- 05 August 2015
- Print publication:
- 27 April 2015, pp ix-xxx
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The Mesozoic–Cenozoic tectonic evolution of the New Siberian Islands, NE Russia
- CHRISTIAN BRANDES, KARSTEN PIEPJOHN, DIETER FRANKE, NIKOLAY SOBOLEV, CHRISTOPH GAEDICKE
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- Journal:
- Geological Magazine / Volume 152 / Issue 3 / May 2015
- Published online by Cambridge University Press:
- 25 September 2014, pp. 480-491
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On the New Siberian Islands the rocks of the east Russian Arctic shelf are exposed and allow an assessment of the structural evolution of the region. Tectonic fabrics provide evidence of three palaeo-shortening directions (NE–SW, WNW–ESE and NNW–SSE to NNE–SSW) and one set of palaeo-extension directions revealed a NE–SW to NNE–SSW direction. The contractional deformation is most likely the expression of the Cretaceous formation of the South Anyui fold–thrust belt. The NE–SW shortening is the most prominent tectonic phase in the study area. The WNW–ESE and NNW–SSE to NNE–SSW-oriented palaeo-shortening directions are also most likely related to fold belt formation; the latter might also have resulted from a bend in the suture zone. The younger Cenozoic NE–SW to NNE–SSW extensional direction is interpreted as a consequence of rifting in the Laptev Sea.
High-glycaemic index and -glycaemic load meals increase the availability of tryptophan in healthy volunteers
- Christopher P. Herrera, Keir Smith, Fiona Atkinson, Patricia Ruell, Chin Moi Chow, Helen O'Connor, Jennie Brand-Miller
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- Journal:
- British Journal of Nutrition / Volume 105 / Issue 11 / 14 June 2011
- Published online by Cambridge University Press:
- 24 February 2011, pp. 1601-1606
- Print publication:
- 14 June 2011
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The purpose of the present study was to determine the influence of the glycaemic index (GI) and glycaemic load (GL) on the ratio of tryptophan (TRP) relative to other large neutral amino acids (LNAA). Ten healthy men (age 22·9 (sd 3·4) years; BMI 23·5 (sd 1·6) kg/m2) underwent standard GI testing, and later consumed each of a mixed-macronutrient (1915 kJ; 66·5 % carbohydrate (CHO), 17 % protein and 16·5 % fat) high-GI (MHGI), an isoenergetic, mixed-macronutrient low-GI (MLGI) and a CHO-only (3212 kJ; 90 % CHO, 8 % protein, 2 % fat) high-GI (CHGI) meal on separate days. The GI, GL and insulin index values (e.g. area under the curve) were largest after the CHGI meal (117, 200, 158), followed by the MHGI (79, 59, 82) and MLGI (51, 38, 56) meals, respectively (all values were significantly different, P < 0·05). After the MHGI and MLGI meals but not after the CHGI meal, TRP was elevated at 120 and 180 min (P < 0·05). After the CHGI, LNAA was lower compared with the MLGI (P < 0·05); also the rate of decline in LNAA was higher after CHGI compared with MHGI and MLGI (both comparisons P < 0·05). The percentage increase from baseline in TRP:LNAA after CHGI (23 %) was only marginally higher than after the MHGI meal (17 %; P = 0·38), but it was threefold and nearly significantly greater than MLGI (8 %; P = 0·05). The present study demonstrates that the postprandial rise in TRP:LNAA was increased by additional CHO ingestion and higher GI. Therefore, the meal GL appears to be an important factor influencing the postprandial TRP:LNAA concentration.
Jensen's compromise with componentialism
- Christopher Brand
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- Behavioral and Brain Sciences / Volume 8 / Issue 2 / July 1985
- Published online by Cambridge University Press:
- 04 February 2010, pp. 222-223
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Influence of deposition chamber pressure and substrate temperature on the properties of fluorescent blue and phosphorescent red OLED deposited by OVPD
- Philipp van Gemmern, Christoph Zimmermann, Phenwisa Niyamakom, Matthias Wuttig, Sabine Brand, Holger Schwab, Heinrich Becker, Rocco Fortte, Michael Heuken, Holger Kalisch, Rolf H. Jansen
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- Journal:
- MRS Online Proceedings Library Archive / Volume 1003 / 2008
- Published online by Cambridge University Press:
- 20 February 2017, 1003-O02-24
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- 2008
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Organic light-emitting diodes (OLED) offer the potential to replace conventional light sources such as incandescent bulbs and fluorescent tubes. The question which thin-film technology is most favorable to produce OLED on an industrial scale is still unanswered. The most established technology for the deposition of small-molecule organic layers is vacuum thermal evaporation. A comparably novel technology is organic vapor phase deposition (OVPD), which offers some unique features in terms of adjustable process parameters such as deposition chamber pressure (P) and substrate temperature (TS). The impact of these parameters on the morphology of organic single layers as well as on the performance of OLED is mostly unknown. In this work, phosphorescent red OLED were produced with different TS and a strong influence on the device efficiency was found. Atomic force microscopy measurements were conducted to investigate the morphology of the hole injection and hole transport layers of the devices deposited at different TS. In addition to this, the influence of TS and P on the performance of fluorescent blue OLED and the morphology of organic single layers was tested. By varying TS and P for the emission layer only, current efficiencies in the range from 4.3 to 6.8 cd/A were found despite the fact that all devices had the same structure. Atomic force microscopy measurements conducted on organic single layers which were deposited at the same process conditions showed rms values ranging from 1.4 to 57 nm.
Contents
- Theodor W. Adorno
- Translated by Christopher Hailey, Juliane Brand
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- Alban Berg
- Published online:
- 03 May 2011
- Print publication:
- 29 November 1991, pp vii-vii
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Index
- Theodor W. Adorno
- Translated by Christopher Hailey, Juliane Brand
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- Alban Berg
- Published online:
- 03 May 2011
- Print publication:
- 29 November 1991, pp 147-156
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A note on the translation
- Theodor W. Adorno
- Translated by Christopher Hailey, Juliane Brand
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- Alban Berg
- Published online:
- 03 May 2011
- Print publication:
- 29 November 1991, pp xv-xvi
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Summary
Translating Adorno is a notoriously daunting task. His use of language is brilliant and idiosyncratic, drawing liberally upon a knowledge of French, English, Latin, and Greek to infuse each word with radical meaning. His argumentation is a curious mixture of close reasoning and intuitive insight, critical perspicacity and capricious self-indulgence. At times one wishes he had had the services of a ruthless editor, and, as translator, one is tempted to intervene in ways ranging from breaking up sentences and paragraphs to searching for a more straightforward vocabulary. On the whole, we have resisted the temptation, in part so as not to misrepresent the difficulty of Adorno's prose – which he intended – and in part because his Berg study, though containing its fair share of puzzles, is not among his most recondite books. Indeed, its warm personal tone lends it an almost lyrical quality, especially in the passages of reminiscence.
Adorno is generally quite precise in his terminology. Therefore, context permitting, we have tried to be consistent in our translation of key terms, such as Modell (paradigm), Rest (remnant), retten (to salvage), and Vermittlung (mediation). Translating such key words is not always easy, and one of the most vexing terms appears in the very title of the book, Meister des kleinsten Übergangs. While one might normally translate Übergang as “transition”, we felt that this word, with its emphasis on process, missed the essentially neutral quality of what Adorno sees as the Bergian Übergang, which need be no more than a single tone.
About the text
- Theodor W. Adorno
- Translated by Christopher Hailey, Juliane Brand
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- Alban Berg
- Published online:
- 03 May 2011
- Print publication:
- 29 November 1991, pp 136-137
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Summary
“Tone” is a slightly revised essay, which was first published in Kontinente in 1955 in Vienna and which was reprinted in the Beiträge 1967, published by the Österreichische Gesellschaft für Musik, after being presented by the South German Radio, Stuttgart, on 24 April 1960 during the “Tage zeitgenössischer Musik.”
“Reminiscence” was written in 1968, based on the essay “Erinnerungen an den Lebenden” in the issue of 23 dedicated to Berg (published in 1936 under the pseudonym Hektor Rottweiler), as well as on extensive unpublished notes from the year 1956.
In the section “The works,” “Analysis and Berg” was written in 1968. The author took the following from his contributions to the 1937 book published by Willi Reich: the analyses of the Piano Sonata, the Op. 2 Songs, the Seven Early Songs, the String Quartet, Op. 3, the Clarinet Pieces, Op. 4, the Orchestral Pieces, Op. 6, and the Lyric Suite. The texts were edited only where deemed absolutely necessary by the author; the general character remained unchanged and nothing substantial was added.
The author was no longer satisfied with his theoretical remarks on Der Wein in Reich's book. He also took into account various criticisms Walter Benjamin leveled at the chapter during a conversation in 1937. The author has therefore subjected it to a complete revision while retaining the purely musical passages. Above all he wished to avoid the pretentions which the old version set up without doing them justice.
Reminiscence
- Theodor W. Adorno
- Translated by Christopher Hailey, Juliane Brand
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- Book:
- Alban Berg
- Published online:
- 03 May 2011
- Print publication:
- 29 November 1991, pp 9-34
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Summary
Trying to find words of remembrance for Berg is paralyzed by the fact that he himself had anticipated the exercise with macabre irony. When I was studying with him he occasionally amused himself during walks we took together around Schönbrunn by imagining the obituaries Viennese newspapers would one day have in store for him. He was convinced that one of them would confuse him with a Jewish folk humorist, by the name, I think, of Armin Berg; in another, a critic we knew all too well – one whose threat to write a book had to be forestalled by the 1937 volume published by Reich, Krenek, and me – would caw his panegyricus about the “Bard of Wozzeck”: “As before him our Schubert, our Bruckner, our poor unforgettable Hugo Wolf, so now he, too, has died of hunger in his supremely beloved, unappreciative native city, which nonetheless carries him deep in her heart. Yet another link in the unending chain of immortals …” The impossibility of banishing the nightmarish visions of this feverishly wakeful dreamer – visions that have meanwhile been far surpassed by the robust stupidity of the survivors who honor and label him – compels one to confront and examine them: not with reference to the world which they so accurately reflect, but with regard to the self concealed within them. Desperate humor was the satrap of death in a life that had grown around death as around its core.
Translators' introduction
- Theodor W. Adorno
- Translated by Christopher Hailey, Juliane Brand
-
- Book:
- Alban Berg
- Published online:
- 03 May 2011
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- 29 November 1991, pp viii-xiv
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Summary
Theodor Adorno's study of Alban Berg is not a central work of his music-aesthetic oeuvre. It has neither the breadth of his Mahler and Wagner monographs, nor the didactic focus of his Philosophy of Modern Music and Introduction to the Sociology of Music. It is, instead, a personal document, consisting of reminiscences about a mentor who became a friend, and analyses of works with which the author had lived a lifetime. And yet, because this relationship was of such crucial importance to Adorno, these works so decisive in shaping his aesthetic precepts, Alban Berg, its modest scope notwithstanding, provides a key to understanding the philosopher and his thought – as well as offering a unique perspective on one of this century's most representative creative artists.
In many ways, Alban Berg: Der Meister des kleinsten Übergangs, published near the end of its author's life, is a reflection upon and testimonial to a fondly remembered starting point. For Adorno (1903–1969) that starting point was an encounter with the world of the so-called Second Viennese School that had crystallized around the teaching, music, and personality of Arnold Schoenberg. In a post-war era surfeited with “novelty,” the works of Schoenberg seemed genuinely “new,” an eruptive creative presence marking a crossroad one could ignore only at the peril of losing one's way into the future.
Preface
- Theodor W. Adorno
- Translated by Christopher Hailey, Juliane Brand
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- Alban Berg
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- 29 November 1991, pp xvii-xviii
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The captatio benevolentiae, that an author hesitated taking up a suggestion to publish a book, is the worse for wear from persistent misuse. Usually it is invoked merely to relieve the author of responsibility. In the case of this book on Berg, however, it not only reflects the actual situation, but is crucial to an explanation thereof.
Elisabeth Lafite's kind invitation that the author, using earlier material, write a Berg monograph for the series “Österreichische Komponisten des XX. Jahrhunderts,” aroused misgivings on two counts. First, he feared repeating himself, having published a great deal on Berg in the course of the forty years since coming to Vienna as Berg's student. He tried to avoid that insofar as possible, but could not eliminate all duplication between the chapter “Reminiscence” and the essay in Klangfiguren. Only texts that do not appear in the author's other books are incorporated into this volume.
In the meantime compendious works on the composer have been published. That raised the question whether a monograph might not be superfluous.
However, consideration of these, the author's own objections, led to his decision to accept the invitation. The bulk of his work on Berg consisted of the analyses and reflections he had contributed to the book published by Willi Reich in 1937, which was meant to be a preliminary study only. That book has long been out of print.
Frontmatter
- Theodor W. Adorno
- Translated by Christopher Hailey, Juliane Brand
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- Alban Berg
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- 29 November 1991, pp i-vi
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Adorno's principal writings on Berg
- Theodor W. Adorno
- Translated by Christopher Hailey, Juliane Brand
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- Alban Berg
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- 29 November 1991, pp 145-146
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The works
- Theodor W. Adorno
- Translated by Christopher Hailey, Juliane Brand
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- Alban Berg
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- 29 November 1991, pp 35-135
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Analysis and Berg
Berg was well disposed toward analysis. His characteristically painstaking analyses of Schoenberg's works, of Gurrelieder, Pelleas und Melisande, and the First Chamber Symphony, were completed as a young man. Though published, they are not nearly as well known as they deserve to be; in particular the analysis of the Chamber Symphony, a work that remains difficult even today, can be considered exemplary; a collected edition would be well worthwhile. His essay on Schoenberg's D minor Quartet opened perspectives for an entire book on that work, one that unfortunately remained unwritten; in addition to all its other merits, the analysis of “Träumerei” applies very profitably the experience of the Schoenberg School's motivic-variational thinking to a work of traditional music. It is one of the few texts which answers conclusively or, to use one of Berg's favorite words, “unconditionally” [verbindlich], the question as to why a particular work of art can with reason be called beautiful. The Schoenberg School's concept of the objective quality and objective criteria of something composed is in accordance with the fact that, strengthened by their own self-critical exertion, they do not surrender musical judgment to the kind of emotion that is often nothing more than a dull mixture of reactions inappropriate to the object itself. In a compositional process in reverse, as it were, beginning with the end product, it is necessary to determine the objective properties of a composition's quality by immersing oneself in the work as a whole and its microstructure.
Tone
- Theodor W. Adorno
- Translated by Christopher Hailey, Juliane Brand
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- Alban Berg
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- 29 November 1991, pp 1-8
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Familiar from childhood is the last movement of Haydn's “Farewell” Symphony, that F # minor piece in which one instrument after another ceases to play and departs, until finally only two violins remain to extinguish the light. Above and beyond the work's innocuous motivation and that sphere which repellant familiarity equates with Papa Haydn's sense of humor is the intent to compose farewell, to fashion the vanishing of music and to realize a potential that for those who penetrate its mystery has ever lurked in the very evanescence of musical material. Looking back on the works of Alban Berg, who, if alive today, would be over eighty years old, it seems as though his entire oeuvre was directed toward surpassing Haydn's flash of inspiration, toward reshaping music itself into a metaphor of vanishing, and with music to say adieu to life. Complicity with death, an urbane cordiality toward his own extinction, are characteristics of his work. Only those who understand Alban Berg's music as a product of these characteristics, and not as a matter of historical style, can truly experience it. One of his most mature and perfect compositions, the Lyric Suite for string quartet, closes without closing, open-ended, without a final barline and with only a major third motive in the viola, which according to the composer's directive may be repeated ad libitum several times until becoming quite inaudible.