This study investigated whether refractive correction improved accommodative function of hyperopic children while engaged in two sustained near activities.
Sustained accommodative function of 63 ...participants (aged 5-10 years) with varying levels of uncorrected hyperopia (>/= +1.00 D and < + 5.00 D spherical equivalent in the least hyperopic eye) was measured using eccentric infrared photorefraction (PowerRef 3; PlusOptix, Germany). Binocular accommodation measures were recorded while participants engaged in 2 tasks at 25 cm for 15 minutes each: an "active" task (reading small print on an Amazon Kindle), and a "passive" task (watching an animated movie on liquid crystal display LCD screen). Participants also underwent a comprehensive visual assessment, including measurement of presenting visual acuity, prism cover test, and stereoacuity. Reading speed was assessed with and without hyperopic correction. Refractive error was determined by cycloplegic retinoscopy.
Hyperopic refractive correction significantly improved accuracy of accommodative responses in both task (pairwise comparisons: t = -3.70, P = 0.001, and t = -4.93, P < 0.001 for reading and movie tasks, respectively). Accommodative microfluctuations increased with refractive correction in the reading task (F(1,61) = 25.77, P < 0.001) but decreased in the movie task (F(1,59) = 4.44, P = 0.04). Reading speed also significantly increased with refractive correction (F(1,48) = 66.32, P < 0.001).
Correcting low-moderate levels of hyperopia has a positive impact on accommodative performance during sustained near activity in some schoolchildren. For these children, prescribing hyperopic correction may benefit performance in near vision tasks.
Spectacle, once a key term for critical theories, has had limited theoretical development in recent decades. To make sure the concept remains relevant today, this paper turns to actor-network theory ...(ANT) and assemblage theories to reconceptualize what the spectacle is and how it operates today. Working with a case study of a controversial urban spectacle in southern Chile – a new shopping mall, the “Mall Paseo Chiloé” – this paper explores a set of findings that illustrate what these approaches have to offer. First, in viewing the spectacle as a hybrid entity, we uncover vital forces inside what might at first appear to be irrelevant features of the building's architectural design. At the same time, this approach includes the forces of ambivalent desire and fluidity that reveal the dynamics of resistance inside that same design. As such, this paper focuses on a specific aspect of this building that makes it a unique form of counter-spectacle.
La forme spectacle Bouhaïk-Gironès, Marie; Carnevali, Barbara; Cheyronnaud, Jacques ...
2018
Book
Ce volume délimite les périmètres qu’épousent les formes spectaculaires en explorant les frontières de ce qui fait spectacle. Il les décrit et détaille les régimes qui leur donnent vie en brossant ...l’histoire des communautés spectaculaires qui, dans la durée, « font et refont leurs états mentaux », pour parler comme Durkheim. Inscrites dans le continuum des pratiques sociales et dans l’histoire, ces formes ne se regroupent pas en idéaux-types aisément identifiables. La description s’attache ainsi aux situations et dispositifs borderline qui ne rentrent pas strictement dans les définitions ordinaires de cette forme. D’où une attention particulière portée aux expositions industrielles, aux interactions urbaines ordinaires ; à la messe télévisée ou à l’opéra hors les murs, ou encore aux opérations conduisant à renouveler ou à déplacer la forme spectacle - la prédation, les iconoclasties médiatiques. Est également interrogée la parenté des formes spectaculaires contemporaines avec les rituels républicains, avec les dispositifs anciens ou extra-européens auxquels nous accolons rétrospectivement l’étiquette « spectacle ». Articulé en trois parties, l’ouvrage explore, grâce à la contribution d’anthropologues, d’historiens et de sociologues, les régimes de spectacle en leurs diversités tout en questionnant leurs fondements. Il met ensuite en lumière leurs formes critiques pour proposer enfin une anthropologie des dispositifs spectaculaires numériques.
In this era, celebrities are shaped and disseminated by the media. Media generates celebrities. When someone become the most popular person in the news then he/she would instantly become a celebrity. ...One of the figures that always make an interesting spectacle is Jokowi. As a presidential candidate of PDI Perjuangan, Jokowi have all aspects to be an interesting spectacle because of his construction of self-image that is different from the self-image of other president in Indonesia. As a media darling, Jokowi makes a Jokowi Spectacle. It becomes much more interesting when Jokowi Spectacle is compared with its successor, Obama Spectacle.
Chile’s public conservation estate has expanded by unprecedented margins in recent years, following the creation of several mega projects. One such project is the Route of Parks of Chilean Patagonia, ...a public–private partnership to protect nearly 30 million acres of land across 18 national parks at the bottom of the South American continent. The partnership, over two decades in the making, was proposed by the U.S-based philanthropic foundation Tompkins Conservation but rejected by previous presidential administrations before finally being accepted in 2017. This article traces the role of two complementary forces behind the project – big philanthropy and big conservation – showing how both shaped the state’s eventual decision to take historic action for environmental protection. I argue that resource spectacle is key to understanding the ‘how’ and ‘why now’ of this mega project. Whereas traditional resource spectacles are conjured to court buy-in from private actors for extractive projects, a conservation resource spectacle is conjured in this case to court buy-in from the state for a large-scale national parks project. Big philanthropy emphasizes the spectacular investability of national parks by selling them as “a cold, hard asset,” akin to Chile’s other natural resources. It does this by rendering the value of protected nature legible and consumable through the same resource-making techniques that define extractivism. Yet, these resource-making techniques when applied to environmental protection not only establish perverse incentives for action, they also help fuel the convergence of conservation and extraction.
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•Inclusive female anti-poaching (IFAP) is increasingly gaining attention.•IFAP environmental spectacles in southern Africa showcase heroic female rangers.•The spectacles contain ambiguities regarding ...gender, race and green militarization.•Spectacularisation attracts funding, but neglects significant context.•IFAP spectacles are based on invisible (i.e. symbolic and systemic) violence.
Staged ‘spectacles’ are increasingly becoming important in communicating potential solutions for environmental challenges such as poaching. In this paper, we explore the spectacle of ‘inclusive female anti-poaching’ (IFAP) through an analysis of the Akashinga and Black Mamba projects in Zimbabwe and South Africa respectively. Both IFAP initiatives emphasize the inclusion of local women in anti-poaching. Such projects gain increasing public attention but have thus far hardly been studied academically. Based on ethnographic fieldwork and critical discourse analysis, we unpack the IFAP spectacle’s three core pillars: first, their claim to break gender stereotypes and the intersection with race; second, the portrayal of female rangers as heroines in relation to their socio-economic status and their political-economic and historical contexts; and third, the projects’ responses to increasing green militarization and their often ambiguous relation with ‘demilitarization’. We argue that the staged IFAP spectacle is for a large part based on invisible or objective (i.e. symbolic and systemic) violence and its claims to break gender barriers and support demilitarization are ambiguous and not fully convincing. It seems as if an important driver of these claims is to render IFAP more attractive for funding.
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When American artist John August Swanson died in September 2021, he left an extensive body of artwork focusing on social justice issues, religious themes, and everyday activities. The Theo Arts ...Gallery, Boston University School of Theology, notes, “His art reflects the strong heritage of storytelling he inherited from his Mexican mother and Swedish father. John August Swanson’s narrative is direct and easily understood. He addresses human values, cultural roots, and a quest for self-discovery through visual images.” His artwork is housed in collections at the Smithsonian’s National Museum of American History, National American Art Museum, and National Air and Space Museum; the Art Institute of Chicago; Tate Gallery (UK); the Vatican Museums’ Collection of Modern Religious Art; and Emory University’s Candler School of Theology.Swanson painted with oils, watercolors, and acrylics; created lithographs and etchings; and made colorful, detailed serigraphs—an artists’ term for silkscreen painting. According to Emory University’s Pitts Theology Library, “These serigraphs necessitate an advanced level of technical acumen and typically feature 30 to 60 separate colors, each of which requires a separate stencil drawn by the artist. Swanson’s elaborate serigraph process results in pieces that have unique textures and colors that are characteristic of his mastery of this medium.”Swanson’s The Carousel, this month’s cover image, is a vibrant serigraph depicting the popular amusement ride—sometimes also called a merry-go-round—and illustrating a certain association and interaction between humans and animals. It is a dizzying, complex spectacle imbued with 29 distinct colors and intricate patterns that may be missed without scrutiny.
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