Ecstasy : What We Know and Don’T Know About Mdma a Scientific Review Table of Contents
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How Fun Are Your Meetings? Investigating the Relationship Between Humor Patterns in Team Interactions and Team Performance
University of Nebraska at Omaha DigitalCommons@UNO Psychology Faculty Publications Department of Psychology 11-2014 How fun are your meetings? Investigating the relationship between humor patterns in team interactions and team performance Nale Lehmann-Willenbrock Vrije University Amsterdam Joseph A. Allen University of Nebraska at Omaha, [email protected] Follow this and additional works at: https://digitalcommons.unomaha.edu/psychfacpub Part of the Industrial and Organizational Psychology Commons Recommended Citation Lehmann-Willenbrock, Nale and Allen, Joseph A., "How fun are your meetings? Investigating the relationship between humor patterns in team interactions and team performance" (2014). Psychology Faculty Publications. 118. https://digitalcommons.unomaha.edu/psychfacpub/118 This Article is brought to you for free and open access by the Department of Psychology at DigitalCommons@UNO. It has been accepted for inclusion in Psychology Faculty Publications by an authorized administrator of DigitalCommons@UNO. For more information, please contact [email protected]. In press at Journal of Applied Psychology How fun are your meetings? Investigating the relationship between humor patterns in team interactions and team performance Nale Lehmann-Willenbrock1 & Joseph A. Allen2 1 VU University Amsterdam 2 University of Nebraska at Omaha Acknowledgements The initial data collection for this study was partially supported by a grant from the German Research Foundation, which is gratefully acknowledged. We appreciate the support by Simone Kauffeld and the helpful feedback by Steve Kozlowski. Abstract Research on humor in organizations has rarely considered the social context in which humor occurs. One such social setting that most of us experience on a daily basis concerns the team context. Building on recent theorizing about the humor—performance association in teams, this study seeks to increase our understanding of the function and effects of humor in team interaction settings. -
Spring-And-Summer-Fun-Pack.Pdf
Spring & Summer FUN PACK BUILD OUR KIDS' SUCCESS Find many activities for kids in Kindergarten through Grade 9 to get moving and stay busy during the warmer months. Spring & Summer FUN PACK WHO IS THIS BOOKLET FOR? 1EVERYONE – kids, parents, camps, childcare providers, and anyone that is involved with kids this summer. BOKS has compiled a Spring & Summer Fun Pack that is meant to engage kids and allow them to “Create Their Own Adventure of Fun” for the warmer weather months. This package is full of easy to follow activities for kids to do independently, as a family, or for camp counselors/childcare providers to engage kids on a daily basis. We have included a selection of: BOKS Bursts (5–10 minute activity breaks) BOKS lesson plans - 30 minutes of fun interactive lessons including warm ups, skill work, games and nutrition bits with video links Crafts Games Recipes HOW DOES THIS WORK? Choose two or three activities daily from the selection outlined on page 4: 1. Get physically active with Bursts and/or BOKS fitness classes. 2. Be creative with cooking and crafts. 3. Have fun outdoors (or indoors), try our games! How do your kids benefit? • Give kids time to play and have fun. • Get kids moving toward their 60 minutes of recommended daily activity. • Build strong bones and muscles with simple fitness skills. • Reduce symptoms of anxiety. • Encourage a love of physical activity through engaging games. • We encourage your kids to have fun creating their own BOKS adventure. WHO WE ARE… BOKS (Build Our Kids' Success) is a FREE physical activity program designed to get kids active and establish a lifelong commitment to health and fitness. -
DISGUST: Features and SAWCHUK and Clinical Implications
Journal of Social and Clinical Psychology, Vol. 24, No. 7, 2005, pp. 932-962 OLATUNJIDISGUST: Features AND SAWCHUK and Clinical Implications DISGUST: CHARACTERISTIC FEATURES, SOCIAL MANIFESTATIONS, AND CLINICAL IMPLICATIONS BUNMI O. OLATUNJI University of Massachusetts CRAIG N. SAWCHUK University of Washington School of Medicine Emotions have been a long–standing cornerstone of research in social and clinical psychology. Although the systematic examination of emotional processes has yielded a rather comprehensive theoretical and scientific literature, dramatically less empirical attention has been devoted to disgust. In the present article, the na- ture, experience, and other associated features of disgust are outlined. We also re- view the domains of disgust and highlight how these domains have expanded over time. The function of disgust in various social constructions, such as cigarette smoking, vegetarianism, and homophobia, is highlighted. Disgust is also becoming increasingly recognized as an influential emotion in the onset, maintenance, and treatment of various phobic states, Obsessive–Compulsive Disorder, and eating disorders. In comparison to the other emotions, disgust offers great promise for fu- ture social and clinical research efforts, and prospective studies designed to improve our understanding of disgust are outlined. The nature, structure, and function of emotions have a rich tradition in the social and clinical psychology literature (Cacioppo & Gardner, 1999). Although emotion theorists have contested over the number of discrete emotional states and their operational definitions (Plutchik, 2001), most agree that emotions are highly influential in organizing thought processes and behavioral tendencies (Izard, 1993; John- Preparation of this manuscript was supported in part by NIMH NRSA grant 1F31MH067519–1A1 awarded to Bunmi O. -
Mathematics K Through 6
Building fun and creativity into standards-based learning Mathematics K through 6 Ron De Long, M.Ed. Janet B. McCracken, M.Ed. Elizabeth Willett, M.Ed. © 2007 Crayola, LLC Easton, PA 18044-0431 Acknowledgements Table of Contents This guide and the entire Crayola® Dream-Makers® series would not be possible without the expertise and tireless efforts Crayola Dream-Makers: Catalyst for Creativity! ....... 4 of Ron De Long, Jan McCracken, and Elizabeth Willett. Your passion for children, the arts, and creativity are inspiring. Thank you. Special thanks also to Alison Panik for her content-area expertise, writing, research, and curriculum develop- Lessons ment of this guide. Garden of Colorful Counting ....................................... 6 Set representation Crayola also gratefully acknowledges the teachers and students who tested the lessons in this guide: In the Face of Symmetry .............................................. 10 Analysis of symmetry Barbi Bailey-Smith, Little River Elementary School, Durham, NC Gee’s-o-metric Wisdom ................................................ 14 Geometric modeling Rob Bartoch, Sandy Plains Elementary School, Baltimore, MD Patterns of Love Beads ................................................. 18 Algebraic patterns Susan Bivona, Mount Prospect Elementary School, Basking Ridge, NJ A Bountiful Table—Fair-Share Fractions ...................... 22 Fractions Jennifer Braun, Oak Street Elementary School, Basking Ridge, NJ Barbara Calvo, Ocean Township Elementary School, Oakhurst, NJ Whimsical Charting and -
The Distancing-Embracing Model of the Enjoyment of Negative Emotions in Art Reception
BEHAVIORAL AND BRAIN SCIENCES (2017), Page 1 of 63 doi:10.1017/S0140525X17000309, e347 The Distancing-Embracing model of the enjoyment of negative emotions in art reception Winfried Menninghaus1 Department of Language and Literature, Max Planck Institute for Empirical Aesthetics, 60322 Frankfurt am Main, Germany [email protected] Valentin Wagner Department of Language and Literature, Max Planck Institute for Empirical Aesthetics, 60322 Frankfurt am Main, Germany [email protected] Julian Hanich Department of Arts, Culture and Media, University of Groningen, 9700 AB Groningen, The Netherlands [email protected] Eugen Wassiliwizky Department of Language and Literature, Max Planck Institute for Empirical Aesthetics, 60322 Frankfurt am Main, Germany [email protected] Thomas Jacobsen Experimental Psychology Unit, Helmut Schmidt University/University of the Federal Armed Forces Hamburg, 22043 Hamburg, Germany [email protected] Stefan Koelsch University of Bergen, 5020 Bergen, Norway [email protected] Abstract: Why are negative emotions so central in art reception far beyond tragedy? Revisiting classical aesthetics in the light of recent psychological research, we present a novel model to explain this much discussed (apparent) paradox. We argue that negative emotions are an important resource for the arts in general, rather than a special license for exceptional art forms only. The underlying rationale is that negative emotions have been shown to be particularly powerful in securing attention, intense emotional involvement, and high memorability, and hence is precisely what artworks strive for. Two groups of processing mechanisms are identified that conjointly adopt the particular powers of negative emotions for art’s purposes. -
The Gay Science (`La Gaya Scienza')
Cambridge University Press 0521631599 - The Gay Science: With a Prelude in German Rhymes and an Appendix of Songs Friedrich Nietzsche Excerpt More information The Gay Science R`La gaya scienza') This house is my own and here I dwell, I've never aped nothing from no one and ± laugh at each master, mark me well, who at himself has not poked fun. Over my front door. The title is a translation into German Rin our edition, into English) of the ProvencËal subtitle. Gaya scienza R`joyful, cheerful, or gay science') was a term used by the troubadours in the twelfth to fourteenth centuries to refer to the art of poetry. In Ecce Homo Nietzsche writes that he has used the term gaya scienza here to designate the speci®c unity of `singer, knight, and free spirit' which was characteristic of early ProvencËal culture. © Cambridge University Press www.cambridge.org Cambridge University Press 0521631599 - The Gay Science: With a Prelude in German Rhymes and an Appendix of Songs Friedrich Nietzsche Excerpt More information Preface to the second edition 1 This book might need more than one preface; and in the end there would still be room for doubting whether someone who has not experienced something similar could, by means of prefaces, be brought closer to the experiences of this book. It seems to be written in the language of the wind that brings a thaw: it contains high spirits, unrest, contradiction, and April weather, so that one is constantly reminded of winter's nearness as well as of the triumph over winter that is coming, must come, perhaps has already come. -
DRUGGED DRIVING CONFERENCE Poly Drug
DRUGGED DRIVING CONFERENCE February 1 – 4, 2021 Phoenix, Arizona Poly Drug Use Presented by: Tom Humphrey Department of Public Safety & Dennis Milius Sergeant, Department of Public Safety Distributed by: ARIZONA PROSECUTING ATTORNEYS’ ADVISORY COUNCIL 3838 N. Central Ave, Suite 850 Phoenix, Arizona 85012 ELIZABETH BURTON ORTIZ EXECUTIVE DIRECTOR Poly Drug Use – Drug Combinations Poly Drug Use: When a person ingests drugs from two or more different drug categories. The body will exhibit a combination of effects. Poly Drug cases can be some of the more difficult cases for the DRE to evaluate. Due to the fact that the defendant has multiple drugs in his/her system, however, there may be less jury appeal for the defendant. Accordingly, they may be easier to prosecute. Note: the crime lab may only quantify some or even none of the drugs. At times the lab cannot test for all of the drugs in the system due to insufficient blood or lack of testing methods. In most cases, this should not prevent us from proceeding on the case. Alcohol is a drug. It is the most common drug used in combination with other drugs. Alcohol combined with cannabis/marijuana is currently the most common drug combination we see in Arizona. Potential Effects of Poly Drug Use Four types of combined effects can, and generally will, occur when two or more drug categories are used together: • Null Effect • Overlapping Effect • Additive Effect • Antagonistic Effect Types of Combined Effects Null Effect The simplest way to explain the null effect is using the phrase: "zero + zero = zero" Example: when a subject consumes one drug, which does not cause HGN, and they ingest another drug, which does not cause HGN, then the officer should not expect to see HGN. -
Epidemics of HIV, HCV and Syphilis Infection Among Synthetic Drugs
www.nature.com/scientificreports OPEN Epidemics of HIV, HCV and syphilis infection among synthetic drugs only users, heroin-only users and Received: 7 November 2017 Accepted: 28 March 2018 poly-drug users in Southwest China Published: xx xx xxxx Shu Su1, Limin Mao 2, Jinxian Zhao3, Liang Chen3, Jun Jing4, Feng Cheng4 & Lei Zhang 1,4,5 The number of poly-drug users who mix use heroin and synthetic drugs (SD) is increasing worldwide. The objective of this study is to measure the risk factors for being infected with hepatitis C (HCV), human immunodefciency virus (HIV) and syphilis among SD-only users, heroin-only users and poly- drug users. A cross-sectional study was conducted in 2015 from a national HIV surveillance site in Southwest China, 447 poly-drug, 526 SD-only and 318 heroin-only users were recruited. Poly-drug users have higher drug-use frequency, higher rates of drug-sharing and unsafe sexual acts than other users (p < 0.05). About a third (36.7%) of poly-drug users experienced sexual arousal due to drug efects, which is higher than the rate among other drug users. Poly-drug users had the highest prevalence of HIV (10.5%) and syphilis (3.6%), but heroin-only users had the highest prevalence of HCV (66.0%) (all p < 0.05) among three groups. Logistic regression shows among poly-drug users, having sex following drug consumption and using drugs ≥1/day were the major risk factors for both HIV (Adjusted odds ratio (AOR) = 2.4, 95% CI [1.8–3.4]; 2.3, [1.6–3.1]) and syphilis infection (AOR = 4.1, [2.1–6.9]; 3.9, [1.8–5.4]). -
MDMA ('Ecstasy'): a Review of Its Harms and Classification Under the Misuse of Drugs Act 1971
MDMA (‘ecstasy’): A REVIEW OF ITS HARMS AND CLASSIFICATION UNDER THE MISUSE OF DRUGS ACT 1971 Advisory Council on the Misuse of Drugs ACMD Advisory Council on the Misuse of Drugs 3rd Floor (SW), Seacole Building 2 Marsham Street London SW1P 4DF February 2008 Rt Hon Jacqui Smith MP Home Office 2 Marsham Street London SW1P 4DF Dear Home Secretary, The Advisory Council on the Misuse of Drugs (ACMD) recently considered that a review of MDMA (‘ecstasy’) would be timely as there is a much greater body of evidence regarding the harms and misuse of MDMA since the Council last provided its advice to Ministers in 1996. I have pleasure in enclosing the Council’s report. The use of MDMA is undoubtedly harmful. I would therefore like to emphasise that the Council continues to be concerned about the widespread use of MDMA; particularly among young people. Due to its prevalence of use, MDMA is a significant public health issue and we believe that criminal justice measures will only have limited effect. You will wish to note that the Council strongly advises the promulgation of public health messages. It is of vital importance that issues of classification do not detract from messages concerning public health. Forensic evidence shows that MDMA is by far the most commonly seized of the ‘ecstasy-like’ drugs. MDMA is presently generically classified in Class A under the Misuse of Drugs Act with other ‘ecstasy-like’ drugs. The ACMD has not extended this review to other compounds within the generic classification since their use is considerably less than that of MDMA. -
The Aesthetic Mind This Page Intentionally Left Blank the Aesthetic Mind Philosophy and Psychology
The Aesthetic Mind This page intentionally left blank The Aesthetic Mind Philosophy and Psychology EDITED BY Elisabeth Schellekens and Peter Goldie 1 3 Great Clarendon Street, Oxford OX26DP Oxford University Press is a department of the University of Oxford. It furthers the University’s objective of excellence in research, scholarship, and education by publishing worldwide in Oxford New York Auckland Cape Town Dar es Salaam Hong Kong Karachi Kuala Lumpur Madrid Melbourne Mexico City Nairobi New Delhi Shanghai Taipei Toronto With offices in Argentina Austria Brazil Chile Czech Republic France Greece Guatemala Hungary Italy Japan Poland Portugal Singapore South Korea Switzerland Thailand Turkey Ukraine Vietnam Oxford is a registered trade mark of Oxford University Press in the UK and in certain other countries Published in the United States by Oxford University Press Inc., New York # the several contributors 2011 The moral rights of the authors have been asserted Database right Oxford University Press (maker) First published 2011 All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, without the prior permission in writing of Oxford University Press, or as expressly permitted by law, or under terms agreed with the appropriate reprographics rights organization. Enquiries concerning reproduction outside the scope of the above should be sent to the Rights Department, Oxford University Press, at the address above You must not circulate this book in any other binding or cover and you must impose the same condition on any acquirer British Library Cataloguing in Publication Data Data available Library of Congress Cataloging in Publication Data Data available Typeset by SPI Publisher Services, Pondicherry, India Printed in Great Britain on acid-free paper by MPG Books Group, Bodmin and King’s Lynn ISBN 978–0–19–969151–7 13579108642 Contents List of Figures viii Notes on Contributors ix Introduction 1 Elisabeth Schellekens and Peter Goldie Part I. -
Human Perception and Control of Vehicle Roll Tilt in Hyper-Gravity
Human Perception and Control of Vehicle Roll Tilt in Hyper-Gravity By Torin Kristofer Clark B.S. Aerospace Engineering University of Colorado at Boulder, 2008 S.M. Aeronautics and Astronautics Massachusetts Institute of Technology, 2010 SUBMITTED TO THE DEPARTMENT OF AERONAUTICS AND ASTRONAUTICS IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY IN AERONAUTICS AND ASTRONAUTICS AT THE MASSACHUSETTS INSTITUTE OF TECHNOLOGY September 2013 © 2013 Torin Clark. All rights reserved. The author hereby grants to MIT and The Charles Stark Draper Laboratory, Inc. permission to reproduce and to distribute publicly paper and electronic copies of this thesis document in whole or in any part medium now known or hereafter created. Signature of Author: ____________________________________________________________ Torin K. Clark Department of Aeronautics and Astronautics August 22, 2013 Accepted by: __________________________________________________________________ Eytan H. Modiano Professor of Aeronautics and Astronautics Chair, Graduate Program Committee 2 Human Perception and Control of Vehicle Roll Tilt in Hyper-Gravity By Torin Kristofer Clark DOCTOR OF PHILOSOPHY IN AERONAUTICS AND ASTRONAUTICS AT THE MASSACHUSETTS INSTITUTE OF TECHNOLOGY Certified by: ___________________________________________________________________ Laurence R. Young Apollo Program Professor of Astronautics Professor of Health Sciences and Technology Massachusetts Institute of Technology Thesis Committee Chair Certified by: ___________________________________________________________________ -
A Mathematician's Lament
A Mathematician’s Lament by Paul Lockhart musician wakes from a terrible nightmare. In his dream he finds himself in a society where A music education has been made mandatory. “We are helping our students become more competitive in an increasingly sound-filled world.” Educators, school systems, and the state are put in charge of this vital project. Studies are commissioned, committees are formed, and decisions are made— all without the advice or participation of a single working musician or composer. Since musicians are known to set down their ideas in the form of sheet music, these curious black dots and lines must constitute the “language of music.” It is imperative that students become fluent in this language if they are to attain any degree of musical competence; indeed, it would be ludicrous to expect a child to sing a song or play an instrument without having a thorough grounding in music notation and theory. Playing and listening to music, let alone composing an original piece, are considered very advanced topics and are generally put off until college, and more often graduate school. As for the primary and secondary schools, their mission is to train students to use this language— to jiggle symbols around according to a fixed set of rules: “Music class is where we take out our staff paper, our teacher puts some notes on the board, and we copy them or transpose them into a different key. We have to make sure to get the clefs and key signatures right, and our teacher is very picky about making sure we fill in our quarter-notes completely.