bluuebunny/crossref_metadata_2025_split huggingface dataset:
The role of “penumbra sign” and diffusion-weighted imaging in adnexal masses: do they provide a clue in differentiating tubo-ovarian abscess from ovarian malignancy?
Authors: Patel Ranjan Kumar , Garg Anju , Dixit Rashmi , Gandhi Gauri , Khurana Nita 
Published: December 2021

PurposeTo evaluate the role of “penumbra sign”, diffusion-weighted imaging (DWI), and the apparent diffusion coefficient (ADC) value in differentiating tubo-ovarian abscess (TOA) from ovarian malignancy.Material and methodsThirty-six patients with 50 adnexal masses (tubo-ovarian abscess, <i>n</i> = 24; ovarian malignancy, <i>n</i> = 26), who underwent magnetic resonance imaging (MRI) with DWI, were retrospectively evaluated. “Penumbra sign” (hyperintense rim on T1W images), diffusion restriction, and mean apparent diffusion coefficient (ADC) values from cystic (c-ADC) and solid (s-ADC) components were evaluated for all the masses.Results“Penumbra sign” on T1W images was significantly more common in the TOA group (<i>n</i> = 21, 87.5%) than in the ovarian malignancy group (<i>n</i> = 2, 7.7%) (p < 0.001). Similarly, diffusion restriction in the cystic component was more frequent in the TOA group (<i>n</i> = 24, 100% vs. <i>n</i> = 2, 10.5%; <i>p</i> < 0.001). In contrast, diffusion restriction in the solid component was more common in the ovarian malignancy group (<i>n</i> = 5, 20.8% vs. <i>n</i> = 26, 100%; <i>p</i> < 0.001). The mean c-ADC value was significantly lower in TOAs (<i>p</i> < 0.001). A c-ADC value of 1.31 × 10-3 mm2/s may be an optimal cut-off in distinguishing TOAs from ovarian malignancies. Conversely, the mean s-ADC value was significantly lower in the ovarian malignancy group (<i>p</i> < 0.001). An s-ADC value of 0.869 × 10-3 mm2/s may be an optimal cut-off in differentiating ovarian malignancies from TOAs (<i>p</i> < 0.001). ROC curve analysis showed that c-ADC values had a higher diagnostic accuracy than s-ADC values.Conclusions“Penumbra sign” on T1W images, diffusion characteristics, and ADC values provide important clues in addition to conventional MR imaging features in differentiating TOA from ovarian malignancy.
Organon 2010: is a medical textbook after 200 years still up to date?
Authors: Adler Ubiratan 
Published: December 2021

The question, proposed by the German Central Union of homeopathic Doctors, is the pivotal subject addressed in a series of lectures and discussions being held all over Germany in 2010, to celebrate the bicentenary of homeopathyÃƒâ€šÃ‚Â´s first medical textbook.
HahnemannÃƒâ€šÃ‚Â´s Organon of the Healing Art is the basis for classical homeopathy. Reading its 6th and posthumous edition is part of the education of 90% of the homeopaths, as indicated by a survey carried out at the 60th Homeopathic World Medical Congress (Berlin 2005). This might be odd to conventional doctors, used to read the latest editions of textbooks and journals, but HahnemannÃƒâ€šÃ‚Â´s therapeutics seems to be ahead of his time, in that classical homeopathy can be at least as effective as current standard pharmacotherapy. For instance, classical homeopathy for children suffering from atopic eczema showed comparable results to conventional treatment in usual care. Moreover, randomized controlled double blind trials using the dynamization scale introduced by the 6th edition (fifty-millesimal or Quinquagintamillesimal dynamization and its products, the Q-potencies) showed that homeopathically individualized Q-potencies were superior to placebo for fibromyalgia or attention deficit hyperactivity disorder in children, and not inferior to the antidepressant fluoxetine in a sample of patients with moderate to severe depression.
More studies using the clinical-pharmaceutical protocol of the Organon are of course needed, but so far its use by trained physicians have yield to challenging results, keeping up with what is recommended in most recent clinical textbooks for the treatment of some chronic diseases.
Domain specificity of creativity: Theory, research, and practice
Authors: Baer John 
Published: December 2021

Research over the past two decades has shown that the cognitive skills underlying creativity in diverse domains vary widely. Some people evidence creativity in many domains, of course (and many show little creativity in any domain), but this is not because of some underlying creativity-relevant cognitive skill, personality trait, motivation, or attitude that can be deployed across domains, but rather because of a variety of such skills, traits, motivations, and attitudes, each contributing to creativity in different domains. Creativity has commonly been thought of either as a set of domaingeneral skills that can be applied broadly like a special kind of intelligence or as a general personality trait that colors a person’s approach to any kind of task or problem, but these ways of thinking about creativity are misleading. A better metaphor for creativity than either intelligence or a personality trait is expertise. This paper will review research that demonstrates the domain specificity of creativity (including research in creative writing); explain what that research means in terms of our understanding of the cognitive processes underlying creativity in different domains; and suggest how a domain-specific understanding of creativity can guide and enrich the work of those who wish to nurture creativity in writing.
You’re gonna need a bigger boat
Authors: Dietrich Arne 
Published: December 2021

Creative ideas, even complex ones, can be assembled unconsciously and enter the conscious mind in a fully finished form. But there is nothing mystical or sacrosanct about the mechanisms giving rise to this mental phenomenon. Progress on the neuroscience of creativity can only occur if we fully expose Cartesian muses for what they are: teddy bears for grownups. This is not to say that neuroscientists understand yet what happens in the innards of the machine when we are creative, but I hope to show here where we are and where we are going on this matter. The aim of this article is not so much to persuade readers of a naturalistic explanation of creativity but to help with conceivability; that is, help them envision what a scientific account could, possibly, look like. Without a path towards such an ersatz explanation, we have little hope to lift the dense fog enveloping our beliefs in the specialness of the creative process, the instinctive tug we feel that the creative spark comes from on high. This article plants a seed of how such a seemingly magical event can be reverse engineered.
Flash points: Reading electronic literature as a metaphor for creativity
Authors: Engberg Maria , Prater David 
Published: December 2021

In her groundbreaking volume Electronic Literature: New Horizons for the Literary (2008), N. Katherine Hayles describes the concept of a ‘flash point’ as a moment within pedagogy or teaching practice when a student grasps the complex potential of a digital work. As a form of pedagogical breakthrough moment, the concept of the flash point also alludes to a mode of creativity that acknowledges the possibility that neurological processes can be replicated, if only metaphorically, in creative works. In this article, we explore the possibilities suggested by the idea of the flash point as a teaching model and as a metaphor for creativity beyond the teaching of digital literature. We build upon our experiences as teachers within a digital literary and creative writing context, respectively. What the two different writing and teaching contexts have in common is the fostering of writing in a digital age as a central practice. The article examines how digital media and writing come together in pedagogical practices. If creativity can be prompted in such intimately felt moments by an interface or digital media experience, can the creation of electronic or digital literature also act as a model for learning within the humanities and the arts more generally, as the use of digital tools spreads?
Conceptualising creativity in the creative arts: Seeking common ground
Authors: Morgan Chris 
Published: December 2021

This paper reports on a research study that investigated how university academics in the creative arts conceptualise creativity, both as a general concept and also as a set of situated disciplinary beliefs and practices. The study, located primarily in the UK and Australia, reveals that the problems of defining and articulating creativity lead to a series of ongoing dilemmas for teaching and assessment in the creative arts. These dilemmas include the ability to explain and foster the creative endeavour with students; to provide transparency to students about expectations and standards; and to make demonstrably fair and reliable judgements about student work in a relatively subjective domain. It argues that if tertiary-level teachers are to devise creative curricula, facilitate creative environments and make judgements about the quality of creative work, they need to both share an understanding about the creative endeavour and the ability to communicate this to students effectively.
The ‘potential space’ of transitional creative notation
Authors: Pigrum Derek 
Published: December 2021

In this paper, the author links what he terms ‘transitional creative notation’ to Winnicott’s post-Freudian psychoanalytic theory of ‘transitional object use’ and ‘potential space’. The paper explores the way in which ‘transitional object use’ and ‘potential space’ relate to Heidegger’s notion of the ‘ready-to-hand’ and to the use of what Kress has termed a ‘multi-mode’ set of signs that are open to possibilities of reconfiguration as well as a continual interplay between closure and disclosure. The paper argues that transitional multi-mode notation frees human consciousness towards emergent potentialities and possibilities and, as such, is a practical example of the enduring philosophical problem of potentiality and actualization, process and closure. While the paper highlights the materiality of creativity, it also looks to Kristeva’s notion of the ‘Semiotic Chora’ as a source of creativity that precedes the engenderment of ‘potential space’. Finally, the paper discusses transitional creative notation in terms of what the author terms Das Gegenwerk, or the work towards the work that is in opposition to definitive closure.
Seeing, doing, knowing: Poetry and the pursuit of knowledge
Authors: Webb Jen 
Published: December 2021

Auden’s famous complaint that ‘poetry makes nothing happen’, and Blanchot’s that art is useless to the world and to itself, are often cited as a truth about the practical uselessness of creative practice. Blanchot’s is, of course, an insistence on the autonomy of art, while Auden’s is a line from a poem – it is his elegy for WB Yeats, written to mourn not only a dead poet, but also the loss of peace (written, as it was, in the shadow of World War 2). Yet each writer has chosen writing, and ‘artistic’ writing, to complain that art/writing has no capacity to influence society or effect change. This is a bleak view of poetry and what it might be able to contribute to social needs: to knowledge, to understanding, and to the possibility of engendering change. Though it is perhaps a reasonable perspective, given the fact that poetry is about the aesthetic rather than about social action, I still wish to interrogate this attitude, to explore the possibility that poetry can in fact make some things happen: and, in particular, that it can generate knowledge and therefore new ways of seeing and of doing.
Parks, squats, four star hotels
Authors: de Kline K 
Published: December 2021

As a social science researcher, my work is regularly forced into the strait-jacket of stylistic conventions agreed upon in consultation between the university research facility I work for and the government departments which fund our research. In this mode of writing, there is little room for movement, for flights of fancy, for philosophical observation. What isn’t mentioned is that the research itself often exceeds its ’public service’ boundaries, leaving remnants that leach under the skin. This paper in contrast acknowledges the uncanny traces of ‘real world’ research among the marginalized and vulnerable population of people who are chronically homeless. It questions, through its creative research format, how we might incorporate such ‘lived experience’ into our scholarly writing, when it is not only deeply unsettling on a personal level, but is also indigestible within the conventions of the academic and government funded research which frame the work.
Beyond the mirror: On experiential knowing as research mode in creative writing
Authors: Hecq Dominique 
Published: December 2021

Inherent in ‘practice-led research’ is the dialectic between practice and research. For some time, this dialectic has been problematised in varying ways and to varying degrees across the creative arts in terms that are reminiscent of Deleuze’s ’disjunctive synthesis’ (Deleuze & Guattari 2004: 14). Further, creative writing has mostly theorised its practice and research according to models offered by the visual arts, thereby ignoring its own ‘domain specificity’ (Baer 2012). This paper, however, posits that creative writing is a way of apprehending, knowing and being in the world; and more specifically it functions simultaneously as a perspective, an epistemology and an ontology specific to writing. It argues that our conceptual tools need to be made over in order to fit creative practice in writing: rather than being in thrall to the regime of images, these tools should enable us to deal specifically with writing in relation to the experiential and to subjectivity – that is, from the inside out. Reading Kristeva’s central argument in Revolution in poetic language (1974) against the grain, I reassess the relevance of the term ‘practice-led research’ for creative writing, asking how the poetic text can challenge the dominant paradigm and how it can be considered as research. More pointedly, building on Kristeva’s theorisation of the semiotic chora and on Lakoff’s work on metaphor, I ask what the epistemological thrust of creative writing might be, particularly if it is non-mimetic or experimental and hence destabilises polysemy and the syntactic function. I do so by questioning the role of sign, image and metaphor in the process of knowledge production from within an experiential practice which mobilises the unconscious, perception, pre-language and language. In such light, creative writing is a form of research in its own right which triangulates two seemingly mutually exclusive discourses encompassing (tacit) knowing and (explicit) knowledge.
Looking for the real in visual art research
Authors: Holmes Lucille 
Published: December 2021

In its brief academic history, practice-led research in the visual arts has been considered by many as highly problematic, fraught with unanswered questions and lacking clear concepts, criteria and models. In current literature on this new research area, the subject’s desire is defined as a crucial element in art practice yet at the same time it is considered problematic and conceptually obscure and, as a consequence, it is under-theorised in visual arts practice-led research. This article positions these problems and limits as productive lines of inquiry which may be advanced by redirecting toward the discipline of visual arts certain questions asked by Jacques Lacan of psychoanalysis: Can the question of the subject’s desire be left outside the limits of our field? What would art research have to be in order to take the problem of the subject and of desire into account? To address these questions, the discussion centres on Lacan’s theoretical developments to Freud’s theory of fantasy and, in the concluding section, proposes a practice-oriented approach in which the production of knowledge in art research would be conducted in a transdisciplinary alliance with psychoanalysis.
Art and knowledge systems: Teaching research methods
Authors: MacDowall Lachlan 
Published: December 2021

This article examines some limitations to existing models of practice-led research through a discussion of the development of a research methods subject in a postgraduate course in community-based arts practice. It argues that, despite being strongly shaped by institutional conditions and a tendency to frame practice in relation to a singular artist, the space opened up by debates over practice-led research can be occupied by forms of practice that are critically engaged with the politics of knowledge and the possibilities of community-based art making and creativity.
Six rules for practice-led research
Authors: McNamara Andrew 
Published: December 2021

Recent experience of practice-led postgraduate supervision has prompted me to conclude that the practice-led research method, as it is currently construed, produces good outcomes, especially in permitting practitioners in the creative arts, design and media into the research framework, but at the same time it also generates certain recurring difficulties. What are these difficulties? Practice-led candidates tend to rely on a narrow range of formulations with the result that they assume: (i) the innovative nature of practice-led research; (ii) that its novelty is based in opposition to other research methods; 1. (iii) that practice is intrinsically research, often leading to tautological formulations; and 2. (iv) the hyper-self-reflexive nature of practice-led research. This paper proposes a set of guidelines composed in order to circumvent the shortcomings that result from these recurring formulations. My belief is that, if these shortcomings are avoided, there is nothing to prevent practice-led from further developing as a research inquiry and thus achieving rewarding and successful research outcomes. Originally composed for the purposes of postgraduate supervision, these six rules are presented here in the context of a wider analysis of the emergence of practice-led research and its current conditions of possibility as a research method.
Creative research: A radical subjectivity?
Authors: Strange Shane 
Published: December 2021

The struggles around notions of creative research are in some ways engaged with the return of the subject in the face of post/structuralist moves that have tried to evacuate or dissolve subjectivity, or reduce it to an element in a structure. What this kind of subjectivity is, and how to define it, seems up for grabs. What I suggest is that creative research is trying to stretch beyond its boundaries by advocating for a knowledgeproducing subjectivity that rejects the methodological positivism of so-called real research (which in many ways is centred upon the presupposition of a transcendental subject), while negotiating the discourses of postmodernity and post/structuralism which are suspicious of, or radically dismiss, subjectivity as a category. I suggest that creative research might be a radical gesture, indeed a radical subjectivity, whose possibilities as critical/creative practices reveal the human content of the seemingly autonomous forms which are the outcome of the fragmentary world of capitalist social relations.
The logic of practice? Art, the academy, and fish out of water
Authors: Webb Jen 
Published: December 2021

The various institutional imperatives that have arisen in past decades have reshaped not only the academy but also the careers, responsibilities and practices of artistacademics. This transformational process has been characterized by both extensive and intensive competition. In a series of moves that might have been choreographed by Pierre Bourdieu, those involved have struggled with each other and with policies, procedures, shifting values and discourses to refine their understandings of the changing academic landscape, to acquire the capital necessary for success, and to achieve a better position within the field. In this paper I draw on Bourdieu’s work and extend his analysis of the discipline of sociology to the creative arts disciplines in contemporary Australian universities. Bourdieu’s distinction between practical knowledge and reflexive practice is central to my discussion about ways in which artist-academics might find a better fit for themselves, their practices and their values, within the academic domain.
Quelle contribution du Maroc pour la genese d’un consensus universel sur la migration climatique ?
Authors: Alaoui Nadia nasse 
Published: December 2021

L'histoire de l'humanité est étroitement liée à celle des vagues migratoires qui représentent l'un des traits les plus importants de nos civilisations. Mais le fait marquant de notre histoire contemporaine est la migration climatique qui est désormais depuis 2009, la première cause de migration forcée. Dorénavant, le discours sur les migrations ne pourra plus se limiter aux migrants économiques, au phénomène de fuite des cerveaux et aux réfugiés politiques ; il englobe désormais une population grandissante de migrants pour des raisons climatiques ou météorologiques.
Cependant, la migration climatique est aussi de plus en plus considérée comme une stratégie d’adaptation humaine innée et spontanée permettant de faire face aux facteurs environnementaux rudes et dégradés.
Attacks on Graphical Password: A Study on Defense Mechanisms and Limitations
Authors: Roy Indrani , Hossain Ajmerry , AHMED RUMEE SARKER TANVEER 
Published: December 2021

User authentication is mostly reliant on password-based based verification. Users generally used text-based passwords, which are user-friendly but often predictable and vulnerable to some common attacks. To overcome these shortcomings, graphical authentication methods have emerged. Here, users choose a sequence of images as passwords. Though such methods help users to better remember their passwords, they too suffer from attacks seen in the case of textual passwords. This paper presents a comprehensive summary of the vulnerabilities state of the art graphical password schemes against the following well-known attacks - Dictionary, Guessing, Brute force, Shoulder surfing, Spyware, and Social engineering. We believe the findings of this study can help researchers design more secure graphical password schemes making them more usable and a realistic replacement for text-based passwords.
دور الثقافة التنظيمية في تعزيز عمليات إدارة المعرفة في الشركات العامة : (بالتطبيق على شركة الموانئ الهندسية)‎ الفترة من يناير 2010م إلى يوليو 2011 م
Authors: محمد عبود الحاج 
Published: December 2021

دور الثقافة التنظيمية في تعزيز عمليات إدارة المعرفة في الشركات العامة : (بالتطبيق على شركة الموانئ الهندسية)‎ الفترة من يناير 2010م إلى يوليو 2011 م
The study aimed at investigating the role of organizational culture (OC) in consolidating the knowledge of management processes (KMP) in public limited companies (PLC) .The study used the analytical descriptive method.lt contained four themes..
The study achieved the following results: - Implementation of Various elements of (OC) and (KMP)in ports Engineering Company ,scored medium level rate.
- Significant relationship was found between all elements of (OC) and elements of (KMP) in (PEC).
- The study provided several recommendations and the following are the most impornant: - Activation of knowledge management tools and approaches.
- Difusing the culture of knowledge of the field
أثر الأزمة المالية العالمية على تسويق خدمات التأمين
Authors: عرفة جبريل أبو نصيب موسى 
Published: December 2021

أثر الأزمة المالية العالمية على تسويق خدمات التأمين
This study tackled the impact of world financial crisis on marketing of insurance services with application on Shekan for insurance and reinsurance CO.
Ltd.
The focus of the study is represented in the extent to which the financial crisis affect the insurance services at Shekan for insurance CO, with regard to marketing of insurance services, suitability of sales promotion manners, distribution polices, and strategies of practical price of insurance service.
The main objectives of this study is to point out the essential elements that should be noticed by the insurance management while encountering the crisis and marketing its insurance services