Michael R. Esco, & Flatt, A. A. (2014). Ultra-Short-Term Heart Rate Variability Indexes at Rest and Post-Exercise in Athletes: Evaluating the Agreement with Accepted Recommendations. JOURNAL OF SPORTS SCIENCE AND MEDICINE, 13(3), 535-541.
The purpose of this study was to evaluate the agreement of the vagal-related heart rate variability index, log-transformed root mean square of successive R-R intervals (lnRMSSD), measured under ultra-short-term conditions (< 60 seconds) with conventional longer term recordings of 5 minutes in collegiate athletes under resting and post-exercise conditions. Electrocardiographic readings were collected from twenty-three athletes within 5-minute segments at rest and at 25-30 minutes of supine recovery following a maximal exercise test. From each 5-minute segment, lnRMSSD was recorded as the criterion measure. Within each 5-minute segment, lnRMSSD was also determined from randomly selected ultra-short-term segments of 10-, 30-, and 60-seconds in length, which were compared to the criterion. When compared to the criterion measures, the significant intraclass correlation (from 0.98 to 0.81, p < 0.05) and typical error (from 0.11 to 0.34) increased as ultra-short-term measurement duration decreased (i.e., from 60 seconds to 10 seconds). In addition, the limits of agreement (Bias +/- 1.98 SD) increased as ultra-short-term lnRMSSD duration decreased as follows: 0.00 +/- 0.22 ms, -0.07 +/- 0.41 ms, -0.20 +/- 0.94 ms for the 60-, 30-, and 10-second pre-exercise segments, respectively, and -0.15 +/- 0.39 ms, -0.14 +/- 0.53 ms, -0.12 +/- 0.76 ms for the 60-, 30-, and 10-second post-exercise segments, respectively. This study demonstrated that as ultra-short-term measurement duration decreased from 60 seconds to 10 seconds, the agreement to the criterion decreased. Therefore, 60 seconds appears to be an acceptable recording time for lnRMSSD data collection in collegiate athletes.
Kelly W. Guyotte, Nicki W. Sochacka, Tracie E. Costantino, Joachim Walther & Nadia N. Kellam (2014) Steam as Social Practice: Cultivating Creativity in Transdisciplinary Spaces, Art Education, 67:6, 12-19, DOI: 10.1080/00043125.2014.11519293
In the wake of the economic recession and increasing competition from developing economies, science, technology, engineering, and mathematics (STEM) education has emerged as a national priority. To art educators, however, the pervasiveness and apparent exclusivity of STEM can be viewed as another instance of art education being relegated to the margins of curriculum (Greene, 1995). Taking a different perspective, we find it helpful to look past STEM as a vehicle for promoting economic growth and international competitiveness and view it as a means toward overcoming the compartmentalized disciplinary approach to education (Holley, 2009). Considered in this way, STEM is about collaboration. In an educational setting, this means taking subjects that have previously been taught in isolation and weaving them into an integrated curriculum—a transdisciplinary endeavor that has the potential to lead to exciting and unexpected outcomes that can transcend the traditional goals of disciplinary education to address questions of social practice. Recently there have been calls to expand STEM education to include the arts and design, transforming STEM into STEAM in the K-20 classroom (Maeda, 2013). Like STEM, STEAM education stresses making connections between disciplines that were previously perceived as disparate. This has been conceptualized in different ways, such as: focusing on the creative design process that is fundamental to engineering and art (Bequette & Bequette, 2012); emphasizing the role of creative and synthetic thinking to enhance student interest and learning in science and mathematics; and showing the value in exploring the science and mathematics that underpin different artistic techniques (Wynn & Harris, 2012). In this article, we describe how a collaboration between art education, engineering, and landscape architecture led us to conceptualize STEAM as a social practice that reflects concerns for community engagement and ecological sustainability.
Latrise P. Johnson. (2017) Writing the Self: Black Queer Youth Challenge Heteronormative Ways of Being in an After-School Writing Club, 52, 1, 13-33.
In the wake of the economic recession and increasing competition from developing economies, science, technology, engineering, and mathematics (STEM) education has emerged as a national priority. To art educators, however, the pervasiveness and apparent exclusivity of STEM can be viewed as another instance of art education being relegated to the margins of curriculum (Greene, 1995). Taking a different perspective, we find it helpful to look past STEM as a vehicle for promoting economic growth and international competitiveness and view it as a means toward overcoming the compartmentalized disciplinary approach to education (Holley, 2009). Considered in this way, STEM is about collaboration. In an educational setting, this means taking subjects that have previously been taught in isolation and weaving them into an integrated curriculum—a transdisciplinary endeavor that has the potential to lead to exciting and unexpected outcomes that can transcend the traditional goals of disciplinary education to address questions of social practice. Recently there have been calls to expand STEM education to include the arts and design, transforming STEM into STEAM in the K-20 classroom (Maeda, 2013). Like STEM, STEAM education stresses making connections between disciplines that were previously perceived as disparate. This has been conceptualized in different ways, such as: focusing on the creative design process that is fundamental to engineering and art (Bequette & Bequette, 2012); emphasizing the role of creative and synthetic thinking to enhance student interest and learning in science and mathematics; and showing the value in exploring the science and mathematics that underpin different artistic techniques (Wynn & Harris, 2012). In this article, we describe how a collaboration between art education, engineering, and landscape architecture led us to conceptualize STEAM as a social practice that reflects concerns for community engagement and ecological sustainability.