Browsing by Subject "experience"
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Item Aortic Medial Elastic Fiber Loss In Acute Ascending Aortic Dissection(2011-12) Roberts, William Clifford; Vowels, Travis James; Kitchens, Benjamin Lee; Ko, Jong Mi; Filardo, Giovanni; Henry, Albert Carl; Hamman, Baron Lloyd; Matter, Gregory John; Hebeler, Robert Frederick; Vowels, Travis JamesThe cause of acute aortic dissection continues to be debated. One school of thought suggests that underlying aortic medial cystic necrosis is the common denominator. The purpose of the present study was to determine if there was loss and, if so, how much loss of medial elastic fibers in the ascending aorta in patients with acute aortic dissection with the entrance tear in the ascending aorta. We examined operatively excised ascending aortas in 69 patients having acute dissection with tears in the ascending aorta. Patients with previous aortotomy, healed dissection, and connective tissue disorders were excluded. The 69 patients' ages ranged from 31 to 88 years (mean 56); 49 were men and 20 were women. Loss of aortic medial elastic fibers was graded as 0 (no loss), 1+ (trace), 2+ (mild), 3+ (moderate), and 4+ (full thickness loss). Of these 69 patients, 56 (82%) had 0 or 1+ elastic fiber loss; 13 patients (18%), 2+ to 4+ loss including 4 with 2+, 6 with 3+, and 2 with 4+. Nearly all patients (97%) had a history of systemic hypertension and/or had received antihypertensive drug therapy. In conclusion, most patients (82% in this study) having acute aortic dissection with entrance tears in the ascending aorta have normal numbers or only trace loss of aortic medial elastic fibers. Thus, underlying abnormal ascending aortic structure uncommonly precedes acute dissection. (C) 2011 Elsevier Inc. All rights reserved. (Am J Cardiol 2011;108:1639-1644)Item Learning From Complexity: Effects Of Prior Accidents And Incidents On Airlines' Learning(2002-12) Haunschild, P. R.; Sullivan, B. N.; Haunschild, Pamela R.Using data on accidents and incidents experienced by U.S. commercial airlines from 1983 to 1997, we investigated variation in firm learning by examining whether firms learn more from errors with heterogeneous or homogeneous causes. We measured learning by a reduction in airline accident and incident rates, while controlling for other factors related to accidents and incidents. Our results show that heterogeneity is generally better for learning, as prior heterogeneity in the causes of errors decreases subsequent accident rates, producing a deeper, broader search for causality than simple explanations like >blame the pilot.> The benefits of heterogeneity, however, apply mainly to specialist airlines. Generalist airlines learn, instead, from outside factors such as the experience of others and general improvements in technology. These results suggest a theory of learning across organizational forms: complex forms benefit from simple information, and simple forms benefit from complex information. The implications of our study for learning theories and work on organizational errors are discussed.Item Older And Younger Adult Cochlear Implant Users: Speech Recognition In Quiet And Noise, Quality Of Life, And Music Perception(2015-03) Sladen, Douglas P.; Zappler, Amanda; Zappler, AmandaPurpose: To determine whether older cochlear implant (CI) listeners differ from younger CI listeners on measures of speech understanding, music perception, and health-related quality of life (HRQoL). In the study, the authors hypothesized that speech recognition would be more difficult for older adults, especially in noisy conditions. Performance on music perception was expected to be lower for older implanted listeners. No differences between age groups were expected on HRQoL. Method: Twenty older (>60 years) and 20 younger (<60 years) implanted adults participated. Speech understanding was assessed using words and sentences presented in quiet, and sentences presented at +15, +10, and +5 dB signal-to-noise ratio conditions. Music perception was tested using the University of Washington Clinical Assessment of Music, and HRQoL was measured using the Njimegen CI survey. Results: Speech understanding was significantly lower for the older compared with the younger group in all conditions. Older implanted adults showed lower performance on music perception compared with younger implanted adults on 1 of 3 subtests. Older adults reported lower HRQoL benefit than younger adults on 3 of 6 subdomains. Conclusion: Data indicate that older CI listeners performed more poorly than younger CI listeners, although group differences appear to be task specific.Item The Sphynx; or, Ishmael's Scholarship in Moby-Dick; or, The Whale(2017-05) Cataldo, LuisHerman Melville’s Moby-Dick; or, The Whale is, in some sense, a work of art composed of two distinct books—distinct, but the one means nothing with the other. Moby- Dick is a drama, and The Whale a monograph; the or does not distinguish alternative titles (synonyms), but rather a particular recourse to conjunction, to movement between alternative, though specific, forms of literary composition as a way to express experience. Ralph Waldo Emerson, in “The American Scholar,” addressed fourteen years before the composition of Moby-Dick; or, The Whale these very sort of movements between experience, scholarship and poetry: Ishmael, who Melville authored as an author of the book, is as much a scholar as he is a poet. The Whale is his scholarly work (cetology, commercial histories, arcana, art criticism, among others), a part of the book that has not, moreover, attracted much attention in critical studies of Moby-Dick since the 1920s, when Melville studies really began to take form. Ishmael’s scholarship is usually typified as either useful contextualization (a “ballast” necessary for a reader’s understanding of Moby-Dick) or else Melvillean extravagance. Literary critics usually privilege story of Ahab and the Pequod, i.e. those parts that make up Moby-Dick in the understanding of Melville’s book as two, over its counterpart, The Whale. The argument here seeks to undo the rigidity of that critical approach in order to read any particular part of Moby-Dick; or, The Whale on its own terms. In so doing, I attempt to elaborate and develop Emerson’s notion of scholarship, as well as Melville’s adaptations of Emerson’s theory of scholarly expression, using both Melville’s writing at the time of Moby- Dick’s composition (his letters and “Hawthorne and His Mosses”) and Ishmael’s (performative) example in the book itself. Scholarship, on these terms, is highly creative poetic, intuitive, and above all personal; and, still, it is rigorous, self-critical, and conscious of an internal logic. Part of my argument is a performance of this notion of scholarship, namely, taking up a creative and personal style that motivates the evolution of this argument through interrogations of the figures of the Lamp-Light and the Tattoo in the book. I argue for, in other words, a renewal of Emerson’s demands for American scholarship—the need for creative reading (finding the links between literature and everyday life) and for creative writing about those experiences of creative reading.