N. Kim

The present thesis was directed at the hypothesis that to perceive an event is to detect an invariant specific to the style of change and an invariant specific to the object undergoing the style of change--the reciprocal invariants of transformation and structure, respectively. Events were defined by seven, well-defined global mathematical transformations that produced a variety of styles of change over different objects. In Experiment 1, each transformation was applied dynamically to four different facial profiles, presented visually by computer. Observers distinguished reliably among these events on the basis of their respective transformational invariants. Experiments 2 and 3 examined the generative and abstract aspects of transformational invariants. In each, an event was presented as a sequence of static samples and examined in an interpolation task and an extrapolation task . The transformational invariants proved sufficiently generative to specify retrospectively and prospectively and sufficiently abstract to specify both event tokens and event types. Experiment 4 addressed the relative persistence of a style of change over structure. The stimulus sequence was constructed of different objects transformed the same way. Types of change and types of object structures interacted, implying that certain styles of change are more conducive to certain object structures. Experiment 5 found that, with minor qualifications, the structural invariant was reliably detectable without being affected by the particular style of change applied. Further, some styles of change, when sufficiently magnified, induced non-trivial changes in underlying structure sufficient to render successive instances of the structure non-identical. Taken together, the experiments provide support for the hypothesis that perceiving an event is essentially equivalent to detecting the two reciprocal invariants of transformation and structure that together specify the event

Eukaryotic chromosomes undergo dramatic changes and movements during mitosis. These include the individualization and compaction of the two copies of replicated chromosomes (the sister chromatids) and their subsequent segregation to the daughter cells. Two multisubunit protein complexes termed ‘cohesin’ and ‘condensin’, both composed of SMC (Structural Maintenance of Chromosomes) and kleisin subunits, have emerged as crucial players in these processes. Cohesin is required for holding sister chromatids together whereas condensin, together with topoisomerase II, has an important role in organizing individual axes of sister chromatids prior to their segregation during anaphase. SMC and kleisin complexes also regulate the compaction and segregation of bacterial nucleoids. New research suggests that these ancient regulators of chromosome structure might function as topological devices that trap chromosomal DNA between 50 nm long coiled coils. BioEssays 25:1178–1191, 2003. © 2003 Wiley Periodicals, Inc.

The instrumental benefits of firm’s CSR activities are contingent upon the stakeholders’ awareness and favorable attribution. While social media creates an important momentum for firms to cultivate favorable awareness by establishing a powerful framework of stakeholder relationships, the opportunities are not distributed evenly for all firms. In this paper, we investigate the impact of CSR credentials on the effectiveness of social media as a stakeholder-relationship management platform. The analysis of Fortune 500 companies in the Twitter sphere reveals that a higher CSR rating is a strong indicator of an earlier adoption, a faster establishment of online presence, a higher responsiveness to the firm’s identity, and a stronger virality of the messages. Incidentally, the higher CSIR rating is also found to be associated with the stronger virality. Our findings also suggest that socially responsible firms can harvest proactive stakeholders’ participation without investing more resources. As the first study that conceptualizes the social media as a proponent of CSR, this paper contends that “being socially responsible” makes more practical sense for firms with the rise of social media.

Company–cause fit has been one of the major issues in the domain of corporate social responsibility. This study tries to expand the perspective from company–cause to company–non-profit organization (NPO) fit, and it gives implications to firms looking for long-term collaboration with an NPO. Specifically, it suggests three types of fit, i.e., familiarity, business, and activity fit and investigates the potential effects of these fits in social alliances between companies and the partnering NPOs on consumer attributions of the firms’ motives for the alliances. An experiment that used scenarios revealed that consumers perceive high-fitted alliances on the dimensions of the familiarity and activity fit as being more public-serving than low-matched ones. However, the consumers’ attribution of the motive is not different between the high and low business fit. The implications of the research results are discussed from an academic and practical standpoint.

In lieu of an abstract, here is a brief excerpt of the content:The Journal of Aesthetic Education 38.4 (2004) 32-45 [Access article in PDF] Ernst H. Gombrich, Pictorial Representation, and Some Issues in Art Education Nanyoung Kim Introduction This essay will deal with different ways of conceptualizing pictorial representation in art education and their implications. The philosophical issues involved in pictorial representation have fascinated philosophers since the time of Plato and Aristotle. In the first half of the twentieth century, the issue of representation became a centerpiece of various theories among art historians in an attempt to explain representational styles of non-Western cultures that were vastly different from Western styles, and also in order to reinterpret less-valued Western styles that had deviated from the Classical and Renaissance traditions. In recent years, the field of aesthetics has seen a resurgence of interest in the issue, probably because of the demise of Formalism and the returning interest in representation among postmodernists.In art education, interest in pictorial representation has been limited to research on children's drawing (mostly unsolicited drawing) and to the alleged benefits of drawing activity on children's emotional and cognitive development. To understand art images made by adult artists, especially in the Western tradition, art educators must refer to art history or aesthetics. For non-Western images, an anthropological or sociological approach seems appropriate because, more than Western images, they seem to demand knowledge about the culture in which they originated. Art education therefore does not have one comprehensive model of pictorial representation to encompass all these different kinds of images.For more than a decade, the dominant theory of children's pictorial representation in art education has been a symbolic model, and it thrived and is thriving in the context of ever-growing cognitive claims on art. Replacing the long-held creative self-expression model of Viktor Lowenfeld of the 1960s and 1970s, the advocates for this model advanced their theory based on Nelson Goodman's symbolic interpretation of pictorial representation.1 [End Page 32] While their theory illuminated what had not been revealed by the previous creative self-expression model, its long-held dominance in the field lends it an aura of self-evidence and authority.My aim in this essay is to reintroduce Ernst H. Gombrich's theory of pictorial representation in order to balance the dominant theory and to provide a broad perspective for viewing children's drawings and adults' art images together.2 Despite its potential contribution to art education, Gombrich's theory has not been adequately interpreted for art educators. When Gombrich's theory was introduced in art education in the past, he was treated, along with Goodman, as a prime advocate of the concept of representation as a convention. His attention to cultural, psychological, biological, sociological, and art historical dimensions of pictorial representation has never been fully explored by art educators. Gombrich was first and foremost an art historian and theorist of art history of solid classical scholarship, but he was also a cultural historian equipped with extensive knowledge of diverse fields such as cognitive psychology, ethology, psychoanalysis, and the philosophy of science. He was truly a scholar with an interdisciplinary penchant, which makes it difficult for his readers to categorize him. In addition, his elusive writing style tends to limit access to his theory.In this sense, Leslie Cunliffe's recent reintroduction of Gombrich's theories to art education is notable.3 Cunliffe covered the whole gamut of Gombrich's theories, including that on representation, by contextualizing him as a Social-Constructivist, and he expounded many potential benefits that art educators may gain through understanding and adopting his theories. My scope will be narrower than Cunliffe's. I will deal with Gombrich's theory of representation insofar as it illuminates the nature of children's drawings and other art images and helps us understand them within a coherent system. The order of discussion will be as follows: first, the linguistic model derived from Goodman and its continuing influence on art education; second, Gombrich's theory of pictorial representation, including his discussions of the conventional and biological aspects of...