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  • image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
    Authors: Manuel, Ajay P.; Kirkey, Aaron; Mahdi, Najia; Shankar, Karthik;

    The nanoscale confinement and coupling of electromagnetic radiation into plexcitonic modes has drawn immense interest because of the innovative possibilities for their application in light harvesting and light emitting devices (LEDs). Plexcitons arise from the coupling between two types of quasiparticles, plasmons and excitons, and can be distinguished by the strength of the coupling into strong and weak coupling regimes. Plexcitons have been used to modulate the rate of Förster-type resonance energy transfer in quantum dot assemblies and enhance the spontaneous emission rate in quantum dot LEDs. The clearest examples of a plexcitonic enhancement of photocatalytic reaction rates have been evidenced in hybrid systems wherein the strongly bound exciton found in 2D sheet-like semiconductors is coupled to the surface plasmon resonance of close-lying noble metal nanoparticles. Plexcitonic photocatalysts and solar cells aim to increase the lifetime of hot carriers and thereby enhance the quantum yields for energy harvesting. Since plexcitonics requires the placement of plasmonic and excitonic components in close proximity with one another to facilitate their coupling, it provides a rich arena for chemists and materials scientists to form deterministic and non-deterministic arrays and heterojunctions involving noble metal thin films and nanostructures, quantum dots and dye molecules. This review summarizes the dynamics of plexcitons in the various composite systems and provides an overview of the latest theoretical and experimental developments in the field of plexcitonics.

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    image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
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      image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/ Education and Resear...arrow_drop_down
      image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
  • image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
    Authors: Lan, Hengxing; Tian, Naiman; Li, Langping; Liu, Hongjiang; +5 Authors

    The Chinese government has implemented measures to reduce poverty in the country. Specifically, the Targeted Poverty Alleviation (2013–2020) policy is a set of unique, large-scale and precise poverty control measures undertaken by China in an effort to eliminate absolute poverty. Deeply impoverished areas in the mountainous regions of Southwest China are also particularly prone to geological disasters. A poverty control policy might reduce risk from natural disasters in this region by changing human behaviour. However, it is unclear how the risk might change under the government’s poverty control measures. This paper uses power-law relations and negative binomial regression to analyse primary economic losses from geological disasters in Yunnan Province between 2009 and 2017. The results of the analysis show that the relation between the level of economic development and disaster losses in Yunnan Province changed from an inverted-U shape to a U shape in this period. While direct economic losses from geological disasters are falling, we find that losses in wealthy counties Yunnan Province have not decreased significantly and might even be increasing. In impoverished areas, poverty alleviation policies reduce the economic losses of geological disasters by reducing the vulnerability and exposure, and increasing the resilience. On the contrary, poverty reduction measures promote a concentration of population and wealth in non-poor areas, increasing the vulnerability and exposure, which in turn lead to an increase in direct economic losses from geological disasters. Therefore, in order to consolidate the achievements of poverty alleviation projects, the government needs to pay attention to the transfer of geological disaster risk caused by the policy-driven transformation of human social behaviour.

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      image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/ Education and Resear...arrow_drop_down
      image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
  • image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
    Authors: University Advancement & Communications, University of Regina;

    It may be horrifying to think of all the free films you've missed out on as a University of Regina student once you check out the Archer Library's extensive video streaming database - but never fear! It's probably no surprise that there are hundreds of documentaries and educational videos in the repository. What may not be as well known is that there are thousands of feature films as well. With Halloween just around the corner, you can curl up and catch up on the hundreds of scary movies in the system. Staff no

    image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/ oURspacearrow_drop_down
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      image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
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  • image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
    Authors: Marin Jimenez, Astrid Patricia;

    Cette recherche doctorale a exploré la co-création d'un jeu musical éducatif. Plus spécifiquement, elle a exploré cette activité pédagogique créative pour diversifier les approches pédagogiques qualifiées de créatives qui ont été documentées jusqu'à présent en musique, notamment en contexte extrascolaire. Pour ce faire, ce projet doctoral a été structuré autour de quatre objectifs : 1) documenter les activités mises en place et réalisées durant le processus de co-création d'un jeu musical éducatif avec un groupe de jeunes musiciens apprenant un instrument de musique en contexte extrascolaire; 2) décrire les habitudes créatives (Lucas, 2016) qui ont été sollicitées par les participants tout au long du processus de création de leur jeu musical éducatif; 3) décrire, à partir des 8 facteurs proposés par O'Neill (2013), l'engagement perçu et manifesté par les participants durant la co-création de leur jeu musical éducatif; et 4) porter un regard critique, basé sur les trois composantes d'une pédagogie créative (Lin, 2011), envers l'approche pédagogique créative que la chercheure a mis en œuvre pour réussir cette activité d'apprentissage avec les participants. Un total de sept jeunes musiciens apprenant divers instruments musicaux (ex. : piano, guitare, violon, violoncelle) ont participé aux dix séances animées par la chercheure pour co-créer leur jeu musical éducatif. Différents outils de collecte de données ont été utilisés pour documenter ce projet : des enregistrements vidéo des séances, des observations, un questionnaire sur l'engagement envers l'activité réalisée (O'Neill, 2013), et un entretien de groupe pour approfondir la compréhension de l'activité d'apprentissage étudiée. Les résultats issus de ce projet de recherche ont mis en lumière que l'activité de co-création du jeu musical éducatif réalisé par les participants a fait appel aux trois composantes de la pédagogie créative de Lin (2011), soit l'enseignement créatif et l'enseignement pour la créativité dans la pédagogie de la chercheure, et l'apprentissage créatif des participants. Concernant leur apprentissage créatif, nos résultats ont mis en évidence que chacune des phases liées à la co-création d'un jeu musical éducatif (orientation, création, gameplay) ont fait appel aux cinq dimensions créatives suggérées par Lucas (2016) (ex. : être collaboratif, être imaginatif, être discipliné, être persistant, et être curieux), mais de façon différente selon le type d'activités réalisées et de la phase de co-création à laquelle les participants travaillaient. Quant à l'engagement des participants, nos résultats ont permis de relever que les 8 facteurs proposés par O'Neill (2013) ont soutenu, à des degrés divers toutefois, l'engagement perçu par nos participants. À ce titre, le facteur en lien avec les défis perçus durant la co-création d'un jeu musical éducatif a été celui qui a le plus contribué à soutenir leur engagement envers cette activité d'apprentissage. Nos observations des enregistrements vidéo ainsi que l'entretien de groupe réalisé à la fin du projet ont permis d'identifier et de décrire les moments où les participants ont manifesté leur engagement durant la création de leur jeu, c'est-à-dire lorsqu'ils restaient concentrés sur la tâche qu'ils réalisaient, lorsqu'ils manifestaient leur appréciation envers la tâche réalisée et les apprentissages acquis, ou lorsqu'ils persévéraient face à des difficultés, entre autres exemples. Par ailleurs, les réflexions critiques de la chercheure sur sa pédagogie ont fait ressortir que ses expériences précédentes en tant qu'enseignante du violon et d'auxiliaire de recherche ont possiblement influencé ses choix d'alignement d'apprentissages (Jones, 2005) tout au long du processus de co-création avec les participants, notamment en démontrant une préférence envers des approches pédagogiques moins hiérarchiques (midwife, fellow traveller). De plus, sa réflexion a relevé que les stratégies pédagogiques qui ont été plus efficaces pour co-créer le jeu musical éducatif ont été celles qui reflétaient une interconnexion entre les trois composantes de la pédagogie créative (Lin, 2011). À titre d'exemple, cette interconnexion se manifestait lorsque l'activité réalisée faisait appel à la créativité des participants (enseignement créatif), à l'aide d'une attitude ouverte et flexible de sa part (enseignement pour la créativité), laquelle entraîne à une expérience d'apprentissage créatif des participants. Finalement, l'intervention pédagogique implémentée par la chercheure a permis d'identifier les aspects liés aux modèles éducatifs, opérationnels et conceptuels utilisés pour mener son intervention éducative. Ces modèles ont été nécessaires pour établir les fondements pédagogiques qui se sont avérés pertinents pour structurer son activité d'apprentissage autour de la co-création d'un jeu musical éducatif. This doctoral research explored the co-creation of an educational music game as a pedagogical activity that could diversify the creative pedagogy approaches (Lin, 2011) documented to date in music, particularly in out-of-school settings. To that end, this research project was structured around four objectives: 1) to document, supported by the Creative and Playful Learning model (Kangas, 2010), the activities that were necessary to successfully complete the process of co-creating a music learning game with a group of young musicians (10-14 years old); 2) to describe the creative dimensions (Lucas, 2016) that were called upon by the participants throughout the process; 3) to describe, based on O'Neill's (2013) eight factors of engagement, the perceived and demonstrated engagement of the participants during the co-creation of their music learning game; and 4) to take a critical look, based on the three components of a creative pedagogy (Lin, 2011), towards the creative pedagogical approach the researcher implemented to successfully complete this learning activity with the participants. A total of seven young musicians learning a musical instrument (e.g., piano, guitar, violin, or cello) in an out-of-school context participated in ten music-learning-game-co-creation sessions facilitated by the researcher. Various data collection tools were used, including video recordings of the sessions, observations, an engagement questionnaire (O'Neill, 2013), and a group interview. The findings from this research project highlighted that the process of co-creating a music learning game put into action the three components of a creative pedagogy (Lin, 2011), notably creative teaching and teaching for creativity (in the researcher), and creative learning (in the participants). In relation to creative learning our results highlight that each of the phases related to co-creating an educational music game (i.e., orientation, creation, gameplay) called upon participants' five creative dimensions (e.g., being collaborative, being imaginative, being disciplined, being persistent, and being curious) (Lucas, 2016) in particular ways, depending on the type of activities performed during each phase. Regarding participants' engagement, our results allowed us to identify the eight factors (O'Neill, 2013) that contributed, to varying degrees, to sustaining participants' perceived engagement. As an example, the factor related to the perceived challenges during the co-creation of a music learning game was the factor that contributed the most to sustaining participants' engagement towards this learning activity. In contrast, the lack of perceived support from a teammate as well as the participants' instrument teachers was the factor that least supported participants engagement in this activity. Also, our observations and the group interview allowed us to identify and describe the moments where participants seemed to manifest their engagement during the creation of their game. For example, by remaining focused on the task, by verbally showing an appreciation for the task and the learning acquired, by persevering during difficulties and challenges, among other examples. In addition, the researcher's critical reflections noted that her previous experiences as a violin teacher and research assistant may have influenced her choices of learning alignments (Jones, 2005) throughout the co-creation process with the participants, notably a preference for less hierarchical pedagogical approaches (i.e., midwife, fellow traveler). Also, her reflection noted that the most effective pedagogical strategies were those that reflected an interconnectedness between the three components of creative pedagogy (Lin, 2011). Specifically, when the activity being conducted called upon students' creativity (creative teaching) and was well supported by an open and flexible attitude on her part (teaching for creativity), this resulted in a creative learning experience for the participants. In contrast, the less effective strategies were those that reflected a lack of connection among these components, either when she adopted an invasive attitude that did not respect the autonomy of the participants (i.e., less effective teaching for creativity that affects creative learning) or when the way that an activity was carried out did not maximize the intended opportunities for creative expression (i.e.: less effective creative teaching that results in less creative learning). Finally, the pedagogical intervention implemented by the researcher allowed us to identify the set of educational, operational, and conceptual models (e.g., Jones, 2005; Lin, 2011; Lucas, 2016 and O'Neill, 2013) that allowed us to establish the pedagogical foundations to structure a learning activity based on the co-creation of music learning games.

    image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/ CorpusULarrow_drop_down
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    CorpusUL
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  • image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
    Authors: Diether, Natalie E.; Willing, Benjamin P.;

    Protein fermentation by gut microbiota contributes significantly to the metabolite pool in the large intestine and may contribute to host amino acid balance. However, we have a limited understanding of the role that proteolytic metabolites have, both in the gut and in systemic circulation. A review of recent studies paired with findings from previous culture-based experiments suggests an important role for microbial protein fermentation in altering the gut microbiota and generating a diverse range of bioactive molecules which exert wide-ranging host effects. These metabolic products have been shown to increase inflammatory response, tissue permeability, and colitis severity in the gut. They are also implicated in the development of metabolic disease, including obesity, diabetes, and non-alcoholic fatty liver disease (NAFLD). Specific products of proteolytic fermentation such as hydrogen sulfide, ammonia, and p-Cresol may also contribute to the development of colorectal cancer. These findings are in conflict with other studies showing that tryptophan metabolites may improve gut barrier function and attenuate severity in a multiple sclerosis model. Further research examining proteolytic fermentation in the gut may be key to our understanding of how microbial and host metabolism interact affecting health

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    Authors: Nay, Norma Diane;

    Through(out) this narrative inquiry, I argue that leadership in public education in Alberta needs to change. I argue that it needs to better reflect the changes in the world. Our school divisions and schools are filled with a wonderful diversity of knowing and being that could easily fill our students and education staff with more educative knowledge and connection. This study highlights how hierarchical, patriarchal, and colonial traditions that undergird current education systems are increasingly being challenged because these systems have been and continue to be designed for the benefit of one group in society: White, male, able-bodied, and cisgendered people. These systems create barriers to equity and equal access to education. Female, feminist education leaders have the knowledge and perspectives that are necessary to lead our education systems into its next, more sustainable and sustaining form. Their leadership is grounded in skills and knowledge that women with feminist perspectives as presented by Oxfam Canada (2018) bring to education: how to build community, how to see the group but acknowledge the individual, how to collaborate, how to include, how to hear the needs of others and respond to them. Through my narrative inquiry with one such female, feminist leader, I have learned that this is possible. Our research conversations underscore her ability to label the inherent violence in current education systems, her ideas of what education could (and sometimes does) look like, and her commitment to community. These ideas and skills are what make her a vital member of the school division she works in, yet her knowing and skills are not often recognized as being a vital form of leadership. This research highlights my learning and belief that women leaders with feminist commitments need to be in positions of leadership throughout the education system. This is one way more people will feel empowered to embrace who they are and feel free to live lives of dignity and value within education systems and beyond.

    image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/ Education and Resear...arrow_drop_down
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    https://doi.org/10.7939/r3-68k...
    Other ORP type . 2021
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      https://doi.org/10.7939/r3-68k...
      Other ORP type . 2021
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    Authors: University Advancement & Communications, University of Regina;

    This year’s annual United Way campaign at the University of Regina may look a little different than it has in previous years, but the crucial support it provides to deserving community-based organizations remains the same. In a normal year, the U of R’s United Way campaign would kick-off with faculty and staff receiving a form in their office mailbox, an invitation to an in-person event, and being greeted on campus by the iconic donation thermometer. Although most U of R faculty and staff are working from home, campaign organizers are devising creative ways to engage our community in a virtual environment. Staff no

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    Authors: Government of Alberta;
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    https://doi.org/10.7939/r3-rkq...
    Other ORP type . 2021
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      https://doi.org/10.7939/r3-rkq...
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    Authors: Kaur, Gurleen;

    Power Line Communication has acquired tremendous interest from the research community since its applications and development in the field of Smart grid, in-home & vehicular communication, and its role in Internet of Things (IoT). In this project, I study the features of power line communication and provide an overview of applications in both narrowband and broadband systems, listing applicable standards and specifications. We study the problems in the technology and how recent developments have led to resolve them. A number of tests were conducted for the in-home Power Line Communication (PLC) setup, and different PLC modules were tested for a variety of wiring systems. Further, we conducted tests on two transformers to list the frequencies that can pass through the system, and to study general behaviour of the system to high frequencies.

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    Authors: Bull, Hannah;

    Are you currently a student at a university who does not have a career goal in mind? Did you think you might be in the wrong program? If you answered yes to either of these questions, you’re not the only one.

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7,536 Research products
  • image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
    Authors: Manuel, Ajay P.; Kirkey, Aaron; Mahdi, Najia; Shankar, Karthik;

    The nanoscale confinement and coupling of electromagnetic radiation into plexcitonic modes has drawn immense interest because of the innovative possibilities for their application in light harvesting and light emitting devices (LEDs). Plexcitons arise from the coupling between two types of quasiparticles, plasmons and excitons, and can be distinguished by the strength of the coupling into strong and weak coupling regimes. Plexcitons have been used to modulate the rate of Förster-type resonance energy transfer in quantum dot assemblies and enhance the spontaneous emission rate in quantum dot LEDs. The clearest examples of a plexcitonic enhancement of photocatalytic reaction rates have been evidenced in hybrid systems wherein the strongly bound exciton found in 2D sheet-like semiconductors is coupled to the surface plasmon resonance of close-lying noble metal nanoparticles. Plexcitonic photocatalysts and solar cells aim to increase the lifetime of hot carriers and thereby enhance the quantum yields for energy harvesting. Since plexcitonics requires the placement of plasmonic and excitonic components in close proximity with one another to facilitate their coupling, it provides a rich arena for chemists and materials scientists to form deterministic and non-deterministic arrays and heterojunctions involving noble metal thin films and nanostructures, quantum dots and dye molecules. This review summarizes the dynamics of plexcitons in the various composite systems and provides an overview of the latest theoretical and experimental developments in the field of plexcitonics.

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    Authors: Lan, Hengxing; Tian, Naiman; Li, Langping; Liu, Hongjiang; +5 Authors

    The Chinese government has implemented measures to reduce poverty in the country. Specifically, the Targeted Poverty Alleviation (2013–2020) policy is a set of unique, large-scale and precise poverty control measures undertaken by China in an effort to eliminate absolute poverty. Deeply impoverished areas in the mountainous regions of Southwest China are also particularly prone to geological disasters. A poverty control policy might reduce risk from natural disasters in this region by changing human behaviour. However, it is unclear how the risk might change under the government’s poverty control measures. This paper uses power-law relations and negative binomial regression to analyse primary economic losses from geological disasters in Yunnan Province between 2009 and 2017. The results of the analysis show that the relation between the level of economic development and disaster losses in Yunnan Province changed from an inverted-U shape to a U shape in this period. While direct economic losses from geological disasters are falling, we find that losses in wealthy counties Yunnan Province have not decreased significantly and might even be increasing. In impoverished areas, poverty alleviation policies reduce the economic losses of geological disasters by reducing the vulnerability and exposure, and increasing the resilience. On the contrary, poverty reduction measures promote a concentration of population and wealth in non-poor areas, increasing the vulnerability and exposure, which in turn lead to an increase in direct economic losses from geological disasters. Therefore, in order to consolidate the achievements of poverty alleviation projects, the government needs to pay attention to the transfer of geological disaster risk caused by the policy-driven transformation of human social behaviour.

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    Authors: University Advancement & Communications, University of Regina;

    It may be horrifying to think of all the free films you've missed out on as a University of Regina student once you check out the Archer Library's extensive video streaming database - but never fear! It's probably no surprise that there are hundreds of documentaries and educational videos in the repository. What may not be as well known is that there are thousands of feature films as well. With Halloween just around the corner, you can curl up and catch up on the hundreds of scary movies in the system. Staff no

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    Authors: Marin Jimenez, Astrid Patricia;

    Cette recherche doctorale a exploré la co-création d'un jeu musical éducatif. Plus spécifiquement, elle a exploré cette activité pédagogique créative pour diversifier les approches pédagogiques qualifiées de créatives qui ont été documentées jusqu'à présent en musique, notamment en contexte extrascolaire. Pour ce faire, ce projet doctoral a été structuré autour de quatre objectifs : 1) documenter les activités mises en place et réalisées durant le processus de co-création d'un jeu musical éducatif avec un groupe de jeunes musiciens apprenant un instrument de musique en contexte extrascolaire; 2) décrire les habitudes créatives (Lucas, 2016) qui ont été sollicitées par les participants tout au long du processus de création de leur jeu musical éducatif; 3) décrire, à partir des 8 facteurs proposés par O'Neill (2013), l'engagement perçu et manifesté par les participants durant la co-création de leur jeu musical éducatif; et 4) porter un regard critique, basé sur les trois composantes d'une pédagogie créative (Lin, 2011), envers l'approche pédagogique créative que la chercheure a mis en œuvre pour réussir cette activité d'apprentissage avec les participants. Un total de sept jeunes musiciens apprenant divers instruments musicaux (ex. : piano, guitare, violon, violoncelle) ont participé aux dix séances animées par la chercheure pour co-créer leur jeu musical éducatif. Différents outils de collecte de données ont été utilisés pour documenter ce projet : des enregistrements vidéo des séances, des observations, un questionnaire sur l'engagement envers l'activité réalisée (O'Neill, 2013), et un entretien de groupe pour approfondir la compréhension de l'activité d'apprentissage étudiée. Les résultats issus de ce projet de recherche ont mis en lumière que l'activité de co-création du jeu musical éducatif réalisé par les participants a fait appel aux trois composantes de la pédagogie créative de Lin (2011), soit l'enseignement créatif et l'enseignement pour la créativité dans la pédagogie de la chercheure, et l'apprentissage créatif des participants. Concernant leur apprentissage créatif, nos résultats ont mis en évidence que chacune des phases liées à la co-création d'un jeu musical éducatif (orientation, création, gameplay) ont fait appel aux cinq dimensions créatives suggérées par Lucas (2016) (ex. : être collaboratif, être imaginatif, être discipliné, être persistant, et être curieux), mais de façon différente selon le type d'activités réalisées et de la phase de co-création à laquelle les participants travaillaient. Quant à l'engagement des participants, nos résultats ont permis de relever que les 8 facteurs proposés par O'Neill (2013) ont soutenu, à des degrés divers toutefois, l'engagement perçu par nos participants. À ce titre, le facteur en lien avec les défis perçus durant la co-création d'un jeu musical éducatif a été celui qui a le plus contribué à soutenir leur engagement envers cette activité d'apprentissage. Nos observations des enregistrements vidéo ainsi que l'entretien de groupe réalisé à la fin du projet ont permis d'identifier et de décrire les moments où les participants ont manifesté leur engagement durant la création de leur jeu, c'est-à-dire lorsqu'ils restaient concentrés sur la tâche qu'ils réalisaient, lorsqu'ils manifestaient leur appréciation envers la tâche réalisée et les apprentissages acquis, ou lorsqu'ils persévéraient face à des difficultés, entre autres exemples. Par ailleurs, les réflexions critiques de la chercheure sur sa pédagogie ont fait ressortir que ses expériences précédentes en tant qu'enseignante du violon et d'auxiliaire de recherche ont possiblement influencé ses choix d'alignement d'apprentissages (Jones, 2005) tout au long du processus de co-création avec les participants, notamment en démontrant une préférence envers des approches pédagogiques moins hiérarchiques (midwife, fellow traveller). De plus, sa réflexion a relevé que les stratégies pédagogiques qui ont été plus efficaces pour co-créer le jeu musical éducatif ont été celles qui reflétaient une interconnexion entre les trois composantes de la pédagogie créative (Lin, 2011). À titre d'exemple, cette interconnexion se manifestait lorsque l'activité réalisée faisait appel à la créativité des participants (enseignement créatif), à l'aide d'une attitude ouverte et flexible de sa part (enseignement pour la créativité), laquelle entraîne à une expérience d'apprentissage créatif des participants. Finalement, l'intervention pédagogique implémentée par la chercheure a permis d'identifier les aspects liés aux modèles éducatifs, opérationnels et conceptuels utilisés pour mener son intervention éducative. Ces modèles ont été nécessaires pour établir les fondements pédagogiques qui se sont avérés pertinents pour structurer son activité d'apprentissage autour de la co-création d'un jeu musical éducatif. This doctoral research explored the co-creation of an educational music game as a pedagogical activity that could diversify the creative pedagogy approaches (Lin, 2011) documented to date in music, particularly in out-of-school settings. To that end, this research project was structured around four objectives: 1) to document, supported by the Creative and Playful Learning model (Kangas, 2010), the activities that were necessary to successfully complete the process of co-creating a music learning game with a group of young musicians (10-14 years old); 2) to describe the creative dimensions (Lucas, 2016) that were called upon by the participants throughout the process; 3) to describe, based on O'Neill's (2013) eight factors of engagement, the perceived and demonstrated engagement of the participants during the co-creation of their music learning game; and 4) to take a critical look, based on the three components of a creative pedagogy (Lin, 2011), towards the creative pedagogical approach the researcher implemented to successfully complete this learning activity with the participants. A total of seven young musicians learning a musical instrument (e.g., piano, guitar, violin, or cello) in an out-of-school context participated in ten music-learning-game-co-creation sessions facilitated by the researcher. Various data collection tools were used, including video recordings of the sessions, observations, an engagement questionnaire (O'Neill, 2013), and a group interview. The findings from this research project highlighted that the process of co-creating a music learning game put into action the three components of a creative pedagogy (Lin, 2011), notably creative teaching and teaching for creativity (in the researcher), and creative learning (in the participants). In relation to creative learning our results highlight that each of the phases related to co-creating an educational music game (i.e., orientation, creation, gameplay) called upon participants' five creative dimensions (e.g., being collaborative, being imaginative, being disciplined, being persistent, and being curious) (Lucas, 2016) in particular ways, depending on the type of activities performed during each phase. Regarding participants' engagement, our results allowed us to identify the eight factors (O'Neill, 2013) that contributed, to varying degrees, to sustaining participants' perceived engagement. As an example, the factor related to the perceived challenges during the co-creation of a music learning game was the factor that contributed the most to sustaining participants' engagement towards this learning activity. In contrast, the lack of perceived support from a teammate as well as the participants' instrument teachers was the factor that least supported participants engagement in this activity. Also, our observations and the group interview allowed us to identify and describe the moments where participants seemed to manifest their engagement during the creation of their game. For example, by remaining focused on the task, by verbally showing an appreciation for the task and the learning acquired, by persevering during difficulties and challenges, among other examples. In addition, the researcher's critical reflections noted that her previous experiences as a violin teacher and research assistant may have influenced her choices of learning alignments (Jones, 2005) throughout the co-creation process with the participants, notably a preference for less hierarchical pedagogical approaches (i.e., midwife, fellow traveler). Also, her reflection noted that the most effective pedagogical strategies were those that reflected an interconnectedness between the three components of creative pedagogy (Lin, 2011). Specifically, when the activity being conducted called upon students' creativity (creative teaching) and was well supported by an open and flexible attitude on her part (teaching for creativity), this resulted in a creative learning experience for the participants. In contrast, the less effective strategies were those that reflected a lack of connection among these components, either when she adopted an invasive attitude that did not respect the autonomy of the participants (i.e., less effective teaching for creativity that affects creative learning) or when the way that an activity was carried out did not maximize the intended opportunities for creative expression (i.e.: less effective creative teaching that results in less creative learning). Finally, the pedagogical intervention implemented by the researcher allowed us to identify the set of educational, operational, and conceptual models (e.g., Jones, 2005; Lin, 2011; Lucas, 2016 and O'Neill, 2013) that allowed us to establish the pedagogical foundations to structure a learning activity based on the co-creation of music learning games.

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    CorpusUL
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    Authors: Diether, Natalie E.; Willing, Benjamin P.;

    Protein fermentation by gut microbiota contributes significantly to the metabolite pool in the large intestine and may contribute to host amino acid balance. However, we have a limited understanding of the role that proteolytic metabolites have, both in the gut and in systemic circulation. A review of recent studies paired with findings from previous culture-based experiments suggests an important role for microbial protein fermentation in altering the gut microbiota and generating a diverse range of bioactive molecules which exert wide-ranging host effects. These metabolic products have been shown to increase inflammatory response, tissue permeability, and colitis severity in the gut. They are also implicated in the development of metabolic disease, including obesity, diabetes, and non-alcoholic fatty liver disease (NAFLD). Specific products of proteolytic fermentation such as hydrogen sulfide, ammonia, and p-Cresol may also contribute to the development of colorectal cancer. These findings are in conflict with other studies showing that tryptophan metabolites may improve gut barrier function and attenuate severity in a multiple sclerosis model. Further research examining proteolytic fermentation in the gut may be key to our understanding of how microbial and host metabolism interact affecting health

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    Authors: Nay, Norma Diane;

    Through(out) this narrative inquiry, I argue that leadership in public education in Alberta needs to change. I argue that it needs to better reflect the changes in the world. Our school divisions and schools are filled with a wonderful diversity of knowing and being that could easily fill our students and education staff with more educative knowledge and connection. This study highlights how hierarchical, patriarchal, and colonial traditions that undergird current education systems are increasingly being challenged because these systems have been and continue to be designed for the benefit of one group in society: White, male, able-bodied, and cisgendered people. These systems create barriers to equity and equal access to education. Female, feminist education leaders have the knowledge and perspectives that are necessary to lead our education systems into its next, more sustainable and sustaining form. Their leadership is grounded in skills and knowledge that women with feminist perspectives as presented by Oxfam Canada (2018) bring to education: how to build community, how to see the group but acknowledge the individual, how to collaborate, how to include, how to hear the needs of others and respond to them. Through my narrative inquiry with one such female, feminist leader, I have learned that this is possible. Our research conversations underscore her ability to label the inherent violence in current education systems, her ideas of what education could (and sometimes does) look like, and her commitment to community. These ideas and skills are what make her a vital member of the school division she works in, yet her knowing and skills are not often recognized as being a vital form of leadership. This research highlights my learning and belief that women leaders with feminist commitments need to be in positions of leadership throughout the education system. This is one way more people will feel empowered to embrace who they are and feel free to live lives of dignity and value within education systems and beyond.

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    https://doi.org/10.7939/r3-68k...
    Other ORP type . 2021
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      https://doi.org/10.7939/r3-68k...
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    Authors: University Advancement & Communications, University of Regina;

    This year’s annual United Way campaign at the University of Regina may look a little different than it has in previous years, but the crucial support it provides to deserving community-based organizations remains the same. In a normal year, the U of R’s United Way campaign would kick-off with faculty and staff receiving a form in their office mailbox, an invitation to an in-person event, and being greeted on campus by the iconic donation thermometer. Although most U of R faculty and staff are working from home, campaign organizers are devising creative ways to engage our community in a virtual environment. Staff no

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    Authors: Government of Alberta;
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