Divergent production in gifted adolescents using timed vs. untimed stimuli with creative prompting

Although creativity and expertise are related, they are nonetheless very different things. Expertise does not usually require creativity, but creativity generally does require a certain level of expertise. There are similarities in the relationships of both expertise and creativity to domains, however. Research has shown that just as expertise in one domain does not predict expertise in other, unrelated domains, creativity in one domain does not predict creativity in other, unrelated domains. People may be expert, and people may be creative, in many domains, or they may be expert, or creative, in few domains or none at all, and one cannot simply transfer expertise, or creativity, from one domain to another, unrelated domain. The domain specificity of creativity matters crucially for creativity training, creativity assessment, creativity research, and creativity theory. The domain specificity of creativity also means that interdisciplinary thinking, interdisciplinary collaboration, and interdisciplinary creativity are even more important than one would assume if creativity were domain general.     

Assessing working students' college experiences: a grounded theory approach

This study explores working students' college experiences using the grounded theory approach. Focus groups were conducted to allow working students to elaborate on their college experiences, clarifying issues not easily addressed through surveys. Two theoretical propositions are offered to describe how working students are constantly searching for meaningful work as well as meaning in their work. It is important for institutions to consider work as an educationally purposeful activity outside classroom and to create job opportunities that benefit students academically, socially and financially.     

A review of ancient Egyptian pigments and cosmetics

The pigments used by the ancient Egyptians constitute the most diverse pigment palette of the ancient world. This review discusses the pigments and binders which were used, arranged principally in terms of the colours themselves, namely, the white, green, grey, black, brown, blue, red, orange, and yellow pigments. The chemical identity of these pigments is discussed with some details regarding the artefacts or time periods from which the pigment concerned has been identified. Combinations of pigments were used for creating some colours, especially: greens, pinks, blues, yellows, and a variety of pale hues by mixing primary colours with a white addition, such as calcite. The identification of ancient Egyptian pigments is often aggravated by chemical interactions between pigment and binder media, or between the pigment and environmental pollutants, or both. The nature of the binders and varnishes used in ancient Egypt is briefly discussed. The identification of green pigments from ancient Egypt is often difficult, and some of the recent research concerning the topic is reviewed. In addition to including relevant details from older literature, this review provides a synopsis of recent studies which have appeared since the last major review carried out by Lee and Quirke in 2000.     

Comparison of oil and egg tempera paint systems using time-of-flight secondary ion mass spectrometry

Time-of-flight secondary ion mass spectrometry (ToF-SIMS) is quickly becoming a critical tool in the field of art conservation. This technique provides high-resolution spatial maps of both inorganic and organic components located within cross-sectional samples collected from works of art. With recent advances in surface analysis, ToF-SIMS can now be used to identify specific amino acids present in protein-containing materials as well as fatty acids in drying oils. For example, the detection of the ion fragment associated with the amino acid hydroxyproline can be used to confirm the use of animal glue in a paint sample. As an analytical technique, ToF-SIMS avoids the need for derivatization/silylation reagents, with no interference by the presence of pigments. Furthermore, the layered systems that are often encountered in historical paint samples remain intact throughout the analytical procedure. This allows for the co-localization of organic and inorganic species in specific layers (e.g. egg yolk paint atop a glue ground). Because of this ability to localize the analytical signal to approximately 6?µm or less, the mass spectral information can be used to produce mass-resolved and spatially-resolve images which can be correlated to previous studies of the same samples. In this study, ToF-SIMS was used to analyze a paint cross section obtained from a painting attributed to Raphael, and another from a painting by the Sienese artist Matteo di Giovanni.     

Troubleshooting Electronic Resources with ILL Data

Troubleshooting electronic resource linking issues can seem to be an insurmountable task—so many resources, so little time. Using interlibrary loan (ILL) data on requests for materials available online, the electronic resources staff at the Samford University Library detected problems with the implementation of their new link resolver. This data also provided a window into some systemic issues within the metadata of certain sources and the link resolver knowledgebase. In addition to helping us improve linking for our users, the establishment of a workflow for communicating cancelled ILL transaction data on an ongoing basis has also improved the communication between electronic resources staff and the ILL department regarding the overall linking process.     

Gamifying your Teaching: Guidelines for Integrating Gameful Learning in the Classroom

Gamified teaching is a pedagogical strategy that utilizes principles of gaming in the structure of assignments and grading. When students are allowed to engage in gameful educational experiences, they are given the freedom to choose their own pathway through assignments in order to better customize their learning. This article presents a rationale for gamified teaching and outlines the various elements of this instructional approach. In addition, guidance is provided on how to convert a traditional course to a gamified class.