Metacognition and Human Performance Improvement

An understanding of the uses of meta-cognition provides a powerful tool toward developing quality and efficiency in task learning and performance. Metacognition is the executive controller of cognitive processes responsible both for self regulated learning and work performance outcomes. Comprehension monitoring and motivation are two prime components of metacognition which are responsible for commitment to, and definition of, goals, monitoring progress toward goals, and activating the appropriate thinking skills to achieve goals. Specific thinking skill categories of attention, organization, and elaboration are described with examples of how specific techniques in each category can optimize learning and job performance. Research on training of metacognitive skills through both detached and embedded skill-development programs is reviewed. In addition, ways to compensate for metacognitive skills when training is not cost-effective are described. The relationship between metacognitive skills and effective management of work performance is stressed.     

General Motion Pictures

Anthony Slide A COLLECTOR'S GUIDE TO MOVIE MEMORABILIA—WITH PRICES (Wallace Homestead Book Company, 1912 Grand Avenue, Des Moines, Iowa 50305—$12.95).

Richard L. Stromgren and Martin F. Norden. MOVIES: A LANGUAGE IN LIGHT (Englewood Cliffs, New Jersey: Prentice-Hall, 1984—$15.95).

Jonathan Rosenbaum, FILM: THE FRONT LINE 1983 (Arden Press, 1127 Pennsylvania Street, Denver. Colorado 80203—$10.95).

James L. Limbacher's SEXUALITY IN WORLD CINEMA (Metuchen. New Jersey: Scarecrow Press, 1983—$72.50 for two volumes).

Al Clark: THE FILM YEARBOOK-1984(New York: Grove Press, 1984—$12.95, paperback).

ANNUAL INDEX TO MOTION PICTURE CREDITS: 1982 (Westport, Connecticut: Greenwood Press, 1983—$150.00).

Nancy Allen and Robert L. Carringer AN ANNOTATED CATALOG OF UNPUBLISHED FILM AND TELEVISION SCRIPTS (Graduate School of Library and Information Science. Publications Office, 249 Armory Building, 505 E. Armbry Street, Champaign, Illinois 61820—$15.00, paper).     

The Artist Initiative at San Francisco Museum of Modern Art

The Artist Initiative at the San Francisco Museum of Modern Art (SFMOMA) is piloting models for increased collaboration between conservators and curators through joint work with artists. We seek a more integrated, holistic approach to the care and research of our collection. The project, funded by the Andrew W. Mellon Foundation, comprises five robust research engagements that serve the curatorial collecting departments of the museum (Photography, Painting and Sculpture, Media Art, and Architecture and Design). Three of the projects are monographic studies, examining the work of Ellsworth Kelly, Vija Celmins, and Julia Scher in depth, while two more are thematic, exploring modes of displaying digitally-driven design objects, and developing strategies for addressing the problem of color shift common to photographic prints made with experimental materials during the 1970s and 1980s. The Artist Initiative is also charged with developing hybrid working spaces to advance collaborative approaches to collections research at the museum's new downtown campus and at SFMOMA's new Collections Center in South San Francisco. These spaces include the Collections Workroom, a 56?sq?m (600?sq?ft) space that functions as a studio for visiting artists, a conservation laboratory, an interview suite, and a classroom at SFMOMA's downtown campus. At the Collections Center, a 121?sq?m (1300?sq?ft) Mock-Up Gallery has been built as a working model of one of the museum's new galleries. A functional exhibition space, the Mock-Up Gallery is also a venue for interviewing artists, prototyping exhibition formats, and meeting with students, scholars, museum staff, and community members. With the goal of contributing to critical discourses in contemporary art history, art conservation, and public engagement, each of the Artist Initiative projects includes a colloquium that will bring experts from multiple fields together with the featured artists. Thereafter we aim to share our findings widely through public programs and a range of publications, both digitally and in print.     

International trends in health science librarianship: part 1 - the English speaking world

This is the second in a series of articles exploring international trends in health science librarianship in the first decade of the 21st century. The invited authors were asked to reflect on developments in their country - viz. Australia, Canada, New Zealand and the United States. Future issues will track trends in Northern Europe, the Nordic countries, Southern Europe and Latin America. JM.     

La Medusa by Caravaggio: characterisation of the painting technique and evaluation of the state of conservation

The oil painting “La Medusa” executed by Caravaggio at the end of the XVI century on a wooden shield, was investigated by integrated physical–chemical and analytical methodologies in order to obtain scientific data capable of elucidating the state of conservation and the painting technique. Optical (OM) and electronic (SEM-EDS) microscopy, micro-FT-IR spectroscopy, gas chromatography–mass spectrometry (GC–MS) and pyrolysis GC–MS were applied on two microfragments and some organic samples obtained by solvent extraction using the swab cleaning technique. The obtained results indicated that Caravaggio probably reused an old shield as a previous gypsum preparation layer has been detected under the original painting layers. He used white lead, natural earths, verdigris and lead–tin yellow type I mixed with drying oils to paint. The considerable amount of amorphous particles of copper chlorides found in the green pigment verdigris suggests that it could have been produced according to the ancient recipe of verde salsum described by Theophilus. Mordant gilding has been identified on the upper part of the shield that can be related to an abandoned experiment to give the painting a mirror-like reflecting effect. Three different varnishes layers have been detected above the painted surface. The original and restoration varnishes have been identified and they contain a mixture of drying oil, mastic and turpentine and some beeswax. Cleaning tests, performed with different organic solvents, suggest the use of isopropyl alcohol as cleaning agent because it is less efficient in comparison to others solvents; thus it ensures a careful and controlled removal of the varnishes.