Academic literature on the topic 'Tony McCoy'

In the years since 1995 when the first issue of this Journal appeared, its purposes have been elaborated with increasing clarity. It came into being in response to members' recognition of the need for a medium: located within Aotearoa New Zealand, to encourage the expression of professional creativity and reflection, to provide a forum within which members could make their work, and the thinking that underlies it, visible to one another, to stimulate dialogue and debate and to hold with respect the diversity of views contained within the association. This fifth issue addresses each of these purposes. We follow the established custom of offering in printed form papers presented at this year's conference in Dunedin, whose theme was The Unconscious: The Real McCoy of Psychotherapy? Keynote papers by Brian Broom, Joan Dalloway, Sean Manning and Richard O'Neill-Dean take a variety of bearings on this theme. We are also pleased to include papers by Gill Caradoc-Davies, Betty Robb and Carol Worthington, who missed the opportunity to put their papers before participants as a result of the format and dynamic of conference, and from Philip Culbertson, Tony Coates and Jerri Bassi.

Children with weakened axial muscle tone face various problems every day. One is maintaining a stable body posture, which limits their participation in activities and games with peers. The study aimed to assess balance parameters in children with weakened axial muscle tone who underwent sensory integration therapy (SI). The study group consisted of 21 children (divided into three age groups) referred by a doctor for therapy. Methods: The ZEBRIS platform was used to measure the balance parameters (MCoCx, MCoCy, SPL, WoE, HoE, and AoE). The study was conducted twice: before and after two months of sensory integration therapy. The results were compiled using the TIBICO® Statistica software version 13.3.0. Results: After the SI program, statistically significant changes were observed in the values of MCoCy_oe, WoE_oe, AoE_oe in the group of four-year-olds, MCoCX_ce in the group of five-year-olds, and in SPL_ce and AoE_ce in six-year-olds. A statistically significant, highly positive correlation was observed between body height and changes in SPL_oe, HoE_oe, and AoE_oe in the group of six-year-olds, as well as in the case of changes in SPL_oe in the group of five-year-olds. In the group of four-year-olds, a statistically significant correlation occurred only between body height and the change in the MCoCx_oe value. Conclusions: the sensory integration therapy used in the study group of 4–6-year-old children with reduced muscle tone gave positive results in the form of improved static balance and balance.

Pilots often turn off the auditory displays which are provided to improve their performance (Weiner, 1977; Veitengruber, Boucek, & Smith, 1977). The intensity of the auditory display is often cited as a possible cause of this behavior (Cooper, 1977). However, the processing of the additional information is a concurrent task demand which may increase subjective workload (Wickens & Yeh, 1983; McCloy, Derrick, & Wickens, 1983). Pilots may attempt to reduce subjective workload at the expense of performance by turning off the auditory display. Forty undergraduate males performed a visual search task. Three conditions: auditory display on, auditory display off, and subject's choice were run in combination with nine levels of visual display load. The auditory display, a 4000 Hz tone with a between-subject intensity of 60 dB(A), 70 dB(A), 80 dB(A), and 90 dB(A), indicated that the target letter was in the lower half of the search area. NASA-TLX (Task Load Index) was used to measure the subjective workload of the subjects after each block of trials (Hart & Staveland, 1988). A non-monotonic relationship was found between auditory display intensity and auditory display usage. Evidence was found that the auditory display increased some aspects of subjective workload– physical demands and frustration. Furthermore, there was a dissociation of performance and subjective workload in the manner predicted by Wickens – Yeh (1983). The implications of these results for display design are discussed.

Abstract Background Komen’s mission is to save lives by meeting the most critical needs in our communities and investing in breakthrough research to prevent and cure breast cancer. One method to achieve our mission is through patient navigation. Evidence supports the role of patient navigation in improving breast health outcomes. Patient navigators identify and address barriers to equitable cancer care delivery in a fragmented healthcare system and work to ease the burdens that patients diagnosed with breast cancer experience. As a valued member of a patient’s health care team, patient navigators contribute to improving the quality of cancer care and eliminating barriers throughout the continuum of care. However, not all breast cancer patients experience the same barriers. Metastatic breast cancer (MBC) is the most advanced stage of breast cancer, and there is some evidence that suggests those diagnosed with MBC have unique experiences and needs that often determine and/or contribute to their disease trajectory. Despite this, little in-depth systematic work has been done to understand the unique challenges faced by those diagnosed with MBC or to explore strategies to address those challenges, and there have been no known efforts to equip patient navigators to specifically address the unique barriers of those diagnosed with MBC. Methods Susan G. Komen®’s Center for Applied Research (CfAR) designed the MBC Patient Navigation Training research study to improve the health outcomes of those diagnosed with MBC through patient navigation. The study design includes 4 phases of qualitative methodology with MBC and patient navigator communities to accomplish the following objectives: Examine the needs and barriers of MBC patients (Phase 1) Identify what needs and barriers MBC patients face that can be addressed through patient navigation (Phase 2) Assess the gaps in Komen's Patient Navigation Training Programs' ability to prepare navigators across the United States to address the identified needs/barriers of MBC patients (Phase 3) Design a new module to fill the gaps in Komen's Patient Navigation Training Program to support patient navigators serving MBC communities across the U.S. (Phase 4) Participants were recruited through a grassroots approach to community engagement, with members of the study team, Komen staff, and other breast health advocates contacting individuals and organizations across the U.S. Individuals were invited to attend a virtual introductory call to meet study staff and each other before consenting to participate in the virtual focus groups. Results Participants diagnosed with MBC (n=17) attended one of four virtual focus groups held May 2023 to share their lived experiences. The focus groups were recorded, the recordings were transcribed and checked for accuracy, and study staff analyzed data using a constant comparison approach to qualitative data analysis with NVivo data management software. Those diagnosed with MBC identified challenges of their diagnosis, barriers within the healthcare system, financial toxicity, lack of support, and health inequities as factors limiting their access to care. These participants also identified the role patient navigators could serve to help address these challenges. Next Steps In Phase 2, the study team will examine to what extent patient navigators feel prepared to address the barriers of MBC communities. Based on the findings from this study, the team will identify areas where more training is needed (Phase 3) and design a training module for Komen’s Patient Navigation Training Program (Phase 4) to better prepare patient navigators across the U.S. to meet the needs of MBC communities and improve health outcomes and cancer care delivery. Citation Format: Stephanie McCoy, Kyandra Fox, Kasey Volpe, Toni Lee, Janet Okamoto, Julie McMahon, Kari Wojtanik. MBC Community Barriers and Patient Navigation Training Needs [abstract]. In: Proceedings of the 2023 San Antonio Breast Cancer Symposium; 2023 Dec 5-9; San Antonio, TX. Philadelphia (PA): AACR; Cancer Res 2024;84(9 Suppl):Abstract nr PO4-10-09.

Abstract Mid-September’s 2002 Verizon Music Festival—note the absence of the J-word—offered little to the J-audience beyond McCoy Tyner and Tony Bennett, at least in the big halls. But a week of solo piano recitals at the Jazz Standard filled me with more optimism about the J-future than anything else this year. Though dramatically different from each other, three pianists born in the ‘70s indicated a united front in their unconventional approaches, filtering of influences, and involvement with the music of their time. Each has devised an emphatic solo style—a purely pianistic music, as opposed to trio music without the trio. Several times I wondered whether Ethan Iverson, Vijay Iyer, and Jason Moran were playing jazz at all, but I never really cared. This was no less true of 41-year-old Matthew Shipp, whom I will catch up with when Equilibrium is released in January. I assume it was also true of 47-year-old Fred Hersch (whom I missed), knowing his intermingling of jazz and classical techniques. But I doubt that Hersch accessed one ingredient connecting the other four, especially in their new or imminent albums: hip-hop beats.

Abstract The Early Music boom has made things pretty easy for reviewers. It is now possible to pass judgment on a performance one has not yet heard. One very prominent reviewer announced an impending series of recitals, at which two prominent New York musicians would perform the Beethoven sonatas for piano and cello, by sniffing, ‘‘They are fine artists, but [!] they play modern instruments I look forward to [their] recitals but will know them ... for what they are: transcriptions, in effect, in which Beethoven’s tone colors, textures, attacks, and sonic durations are inevitably altered.” Pity the poor fine artists, thus consigned, as Dante consigned the Greek philosophers, to the upper reaches of Hell. Elsewhere our critic contrasted their “transcriptions” with the real McCoy, a performance on “original instruments,” in which ‘‘Beethoven’s music rang out more bravely, more beautifully, and in better balance” than modern instruments could achieve, and (it follows) with Beethoven’s tone colors, textures, attacks, and sonic durations unaltered.