Anxious girls' brains work harder

This electrode cap was worn by participants in a Michigan State University psychology study that suggests anxious girls' brains work harder than boys'. Credit: Michigan State University

In a discovery that could help in the identification and treatment of anxiety disorders, Michigan State University scientists say the brains of anxious girls work much harder than those of boys.

The finding stems from an experiment in which college students performed a relatively simple task while their brain activity was measured by an electrode cap. Only girls who identified themselves as particularly anxious or big worriers recorded high brain activity when they made mistakes during the task.

Jason Moser, lead investigator on the project, said the findings may ultimately help mental health professionals determine which girls may be prone to anxiety problems such as obsessive compulsive disorder or generalized anxiety disorder.

"This may help predict the development of anxiety issues later in life for girls," said Moser, assistant professor of psychology. "It's one more piece of the puzzle for us to figure out why women in general have more anxiety disorders."

The study, reported in the International Journal of Psychophysiology, is the first to measure the correlation between worrying and error-related brain responses in the sexes using a scientifically viable sample (79 female students, 70 males).

Participants were asked to identify the middle letter in a series of five-letter groups on a computer screen. Sometimes the middle letter was the same as the other four ("FFFFF") while sometimes it was different ("EEFEE"). Afterward they filled out questionnaires about how much they worry.

Although the worrisome female subjects performed about the same as the males on simple portions of the task, their brains had to work harder at it. Then, as the test became more difficult, the anxious females performed worse, suggesting worrying got in the way of completing the task, Moser said.

"Anxious girls' brains have to work harder to perform tasks because they have distracting thoughts and worries," Moser said. "As a result their brains are being kind of burned out by thinking so much, which might set them up for difficulties in school. We already know that anxious kids – and especially anxious girls – have a harder time in some academic subjects such as math."

Currently Moser and other MSU researchers are investigating whether estrogen, a hormone more common in women, may be to blame for the increased brain response. Estrogen is known to affect the release of dopamine, a neurotransmitter that plays a key role in learning and processing mistakes in the front part of the brain.

"This may end up reflecting hormone differences between men and women," Moser said.

In addition to traditional therapies for anxiety, Moser said other ways to potentially reduce worry and improve focus include journaling – or "writing your worries down in a journal rather than letting them stick in your head" – and doing "brain games" designed to improve memory and concentration.

Provided by Michigan State University

"Anxious girls' brains work harder." June 5th, 2012. http://medicalxpress.com/news/2012-06-anxious-girls-brains-harder.html

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Robert Karl Stonjek

‎#### BABASAHEB DR. AMBEDKAR on Gandhi and Jinnah ####

‎#### BABASAHEB DR. AMBEDKAR on Gandhi and Jinnah #### I can give only my impressions of them, for what they are worth. The first thing that strikes me is that it would be difficult to find two persons who would rival them for their colossal egotism, to whom personal ascendancy is everything and the cause of the country a mere counter on the table. They have made Indian politics a matter of personal feud. Consequences have no terror for them ; indeed they do not occur to them until they happen. When they do happen they either forget the cause, or if they remember it, they overlook it with a complacency which saves them from any remorse. They choose to stand on a pedestal of splendid isolation. They wall themselves off from their equals. They prefer to open themselves to their inferiors. They are very unhappy at and impatient of criticism, but are very happy to be fawned upon by flunkeys. Both have developed a wonderful stagecraft and arrange things in such a way that they are always in the limelight wherever they go. Each of course claims to be supreme. If supremacy was their only claim, it would be a small wonder. In addition to supremacy each claims infallibility for himself. Pius IX during whose sacred regime as Pope the issue of infallibility was raging said— ” Before I was Pope I believed in Papal infallibility, now I feel it.” This is exactly the attitude of the two leaders whom Providence—may I say in his unguarded moments—has appointed to lead us. source: SECTION VIII, Ranade, Gandhi and Jinnah. Vol-I, Dr. Babasaheb Ambedkar Writing and Speeches

Chinese Beauty Art Paintings

Though Chinese painting has much in common with western painting from an aesthetic point of view, it still possesses its unique character. Chinese traditional painting seldom follows the convention of central focus perspective or realistic portrayal, but gives the painter freedom on artistic conception, structural composition and method of expression so as to better express his subjective feelings. Chinese painting has absorbed the best of many forms of art, like poetry, calligraphy, and seal engraving.

Take Mr. Qi Baishi (1863-1957), a great painter for example. Mr. Qi was a skillful poet, calligrapher and seal-cutter. Qi, a native of Hunan Province, injected his ink painting with typical Chinese farmers' tastes -- simple, pure, and humorous. All this made him an artistic giant of the 20th Century.

Chinese often consider a good painting a good poem, and vice versa. Hence we often say there is painting in poetry and poetry in painting. In the past, many great artists were also great poets and the calligraphers. The inscriptions and seal on the paintings not only can help us to understand the painter's ideas and emotions, but also provide decorative beauty to the painting.

Pines, bamboo and plum blossoms are 'bosom friends in winter.' The three plants are upright and show rectitude. They become favorite objects for Chinese painters. Chinese painting is a combination in the same picture of the arts of poetry, calligraphy, painting and seal engraving. They were indispensable elements, which supplement and enrich each other in contributing to the beauty of the whole picture.

Chinese paintings can be divided into four categories according to its format: murals, screens, scrolls, and albums and fans. In addition, they are frequently mounted against exquisite backgrounds to enhance their aesthetic effect.

In terms of technique, Chinese painting can be divided into two broad categories: paintings minutely executed in a realistic style and those that employ freehand brushwork.

Classified according to subject matter, they can be divided into paintings of figures, landscapes, buildings, flowers, birds, animals, insects and fish. The brush techniques so much emphasized in Chinese painting include line and texture (cunfa), the dotting method (dianfa) and the application of color (ranfa).

It is very difficult, if not impossible, to appreciate Chinese paintings without a profound knowledge about different styles characteristic of the different historical periods.

During the Tang Dynasty (618-907 AD), the culture flourished with the economic development. Painting was elegant in style, reflecting the general prosperity of the golden age of Chinese feudal society. The paintings of Song Dynasty (960-1279AD), however, favored abstract, implied meanings rather than direct expressions, painting skills matured considerably, and the realistic style was in full blossom. The Yuan Dynasty (1271-1368 AD) witnessed the flourish of the expressionist school and many painters indulged in painting solely for personal pleasure. The painters of Ming (1368-1644) and Qing (1644-1911) took painting as a vehicle to express their interests and feelings. They painted with a vigorous boldness, caring little for meticulous refinement. Gradually, Chinese painting became artistically 'perfect' during the Qing Dynasty.

However, 'perfection' sometimes causes stagnation or even retrogression in art creation. That was why vigorous Chinese painting almost became stereotyped for a long period in the 19th century.

At the beginning of the 20th century, some painters from Shanghai, Hangzhou, Nanjing, Guangzhou and Beijing started to challenge the old tradition of Chinese painting by introducing new art concepts from the West and establishing art school to train artists. The joint efforts were paid off. Most of these pioneer painters later became the backbone of New China's Art after 1949. And some are still active even today.

The ink painting has conducted certain reforms earlier this century, which may fall into two types. One reform was to get rid of the morbid psychology of self-admiration that some scholar painters in feudal China harbored, and establishes a healthy style. In this respect, Qi Baishi, whose name we mentioned previously, stood high above his contemporaries.

Qi's favorite subjects included flowers, insects, birds, landscapes and human figures. He not only studied the skills of these forerunners such as Xu Wei, Zhu Da, Yuan Ji and Wu Changshuo but also carefully observed the objects that he sketched. Outwardly he seemed to be very casual, but the flowers and birds that blossomed and flew from his brush all possessed the kind of characteristics they should have. With fluent lines and bright colors, he created a world full of life and rhythm.

The second type of reform was to accept Western art concepts and techniques and combine them with good tradition of Chinese painting. The pioneers tried to create a brand new national painting form on the basis of the existing form. One of the representatives in this bold experiment was Xu Beihong (1895-1953), who served in his lifetime as president of the Central Fine Arts Institute and chairman of the Chinese Artists Association.

Xu was most famous for his painting of horses. With a solid foundation in Chinese painting, he borrowed the best techniques from Western painting. In his paintings of human figures or animals, he was most accurate in the depiction of both spirit and form. Xu's works demonstrated not only his strong personality and creative spirit but also his patriotism, his sympathy with the working class, and his deep hatred for all evils.

Good paintings require good materials. The materials used in Chinese painting are writing brushes, ink sticks and slabs, and paper and silk, you can find all these materials in most of the souvenir shops.

Written by our column writer Hao Zhuo.