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PurposeThe aim of this study is to assess the impact of personality traits and sense of coherence (SOC) on concealing information needs out of shame. The study also investigates the link between concealed information needs and the use of experiential information for psychological wellbeing.Design/methodology/approachA Partial Least Square ‐ Structural Equation Modelling (PLS-SEM) approach is used to assess and analyse the proposed conceptual model, which is based on the responses of 412 upper secondary school students.FindingsThe findings reveal that personality traits not only have direct significant effects on concealing information needs but that their effects are also mediated by SOC. The positive relationship between concealed information needs and the use of experiential information is confirmed in the study.Originality/valueThis study is the first to show that personality and SOC influence concealing information needs. Two pathways are found. Firstly, negative emotionality and a low SOC lead to a heightened sense of shame. Secondly, introversion induces a more guarded behaviour. The study, moreover, quantitatively demonstrates a link between concealed information needs and the use of experiential information for psychological wellbeing.

In two studies, we investigate how users choose virtual backgrounds and how these backgrounds influence viewers' impressions. In Study 1, we created a web prototype allowing users to apply different virtual backgrounds to their camera views and asked users to select backgrounds that they believed would change viewers' perceptions of their personality traits. In Study 2, we then applied virtual backgrounds picked by participants in Study 1 to a subset of videos drawn from the First Impression Dataset. We then ran a series of three online experiments on Amazon Mechanical Turk (MTurk) to compare participants' personality trait ratings for subjects (1) with the selected virtual backgrounds, (2) with the original video backgrounds, and (3) with a gray screen as a background. The selected virtual backgrounds did not change the personality trait ratings in the intended direction. Instead, virtual background use of any kind results in a consistent "muting effect" that mitigates very high or low ratings (i.e., compressing ratings to the mean level) compared to the ratings of the video with the original background.

Cet article analyse la résistance culturelle dans les Caraïbes autour de la Seconde Guerre mondiale. Se basant sur les écrits de Suzanne Roussi Césaire pour la revue Tropiques (1941–1945), sous le régime de Vichy en Martinique, mais s’inspirant aussi de son travail pour la revue, tel l’obtention du papier nécessaire pour l’imprimer, cet article propose de reconnaître ses pratiques comme une forme de marronnage. En reconnaissant la part du marronnage dans ses tactiques, on peut mieux apprécier les liens étroits entre les Œuvres de Suzanne Roussi Césaire, et les activités d’autres femmes caribéennes tout au long de la première moitié du XXe siècle. En effet, ses pratiques de marronnage rejoignent celles de Suzanne Lacascade, des sŒurs Paulette et Jane Nardal, ou encore d’Annie Desroy. Ensemble, elles produisent au fil de plusieurs décennies une conscience de race genrée, une mosaïque faite des histoires et mémoires de l’esclavage, de la colonisation et de la dissidence, et qui cumulera dans la décolonisation d’après-guerre.

This research aims to analyze the main characters in Hide and Seek movie as the characters who have psychopathic problem and Dissociative Identity Disorder. In relation to which, the writer studied Hide and Seek movie as the unit of analysis. Psychopathic problems viewed from Sigmund Freud’s psychoanalysis concepts are used for the review of related literature theories or concepts of the research. Therefore, the method of the research is descriptive qualitative, which tries to explain about the intrinsic elements of the movie; such as characterization and the scenes of the movie, then followed by analyzing them through Sigmund Freud’s psychoanalysis. Through observations of the scenes and the behavior of the main characters the writer reveals David and Emily have been identified to have psychopathic characters such as manipulative, parasitical, deceitful, power hungry, less empathy, often lie, shallow affect and poor behavioral control. In addition, the causes of such character are trauma and stress viewed from Sigmund Freud’s psychoanalysis theory

Drawing from two data sets – one focused on students in high school actively engaged in the process of college choice, the other centering the perspectives of college graduates and their parents re...

Gopal and Rao’s editorial made me reflect on five important UK reports published in the past year, generating controversy about institutional and structural racism.1 The UK government commissioned Public Health England (PHE) to report on inequalities in covid-19, including ethnicity.2 The report was criticised for having no recommendations and no reference to extensive public consultations by PHE. A second report including the consultations with more than …

Contains fulltext : 214546.pdf (Publisher’s version ) (Closed access) At any moment in time, we have a single conscious visual experience representing a minute part of our visual world. As such, the visual input stimulating our retinae is in continuous competition for reaching conscious access. Many complex cognitive operations can only be applied to consciously accessible visual information, thereby raising the question whether humans have the ability to select which parts of their visual input reaches consciousness. Top-down attention allows humans to flexibly assign more processing resources to certain parts of our visual input, making it a likely mechanism to volitionally bias conscious access. Here, we investigated whether directing top-down attention to a particular location or feature accelerates conscious access of an initially suppressed visual stimulus at the attended location, or of the attended feature. We instructed participants to attend a spatial location (Experiment 1) or color (Experiment 2) for a speeded discrimination task, using a highly predictive cue. The predictive cues were highly effective in prompting sustained attention towards the cued location or color, as evidenced by faster discrimination of cued relative to uncued targets. We simultaneously measured detection times to interocularly suppressed probes that were either of the cued (i.e., attended) color/location or not, and were visually distinct from the targets used for the discrimination task. Despite our successful manipulation of top-down attention, suppressed probes were not released from suppression faster when they were presented at the attended location, or in the attended color. In contrast, when observers were cued to attend a color for locating targets of an ill-defined shape (inciting a broader attentional template), we did observe faster conscious access of probes in the attended color (Experiment 3). We discuss our findings in light of the specificity of attentional templates, and the inherent limitations that this poses for top-down attentional biases on conscious access. 18 p.

Inspired in the spirit of play to inhabit a space previously laid out for individual selves, this chapter narrates personal experiences of being a self who plays a game of hide and seek with creativity. In the form of short life stories, these narratives elicit objects, memories and events where different selves of mine surface(d). Reflections on narratives generate rules for creativity rediscovery which could inspire students, educators and people in management education.

Microbiology![Figure][1] CREDIT: SANCHEZ-VALLET ET AL., ELIFE2 (2013) Plants and their fungal pathogens are at war. Plant surface receptors, which contain lysin motifs (LysMs), sense fungal chitin oligomers, which are basic components of fungal cell walls, and thereby trigger immune defenses against the fungus. The fungi, in turn, have evolved molecular countermeasures. Sanchez-Vallet et al. report structural studies of a fungal effector protein, Ecp6, which is secreted by the leaf mold Cladosporium fulvum and provides a means for the pathogen to hide from the host. Ecp6 also contains LysM, but unlike the plant's receptors, the fungal motifs dimerize in the presence of its own chitin to form a deeply buried groove that binds chitin with high affinity and keeps it out of sight of the plant's immune responses. LysM seems to be ubiquitous among fungi and may represent a common mechanism by which such pathogens can evade host defenses. It is interesting that two evolutionarily distant organisms have converged on the ability to recognize the same molecule via the same motif that resides in divergent proteins and with antagonistic effect. eLife 2 , e00790 (2013). [1]: pending:yes

The article treats of the artistic collaboration between writer Jean Giraudoux, actor Louis Jouvet and painter Pavel Tchelitchew (Chelishchev) in Paris in the 1930s. While reference is also made to precedents such as Christian Bérard’s interpretations at the Théâtre de l’Athénée, the main subject of discussion is the production of Giraudoux’s Ondine in 1939 with Madelaine Ozeray in the lead role and with Tchelitchew’s eccentric stage sets, backdrops and lighting—and costumes for dramatis personae Ondine, Bertha and Hans. Also discussed are the connections between these designs and Tchelitchew’s major studio paintings such as Hide and Seek.

This paper uses the universe of mortgage contracts to estimate the response of high-interest lenders to borrower protection regulations aimed at simplifying and making loan terms more transparent. Using a quasi-experimental design, we find that lenders substantially reduce interest rates – by an average of 10% – in order to avoid being subject to borrower protection, without reducing amounts lent or the number of loans approved. This finding implies that a substantial number of high-interest lenders prefer to issue obfuscatory mortgage contracts with lower interest rates rather than more transparent and regulated mortgages with higher interest rates. Institutional subscribers to the NBER working paper series, and residents of developing countries may download this paper without additional charge at www.nber.org.

This study aims to determine how to apply flashcards in teaching English vocabulary by young mothers in the Dawis PKK Desa Dua Belasan RT I RW III Jombor Kec. Bendosari Kab Sukoharjo. The problems in this study were examined by qualitative descriptive research because the results of the approach were explained by using words. This research was conducted in the village of Dua belasan Jombor Sukoharjo. Meanwhile, data collection techniques are observation and documentation. The use of flashcards to teach English can be done in three ways. Flashcards in the standard way, namely quickly changing flashcards in front of the children, then flashcards were combined with songs and lastly flashcards were combined with hide and seek games. There are two advantages of a flashcard, it is like a game and it can be combined by singing a song. Apart from that, there are two weaknesses of using the flashcard. Teachers must be creative and must find ways to integrate other media on an ongoing basis. Then, Children did not feel bored in learning English using flashcards.

This article explores the emergence of the children's rule negotiation, while they play hide-and-seek during school break times, and how it transforms the playing. Break times refer to the free-tim ...

In the following piece, Katy Guest brings her experience as literary editor of the Independent on Sunday to her analysis of authors’ proactive strategies for cultivating celebrity. But her observat...

In order to assess the extent to which features of a game affect the strategic sophistication of the people involved, this study investigates the relevance of differing objectives (matching/mismatching) and of virtually moving first or second in the “hide and seek” game. In three different treatments, mismatchers and matchers are not found to exhibit significantly different levels of reasoning although level averages and winning probabilities always are in favor of the matchers. Varying the virtual timing of the game has a significant impact on the shape of the level distribution. The analysis relies on intrateam communication, whose coding is shown to be stable and replicable.

A much-anticipated 'monster' El Nino failed to materialize in 2014, whereas an unforeseen strong El Nino is developing in 2015. El Nino continues to surprise us, despite decades of research into its causes. Natural variations most probably account for recent events, but climate change may also have played a role.

Geocaching is an activity which libraries of all types can use as an educational and promotional tool. It is a variation on a scavenger hunt and allows libraries to showcase their services and facilities to people who may not be regular users of the library. Geocaching can also be used by libraries as an educational tool, and examples of educational outcomes related to geocaching are provided. The placement of a geocache within the Macquarie University Library building is used as an example of a library using geocaching as an educational and outreach tool. The geocache has received a very positive response from the local geocaching community. This article provides some background to geocaching, as well as examples of library-related geocaches from around the world.

The author claims that neoliberal discourse plays “hide and seek” with the state, which appears at the same time absent and present, negated, and necessitated. In order to test its limits, the paper historicizes such discourse by engaging with the Italian case. More specifically, this study examines the most representative figure of Italian neoliberalism, former prime minister and media tycoon, Silvio Berlusconi, and his ambiguous relationship with the state. Drawing on Marx and Gramsci's conceptualization of the state, the paper sheds light on the Italian context as well as the more general characteristics of the neoliberal state.

Camouflage is exceptionally challenging in pelagic environments because of their featureless nature. Thus, it is perhaps no surprise that pelagic species have evolved highly sophisticated cryptic strategies, three of which—transparency, mirrors, and counterillumination—are rare or absent in other habitats. Pelagic visual systems are equally complex, and several visual capabilities, including UV and polarization sensitivity and intraocular filters, are thought to facilitate detection of camouflaged animals. This article reviews the optical nature of the pelagic realm and both the camouflage and camouflage-breaking strategies of its inhabitants, focusing primarily on underlying principles and what remains to be discovered. A theme throughout is that far more is known about the structures of the optical and visual systems involved than about their function, an imbalance that is due primarily to the rarity of observations of undisturbed behavior.

Tasmanian modernity is a shimmering, mirror-phase frustration logic that is belittled and celebrated, neurotically defended and expansively embraced. This clash of concepts and behaviour occurs when each instance of temporal abstraction named by the term “modernity”, is folded back onto the general map of singular and multiple modernities. Comparing the Tasmanian genocide to the Holocaust tempers this jagged union and proves that social time can be consonant and clashing. Modernity has played a hide and seek game with Tasmania. Richard Flanagan’s novels articulate this wishing for a stable iteration of social progress narratives in Tasmania. His work, and especially the novel, Gould’s Book of Fish presents a thorough-going working through of the problems of thwarted futurism, solipsistic islandness and fantasies of offhand despotic planning and desire.

Learn the strategies of hiding the good news in a conversation; rewrite and replay the witty dialogue between Juliet and the Nurse.

Brown argues that, just as the Victorians invented realism as a ‘high’ art, they invented sensation fiction as its ‘low’ counterpart – and that sensation writers used the artist figure to embrace this designation, in turn denigrating realism as elitist and pretentious. Brown shows how Wilkie Collins’s Hide and Seek (1854), and Mary Elizabeth Braddon’s John Marchmont’s Legacy (1863) and Eleanor’s Victory (1863) all use artists to recast realism’s skepticism as mere sophistry. Sensation writers thus came to embrace their ‘low’ art status, valuing art that appealed to the masses without trying to rise above them and pointing out the pretensions of a realism that claimed to depict the everyday but ultimately aimed at something exceptional.

Humanity has witnessed wide-scale, often systematic terror throughout its history. Ordinary people subjected to extraordinary circumstances have become perpetrators, bystanders or victims of crimes – these distinctions not always being crystal clear. Among the most notable of such examples is the approximately three decade long conflict in Cambodia, under the Khmer Rouge. Pol Pot’s name is what most people would think of when discussing Khmer Rouge rule, however, he was but one of the several key figures responsible for the orchestration of mass cleansing and political reformation within the country. Journalist Nic Dunlop journeys into the depth of Cambodia to find prison commandant ‘Comrade Duch’ who alone was responsible for the death of tens of thousands of people. Dunlop’s aim in the book is thus to shed light to three largely important questions: to discover “how” and “why” the ordinary person Duch was had come to be one of the most infamous mass murderers of the 20 th century; and last but not least, how the world could have allowed this atrocity to happen on their watch.

The South African artist Johannes Phokela (born in Soweto in 1966) conjures up a picaresque imaginary world and mischievously plays a game of hide and seek with spectators, by linking source materi...

The present research examined the effects of information sharing about self-interest and group membership of the negotiation partner on negotiation cognitions, behaviors and outcomes. Study 1 (n = 77) showed that in anticipation of the negotiation, participants placed more trust in an in-group member, and were more willing to exchange information with a negotiation partner who revealed his/her self-interest. Study 2 (n = 80) examined how these effects influenced the development of attitudes and behavior during and after the negotiation. Results showed that negotiations with in-group members were more cooperative when they shared, rather than not shared, information about underlying self-interest. By contrast, negotiations with out-group members were more cooperative when they did not share, rather than shared, information about their underlying self-interest. Copyright © 2006 John Wiley & Sons, Ltd.

On a day such as this it will have been the case that Jessie has tripped and skinned her knee. Later, she will say, "It's because of the way the sun was chasing the clouds. I looked up to see, and tripped." She will say, "I love days like that, the in and out of sun and clouds, shadow and light." She will say, "My Band-Aid had butterflies on it." And maybe this happened a long time ago, and maybe it will hap pen in the future. There were tears in Jessie's eyes as she hunkered for a long time on the sidewalk, blowing?puff, puff, puff?on her knee. If she went home, Jessie knew that her mother would paint the scrape with mercurochrome or iodine, something orange or blue berry-colored, something that stung like the dickens. Jessie knew that she herself would scream and scream, causing such a scene that her mother would send her to her room to calm down, which by then would be difficult for her. Jessie felt very calm right now, and that's how she wanted to stay. She blew and blew?puff, puff, puff? on her knee, as the clouds and the sun played hide and seek high above and shadows passed over her here below on earth. This was when Jessie was five. By the time she was a woman, Jessie had developed exquisite cau tion. It didn't happen overnight, not like once she tripped and after that always looked both ways to cross the street or paid close atten tion to such things as not walking under ladders or stepping on cracks, the carefulness was not immediate like that. But there was a begin ning to it, perhaps even that one day she scraped her knee, as Jessie grew increasingly alert throughout her childhood and young adult hood to the sorry fact that the world was a sad and dangerous place. But she also once kicked a loose mound of dirt at a neighborhood house construction project, expecting it to collapse in a poofy cloud

Deliberate deceptiveness intended to gain an advantage is commonplace in human and animal societies. In a social dilemma, an individual may only pretend to be a cooperator to elicit cooperation from others, while in reality he is a defector. With this as motivation, we study a simple variant of the evolutionary prisoner's dilemma game entailing deceitful defectors and conditional cooperators that lifts the veil on the impact of such two-faced behavior. Defectors are able to hide their true intentions at a personal cost, while conditional cooperators are probabilistically successful at identifying defectors and act accordingly. By focusing on the evolutionary outcomes in structured populations, we observe a number of unexpected and counterintuitive phenomena. We show that deceitful behavior may fare better if it is costly, and that a higher success rate of identifying defectors does not necessarily favor cooperative behavior. These results are rooted in the spontaneous emergence of cycling dominance and spatial patterns that give rise to fascinating phase transitions, which in turn reveal the hidden complexity behind the evolution of deception., Comment: 16 pages, 8 figures; accepted for publication in New Journal of Physics

Art practice and gallery visiting have been discussed in the context of ‘play’ by cultural theorists, anthropologists, psychologists, art historians and artists alike. Nicolas Bourriaud in his seminal book Relational Aesthetics (2002) asserts that, ‘artistic activity is a game,’1 while Michael Baxandall noted in 1991 that each of the three elements essential to the artistic encounter – the artist, artwork and viewer – ‘is playing […] a different game in the field.’2 Since the 1960s, art has continued to challenge the viewer in their role as mere ‘beholder,’ encouraging playful interaction between artist, artwork and audience. Contextualised at the outset through Tacita Dean’s Trying to Find the Spiral Jetty,3 this chapter considers those artworks which incorporate elements of chance, and which present a ‘hide and seek’ pursuit on the part of the viewer, mediated through the works’ specific material properties and manner of display. It explores a selection of artworks whose conceptual identity is underpinned by – and vacillates between – their state of being ‘hidden’ or ‘concealed’, and/or ‘revealed.’ They are works which entice the viewer to participate in a journey of discovery evocative of a treasure-hunt, while also enabling the possibility that the works might be discovered through an ‘act of folly.’4 Here, the artistic encounter pivots between the incidental and intentional, and the artwork-audience relationship is made to acknowledge its own playful performativity.

If the size of a space is measured by counting the number of places available for a particular activity, rather than by using an absolute measure such as the square metre, then small people may find the world larger. Size measured by number of places becomes a function of the size of the user, and the form of this function suggests that the everyday environment has a fractal dimension, a single number which may be associated with architectural qualities. This measure was tested with an experiment based on children playing hide and seek and was used to explain some illusions of perception of size.

A cross-sectional study investigated the development of search for objects that differed in animism (people vs. toys) and familiarity (mother vs. stranger, laboratory vs. home toy) in 37 infants at 6, 8 and 10 months. In different conditions, the objects either were (a) visible only prior to hiding, (b) audible during hiding, or (c) visible and audible prior to hiding, and then audible during hiding. Analyses of successful performance (criterion) and length of time infants took to reach criterion (latency) revealed the following. When infants were required to search for their mothers who interacted with them in a game of hide and seek, they performed better then when they were required to search for strangers or inanimate objects under similar conditions, especially during condition (c)

Art may be viewed as fetish, in that it forces meaning on a chaotic world — a dynamic which is briefly illustrated in this article by means of Pablo Picasso’s famous painting, Les Demoiselles d’Avignon. Similarly, translations of the biblical texts, which result from very complex processes, may be viewed as fetishes. Translation thus requires a process of deducing and reducing meaning from relative chaos. A proper view of the nature of the Bible text and the theoretical load of exegetical and translation activities must be cultivated among lay translation users, particularly in our age of rising fundamentalisms. To this end, five suggestions are offered. This view affords Bible translators a more balanced status, namely one of humanity with dignity, than is at times found in some popular circles which regard Bible translators with severe suspicion.

On a recent road trip, my family and I were playing oral word games to pass the time. During one of these games, where someone states a word and the next person has to think of a new word that starts with the last letter of the previous word, my turn came up and I considered words that began with ‘e.’ The draft for this chapter was taking shape, and the word ‘environment’ came to mind. I stopped the game just briefly, and turned to my 9-year old daughter who is in an SWH classroom. To my question, “how would you define environment?” she responded: “Where something lives. There can be different kinds of environments, like jungles or deserts, and animals and plants live in certain ones because of special parts they have that help them live there.” Adding his thoughts to the discussion, my 11-year old son stated that an environment is “a place where you have everything you need to grow and survive.” Probing further, I asked my daughter to describe her classroom environment and she shared the following: “Well, a classroom is where humans work together to learn things.

Is there a specific lesbian theatre aesthetic? If so, is butch and femme at the heart of it? Or androgyny? Or the freedom-confinement dynamic? Or, on another level, distancing role from ‘essential being’, and ‘woman’ and ‘man’ as social constructs from male and female as biological entities? By focusing on a number of lesbian texts, including her own work, Nina Rapi explores both the theory and practice of an emerging aesthetic that reveals the ‘performance of being’, seeking to ‘shift the axis of categorization’, and so to create a new and exciting theatre language. Nina Rapi is a playwright and translator whose theatre work includes Ithaka (Riverside Studios, June 1989; Link Theatre, staged readings, April 1992; published in Seven Plays by Women, 1991), Critical Moments, a trilogy of shorts (Soho Poly Theatre, June 1990), Johnny Is Dead (First One Person Play Festival, Etcetera Theatre, March 1991), Dreamhouse (Oval House and Chat's Palace, April-May 1991), Dance of Guns (touring production, including King's Head and Jackson's Lane Theatres, April-May 1992), and Dangerous Oasis (Finborough, March 1993).

In this paper we examine the reasons for the 12 editorial collection of the danish Jyllands Posten in 2005 is not and could not be considered as an insult to the Muslim world. As a result any kind of appeasement like the apology of the Politiken newspaper on 2010 does nothing more than to magnify the problem by admitting and imposing self censorship. There is a great need to redefine what we call freedom of speech and make clear that respect and tolerance do not imply deprivation of our most basic freedom the one to criticize and articulate our opinions freely. Appeasement is just covering the real issue. Instead of appeasement honest dialogue between mature parts is proposed by the article and not a “hide and seek game” that harms both sides and leads to a clash of cultures.

In the opening scene of SIGNS (2002), Graham (Mel Gibson) is startled awake. He sits up in bed, stands in the bathroom doorway, holds his toothbrush in his mouth. He presses his ear against the children’s bedroom door. Surprised, inquisitive. What is he doing? We don’t know. What is happening? He himself would not be able to explain. Graham has been summoned by “something” he doesn’t know. He is not even sure that there is“something” or that there could be a sign. But the order of things has been disrupted and his intelligence has been set in motion. The pajamas, the bare feet, the toothbrush, the hurry in his movements all give Graham an air of bewilderment yet focus, like a child playing hide and seek or “red light, green light.” Man on the lookout. Man at play. Man being played. Man watching. Man being watched. The film can now begin.

This chapter provides information about the games i.e., girls' hide and seek, and the hat game. Two girls would strike the hand of one another and one would run off. When they struck her hand, she would run off and enter into the hole. Then she would come out and go elsewhere and then go to some other place. The other girl has to follow after her. Every place that she goes to and enters, the other has to follow after her. If she makes a mistake, she sits down. They play this game for fun. Men play hat game with a hat. They put it on the ground and played with it with their feet.Keywords: hat game; hide and seek

Author(s): Crawford, Vincent P.; Iriberri, Nagore | Abstract: "Hide-and-seek" games are Zero-sum two-person games in which one player wins by matching the other's decision and the other wins by mismatching. Although such games are often played on cultural or geographic "landscapes" that frame decisions nonneutrally, equilibrium ignores such framing. This paper reconsiders the results of experiments by Rubinstein, Tversky, and others whose designs model nonneutral landscapes, in which subjects deviate systematically from equilibrium in response to them. Comparing alternative explanations theoretically and econometrically suggests that the deviations are well explained by a structural nonequilibrium model of initial responses based on "level-k" thinking, suitably adapted to nonneutral landscapes.

I recently bought a new car. I knew exactly the car I wanted and there are three dealers within easy reach of my home. I began the task of visiting all the dealers to see what they had on offer. My first visit was to the dealer I bought my last car from. For those of you who read our last book you will know that they annoyed me during one of my car services and I wasn’t really predisposed to giving them any further business. My visit to them just confirmed this. The second dealer was all over me. I hated it as she didn’t leave me alone and I felt under pressure. With the third dealer, because of my last experience, I managed to stay out of the way of the salesman; it was a bit like playing hide and seek! I looked at the car I wanted, checked out the leg room, and so on, and decided that this was the one for me. The only decision now was what dealer and what price. This is where I passed the responsibility over to David Ive, our CFO. As the car was in short supply, none of the dealers would negotiate on price which created a very equal playing field, with price taken out of the equation. David was impressed with the dealer based in Milton Keynes, and his contact Peter. He decided to put a deposit down with them.

How do children learn how to play hide and seek? At age 3-4, children do not typically have perspective taking ability, so their hiding ability should be extremely limited. We show through a case study that a 3 1/2 year old child can, in fact, play a credible game of hide and seek, even though she does not seem to have perspective taking ability. We propose that children are able to learn how to play hide and seek by learning the features and relations of objects (e.g., containment, under) and use that information to play a credible game of hide and seek. We model this hypothesis within the ACT-R cognitive architecture and put the model on a robot, which is able to mimic the child's hiding behavior. We also take the "hiding" model and use it as the basis for a "seeking" model. We suggest that using the same representations and procedures that a person uses allows better interaction between the human and robotic system.

Collins’s Hide and Seek (1854), is a valuable contribution to the Victorian debate on popular entertainment, punctuated as it is by references to the circus, the music hall and the painting exhibition. Leisure appears to be a crucial issue for the author: himself a great entertainer and the father-to-be of the sensation novel, he aimed to gain access to the booming reading market of the 1850s-60s without giving up his literary ambitions. The detailed analysis of amusement he carries out in Hide and Seek is a significant step in the accomplishment of his objective, paving the way to the rise of sensation fiction, which, he seems to imply, was the recreation, both amusing and instructing, the Victorian cross-class audience was in need of.

A robot that tricks its opponent in a game of hide and seek is a step towards machines that can intuit our thoughts, intentions and feelings