Face In Crowd Research Articles

Stereoselective reduction, methylation, and phenylation of the 13-carbonyl group in chlorophyll derivatives

Regioselective reduction of the 13-carbonyl group on the five-membered exo-ring of methyl pyropheophorbide-a, one of the chlorophyll-a derivatives, with sodium borohydride gave an epimeric mixture of (131R/S)-hydroxy-chlorins. The stereoselectivity was controlled by the steric effect of the (17S)-methoxycarbonylethyl group to afford the (131S)-rich secondary alcohol (25% de). The use of sterically large lithium tri(sec-butyl)borohydride as the reductant enhanced the stereoselectivity to 55% de. The regio- and stereoselective methylation and phenylation of the 13-CO of pyropheophorbide-a were observed using methyl and phenyl lithium, respectively. The major diastereomer of the tertiary alcohols obtained had the same configuration at the 131-stereogenic center as in the reduced product. All of the anion species (H−, CH3−, and C6H5−) favorably attacked the 131-carbon atom from the reverse side of the 17-propionate residue, that is, the less sterically crowded face of the 13-CO plane.

Control of Regioselectivity and Stereoselectivity in (4 + 3) Cycloadditions of Chiral Oxyallyls with Unsymmetrically Disubstituted Furans

The regioselectivities and stereoselectivities of ZnCl2-catalyzed (4 + 3) cycloadditions between chiral oxazolidinone-substituted oxyallyls and unsymmetrical disubstituted furans have been determined. The substitution pattern on the furan is found to provide a valuable tool for controlling the stereochemistry (endo-I or endo-II) of the 7-membered cycloadduct. While cycloadditions with monosubstituted furans usually favor endo-I products, from addition of the furan to the more crowded face of the oxyallyl, cycloadditions with 2,3- and 2,5-disubstituted furans instead favor the endo-II stereochemistry. Density functional theory calculations are performed to account for the selectivities. For monosubstituted furans, the crowded transition state leading to the endo-I cycloadduct is stabilized by an edge-to-face interaction between the furan and the oxazolidinone 4-Ph group, but this stabilization is overcome by steric clashing if the furan bears a 2-CO2R group or is 2,3-disubstituted.

Stereoselectivities and Regioselectivities of (4 + 3) Cycloadditions Between Allenamide-Derived Chiral Oxazolidinone-Stabilized Oxyallyls and Furans: Experiment and Theory

A systematic investigation of the regioselectivities and stereoselectivities of (4 + 3) cycloadditions between unsymmetrical furans and a chiral oxazolidinone-substituted oxyallyl is presented. Cycloadditions were performed using an oxyallyl containing a (R)-4-phenyl-2-oxazolidinone auxiliary (2(Ph)), under either thermal or ZnCl(2)-catalyzed conditions. Reactions of 2(Ph) with 2-substituted furans gave syn cycloadducts selectively, while cycloadditions with 3-substituted furans gave selectively anti cycloadducts. The stereoselectivities were in favor of a single diastereoisomer (I) in all but one case (2-CO(2)R). Density functional theory calculations were performed to explain the selectivities. The results support a mechanism in which all cycloadducts are formed from the E isomer of the oxyallyl (in which the oxazolidinone C═O and oxyallyl oxygen are anti to each other) or the corresponding (E)-ZnCl(2) complex. The major diastereomer is derived from addition of the furan to the more crowded face of the oxyallyl. Crowded transition states are favored because they possess a stabilizing CH-π interaction between the furan and the Ph group.

Searching a face in the crowd:

Searching a face in the crowd:

Ambient Anomie in the Virtualised Landscape? Autonomy, Surveillance and Flows in the 2020 Streetscape

Ambient Anomie in the Virtualised Landscape? Autonomy, Surveillance and Flows in the 2020 Streetscape

A crowded face influences the ensemble representation of a set of faces

A crowded face influences the ensemble representation of a set of faces

Stereoselectivity in oxyallyl–furan (4 + 3) cycloadditions: control of intermediate conformations and dispersive stabilisation in cycloadditions involving oxazolidinone auxiliaries

Chiral oxazolidinones were previously thought to control cycloaddition stereoselectivity by steric crowding of one face of the substrate. We have discovered that in 4+3 cycloaddition reactions of oxallyls, the stereoinduction is caused instead by stabilising CH-π interactions that lead to reaction at the more crowded face of the oxazolidinone. Density functional theory calculations on the 4+3 cycloadditions of oxazolidinone-substituted oxyallyls with furans establish unexpected transition state conformations and a new explanation of selectivity.

Emotional faces in neutral crowds: Detecting displays of anger, happiness, and sadness on schematic and photographic images of faces

Detection of angry, happy and sad faces among neutral backgrounds was investigated in three single emotion tasks and an emotion comparison task using schematic (Experiment 1) and photographic faces (Experiment 2). Both experiments provided evidence for the preferential detection of anger displays over displays of other negative or positive emotions in tasks that employed all three target emotions. Evidence for preferential detection of negative emotion in general was found only with schematic faces. The present results are consistent with the notion that the detection of displays of anger, and to some extent sadness, does not reflect on a pre-attentive mechanism, but is the result of a more efficient visual search than is the detection of positive emotion.

A Face in the Crowd

Is our remarkable ability to recognize human faces hardwired in the brain or a result of lots of practice?

Studies on the reduction and reductive alkylation of amino acid-derived spirocyclic 2,6-dioxopiperazines

The regio- and diastereoselective reduction and reductive alkylation of 3-spiro-2,6-dioxopiperazines are described via a two-step process, which involves addition of NaBH 4 or Grignard reagents, followed by TFA-mediated dehydration with a second NaBH 4 addition. The results show that the reactivity of 2,6-dioxopiperazines is limited by their steric hindrance and by the volume of the nucleophile, which preferably add to the C 6 carbonylic carbon with complete diastereoselectivity. The diastereoselectivity of the first step is mainly governed by electronic factors, which direct the addition of the nucleophile from the most hindered face, while in the second step, the NaBH 4 attacks from the less crowded face. This second step proceeds with partial or complete racemization.

Faces in the crowd

Faces in the crowd

You're not just another face in the crowd.

You're not just another face in the crowd.

Levels of Disclosure: Voices and People in Henry James's 'Italian Hours'

ABSTRACT The formal subject matter of James's Italian Hours encompasses the great names of art and history and the details of a familiar topography. But the reflective voice which emerges within the text identifies living faces in a crowd, individuals observed, friends preserved in anonymity, insights reaching towards narrative completion. Levels of intimacy range from the most cheerfully impersonal--the humorous American deliberately New World values, to a more veiled treatment of relations and friends whose rooms and villas surrender the detail of their own lives. The most revealing half-spoken longings for strangers, handsome and anonymous, reveal a James whose strength of desire is betrayed by a more searching and intuitive register often at odds with the more self-conscious urbanity of the professional essayist. ********** The single-volume unity of Italian Hours contains in reality a mixed collection of essays spanning much of James's writing life. Many pieces were printed between 1870 and 1874, before any of the important fiction, others are of the 1880s and the later additions for the 1909 volume are sustained by the interpretative complexities, the evaluating personality of the observer. In fact the unifying impetus for the reader lies in constructing the voice of that often idiosyncratic and highly informed aesthetic judgement. The sequence of essays follows no chronology and even the geographical ordering--much dwelling upon Venice and a movement southwards as far as Naples with a return to Tuscany--is (unlike Goethe's Italienische Reise) arbitrary. Thus are compacted and ordered the impressions of fourteen visits to Italy gathered across a lifetime. In a process that is simply not available in the fiction, James assumes a number of voices, one self-conscious and reflective of an awareness of a public assumed through trivial but gratifying assertions, another evoking membership of a socially exclusive elite, distinguished by position and privilege and echoing with celebrated historical names and memories. And finally there is the observer of human beauty suggesting a longing that could, if recognized, be only heterosexually modified and was, in any case, more likely to be sublimated into a desire for place rather than people. In such moments of semi-disclosure the authority of shared assumptions and history is lost. Everything is individual, private yet unswervingly coherent. I If the tones of this last, most private speaker are tentative, even abject, the contrasting voice that reinforces norms speaks directly to a specific, known audience, an America represented by the predominantly liberal and New England readers of the New York Nation and the Atlantic Monthly. James was familiar to the Nation subscribers who would have known his sketches of American life in Rhode Island, Vermont, and New York as well as Canada. W. D. Howells requested similar material for the Boston Atlantic Monthly and would later publish Roderick Hudson in serial form in 1875. James was writing for those who, if they had not visited Europe, might conceivably do so: his fellow Americans, it might not need saying, if James had not later detached himself from this tradition. There is an identity established in these pages, constructed on public items of experience (as well as a more subjective discourse), neither strident nor naive, often contained within a rhetorical flourish in an arch, self-deprecatory, even paternalistic way. Quincy Street, Cambridge, Massachusetts was still home for the young writer, however reluctant his residency and there was no reason why he should not have become a 'Boston man of letters'. (1) This referential framework is absent from the short stories of these years. In the freer half-narrative, half-speculative discourse of Italian Hours American place-names offer some secure, confirming hold for the reader and they suggest James's continuingly (for the time) 'new-world eyes'. …

The face in the crowd revisited: A threat advantage with schematic stimuli.

The face in the crowd revisited: A threat advantage with schematic stimuli.

Virtual stampede sees faces in crowd

Science NewsVolume 158, Issue 14 p. 215-215 This Week Virtual stampede sees faces in crowd Laura Sivitz, Laura SivitzSearch for more papers by this author Laura Sivitz, Laura SivitzSearch for more papers by this author First published: 01 July 2009 https://doi.org/10.2307/4018668AboutPDF ToolsRequest permissionExport citationAdd to favoritesTrack citation ShareShare Give accessShare full text accessShare full-text accessPlease review our Terms and Conditions of Use and check box below to share full-text version of article.I have read and accept the Wiley Online Library Terms and Conditions of UseShareable LinkUse the link below to share a full-text version of this article with your friends and colleagues. Learn more.Copy URL Share a linkShare onFacebookTwitterLinkedInRedditWechat No abstract is available for this article. Volume158, Issue1430 September 2000Pages 215-215 RelatedInformation

The Policeman as Worker: A Comparative Survey c. 1800–1940

In the exciting new social history of the 1960s the concept of class struggle tended to underpin much of the work on the working class in general, and on various labour groups in particular. Historians sought to find faces in crowds and to rescue others from “the enormous condescension of posterity”. The police, however, when they appeared in this history, were usually as nameless and faceless as the crowds had been previously. They were also commonly portrayed as oppressors, and even in the more perceptive and ground-breaking attempts to explore the police themselves, they were seen through the refracted lens of their working-class critics as “blue locusts” and as a bourgeois instrument for controlling a new society. Parallel research conducted at roughly the same time by sociologists, social psychologists and others developed theoretical perspectives based on two assumptions: first, that certain kinds of authoritarian personality were attracted to police careers, and second, that policing roles had predictable effects on the behaviour and personality of policemen. Subsequent research has suggested these assumptions to be largely unfounded, yet in this respect also, historical explorations of policemen as workers remain few.

The Faces in Lonesome's Crowd: Imaging the Mass Audience in A Face in the Crowd

The Faces in Lonesome's Crowd: Imaging the Mass Audience in A Face in the Crowd Courtney Maloney In 1958, Raymond Williams asked readers: "who are the masses?" Williams had two answers. First he asserted that, "in practice," in the specific location of mid-century British society, the masses "can hardly be other than the working people." At the same time, however, Williams notes the emergence of the use of the term "mass" as one of opprobrium, and observes: "The masses are always the others, whom we don't know, and can't know." Ultimately, Williams comes to the conclusion that there are no masses, "there are only ways of seeing people as masses" (299-300). I begin this study of Λ Face in the Crowd with Williams' ruminations on the term "masses" because the three ways of thinking about "masses" he outlines suggest the issues at stake in reading a film which makes a representation of a mass audience of television central to its narrative . Director Elia Kazan and screenwriter Budd Schulberg collaborated closely on A Face in the Crowd, a film conceived by both of them as "a warning to the American people" about the dangerous power of television to manipulate a mass audience (qtd. in Neve, Film and Politics 197). A Face in the Crowd does indeed make a number of sharp critiques of the television industry's ability to sway public opinion, focusing especially on its propensity to allow the control exerted by advertising sponsors to influJNT : Journal of Narrative Theory 29.3 (Fall 1999): 251-277. Copyright © 1999 by JNT: Journal of Narrative Theory. 252 JNT ence the political realm. In order to make this point, the filmmakers' characterization of television's mass audience relies on assumptions corresponding to Williams' first two formulations of "the masses" (that is, as working people and as other people), and simultaneously enacts a process of "seeing people as masses." Here, "the masses" carries its negative, dismissive connotation. In Culture and Society, Williams critiques the common discursive elision of "masses" as the majority and "masses" as the mob, noting that such references projected the majority of the population as a threat to culture and democracy. On the contrary, Williams argues, it is this use of the terms "masses" and "mass" as a label of opprobrium which is anti-democratic (297-300). The idea of "the masses" in Williams' discussion is contrasted with that of "community," and especially the foundation of community embodied in working-class institutions and organizations: the ethic of solidarity (328). Although in Culture and Society "mass" and "solidarity" are contrasting ways of conceiving of the social aggregate, in Keywords, Williams acknowledges the positive sense of "mass" as "directly comparable to solidarity. It was when the people acted together, 'as one man,' that they could effectively change their condition" (194). Reflected in Williams' treatment of "masses" is the term's polysemy: one usage with dismissive and demeaning connotations, and another to describe a collective of people with social agency. A Face in the Crowd represents "the masses" in the form of a television audience possessing intriguing hints of an agency which is ultimately undermined. Most critics, such as Thomas H. Pauly, Lloyd Michaels, and John Yates, for example, agree that the film portrays the television-viewing public as a mass of gullible dupes. None, however, have looked closely at the nature of this representation: the imaging of the mass audience as specifically working-class, and the ways some of the responses of this fictional audience to its TV idol could be interpreted as acts of power and resistance. It is worth tracing these ambiguities to show how this film, so often dismissed for what Pauly calls Kazan's "overblown styling" (220), reflected the contest of meaning in the polysemous term "masses." In the end, however, the force of the narrative carries the negative sense. The actions of the TV audience are moot; "the masses" that Kazan and Schulberg imagine are indeed powerless as well as duped. The Faces in Lonesome's Crowd 253 Why does A Face in the Crowd represent the "mass audience" the way it does? One way of answering this question would be to look at...

Cycloaddition-Rearrangement Sequence of 2-Amido Substituted Furans as a Method of Synthesizing Hexahydroindolinones.

A convenient synthesis of various substituted hexahydroindolinones has been achieved by an intramolecular Diels-Alder cycloaddition (IMDAF) reaction of 2-amido substituted furans. The initially formed [4 + 2] cycloadduct undergoes nitrogen-assisted ring opening followed by deprotonation of the resulting zwitterion to give the rearranged ketone. The stereochemical outcome of the IMDAF cycloaddition has the sidearm of the tethered alkenyl group oriented syn with respect to the oxygen bridge. The reaction rate and product yield were found to be markedly dependent upon the electronic properties of the alkenyl pi-bond. 2-[2-(tert-Butoxycarbonylfuran-2-yl-amino)ethyl]acrylic acid methyl ester was synthesized from 3-chlorocarbonyl-but-3-enoic acid methyl ester. Thermolysis of the carbomethoxy activated furanamide occurred at 80 degrees C to produce a rearranged hexahydroindolinone. When Me(3)Al or (MeO)(3)Al was used as a Lewis acid to promote the cycloaddition, a rearranged alcohol was obtained. The initially formed [4 + 2] cycloadduct undergoes ring opening in the presence of the Lewis acid, and the resulting aluminum intermediate delivers the substituent group from the same face as the neighboring oxygen to ultimately furnish a rearranged cis-alcohol. In contrast to this result, a mixture of diastereomeric methoxy alcohols was isolated when the IMDAF cycloaddition was carried out in methanol. The major isomer corresponds to the trans-diastereomer that results from trapping of the iminium ion from the less crowded face of the pi-bond.

Attentional Biases for Facial Expressions in Social Phobia: The Face-in-the-Crowd Paradigm

The present study examines the attentional bias hypothesis for individuals with generalised social phobia (GSPs). Socially phobic individuals were hypothesised to exhibit attentional bias towards threat stimuli relevant to interpersonal situations. This hypothesis was tested using the face-in-the-crowd paradigm. GSPs and nonanxious controls (NACs) detected an angry, happy, neutral, or disgust target face in a crowd of 12 distracter photographs. Results indicated that, compared to NACs, GSPs exhibited greater attentional biases for angry than for happy faces in a neutral crowd. GSPs were more slowed down in their performance by happy and angry versus neutral distracters; NACs did not exhibit such sensitivity to distracter type. Finally, GSPs were faster in detecting anger than disgust expressions; NACs detected both types of faces equally quickly. Implications of these findings for the maintenance of social phobia are discussed.

A face in the crowd.

A face in the crowd.