Study on the philosophy of Sanskrit grammar in Vākyapadīya of Bhartr̥hari.

Entrepreneurs often express their reliance on intuition for several types of decisions while labelling its source somewhere hidden in a black box of our mind. Such expressions leads us to the exploration of the concept of intuition in the field of spirituality as this field addresses the inner aspects of our mind. Therefore this paper embeds intuition in the domain of spirituality for understanding entrepreneurs’ use of intuition. It examines the following questions. What is spirituality? Where do the fields of (...) spirituality and entrepreneurship meet? What is the place of intuition in the literature on entrepreneurship? What could be the epistemology on intuition as part of spirituality? What is intuition? How is intuition acquired? What do people know about their intuition? How do we know what we know about intuition? What is the potential role of intuition in disciplines such as education? For understanding the concept of intuition a philosophical base has been followed, inspired by the teachings of Sri Aurobindo on types of knowledge and levels of consciousness. The use of intuition is somewhat subjective as it stems not from the analytical mind, nor the subconscious mind, but from higher consciousness. Intuition therefore has been considered as a holistic spiritual approach to facilitate entrepreneurial processes and activities through a coping style to manage external stimuli and as a core training part in the process of entrepreneurship so that it works as an internal resource in all entrepreneurial processes. (shrink)

There is emerging evidence to demonstrate the efficacy of music based interventions for improving social functioning in children with Autism Spectrum Disorders (ASD). While this evidence lends some support in favour of using song over spoken directives in facilitating engagement and receptive intervention in ASD, there has been little research that has investigated the efficacy of such stimuli on socio-communicative responsiveness measures. Here, we present preliminary results from a pilot study which tested whether sung instruction, as compared to spoken directives, (...) could elicit greater number of socio-communicative behaviours in young children with ASD. Using an adapted single-subject design, three children between the ages of 3 and 4 years, participated in a programme consisting of 18 sessions, of which 9 were delivered with spoken directives and 9 with sung. Sessions were counterbalanced and randomized for three play activities - block matching, picture matching and clay play. All sessions were video-recorded for post-hoc observational coding of three behavioural metrics which included performance, frequency of social gesture and eye contact. Analysis of the videos by two independent raters indicated increased socio-communicative responsiveness in terms of frequency of social gesture as well as eye contact during sung compared to spoken conditions across all participants. Our findings suggest that sung directives may play a useful role in engaging children with ASD and also serve as an effective interventional medium to enhance socio-communicative responsiveness. (shrink)

Musical prodigies reach exceptionally high levels of achievement before adolescence. Despite longstanding interest and fascination in musical prodigies, little is known about their psychological profile. Here we assess to what extent practice, intelligence, and personality make musical prodigies a distinct category of musician. Nineteen former or current musical prodigies were compared to 35 musicians with either an early or late start but similar amount of musical training, and 16 non-musicians. All completed a Wechsler IQ test, the Big Five Inventory, the (...) Autism Spectrum Quotient, the Barcelona Music Reward Questionnaire, the Dispositional Flow Scale, and a detailed history of their lifetime music practice. None of the psychological traits distinguished musical prodigies from control musicians or non-musicians except their propensity to report flow during practice. The other aspects that differentiated musical prodigies from their peers were the intensity of their practice before adolescence, and the source of their motivation when they began to play. Thus practice, by itself, does not make a prodigy. The results are compatible with multifactorial models of expertise, with prodigies lying at the high end of the continuum. In summary, prodigies are expected to present brain predispositions facilitating their success in learning an instrument, which could be amplified by their early and intense practice happening at a moment when brain plasticity is heightened. (shrink)