507 resultados para Stowell, Chris


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Plasma polymerisation is an effective tool for fabrication of thin films from volatile organic monomers. RF plasma assisted deposition is used for one-step, chemical-free polymerisation of nonsynthetic materials derived directly from agricultural produces. By varying the deposition parameters, especially the input RF power, the film properties can be tailored for a range of uses, including electronics or biomedical applications. The fabricated thin films are optically transparent with refractive index close to that of glass. Given the diversity of essential oils, this paper compares the chemical and physical properties of thin films fabricated from several commercially exploited essential oils and their components. It is interesting to note that some of the properties can be tailored for various applications even though the chemical structure of the derived polymer is very similar. The obtained material properties also show that the synthesised materials are suitable as encapsulating layers for biodegradable implantable metals.

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Delayed-onset muscle soreness, or ‘DOMS’, affects many people after exercise and can impair future performance. It usually peaks one to four days after exercise and several strategies are used to overcome it. The effectiveness and safety of many of these strategies applied and promoted is unknown.

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- Objectives To identify the psychological effects of false-positive screening mammograms in the UK. - Methods Systematic review of all controlled studies and qualitative studies of women with a false-positive screening mammogram. The control group participants had normal mammograms. All psychological outcomes including returning for routine screening were permitted. All studies had a narrative synthesis. - Results The searches returned seven includable studies (7/4423). Heterogeneity was such that meta-analysis was not possible. Studies using disease-specific measures found that, compared to normal results, there could be enduring psychological distress that lasted up to 3 years; the level of distress was related to the degree of invasiveness of the assessment. At 3 years the relative risks were, further mammography, 1.28 (95% CI 0.82 to 2.00), fine needle aspiration 1.80 (95% CI 1.17 to 2.77), biopsy 2.07 (95% CI 1.22 to 3.52) and early recall 1.82 (95% CI 1.22 to 2.72). Studies that used generic measures of anxiety and depression found no such impact up to 3 months after screening. Evidence suggests that women with false-positive mammograms have an increased likelihood of failing to reattend for routine screening, relative risk 0.97 (95% CI 0.96 to 0.98) compared with women with normal mammograms. - Conclusions Having a false-positive screening mammogram can cause breast cancer-specific distress for up to 3 years. The degree of distress is related to the invasiveness of the assessment. Women with false-positive mammograms are less likely to return for routine assessment than those with normal ones.

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Objectives In 2012, the National Institute for Health and Care Excellence assessed dasatinib, nilotinib, and standard-dose imatinib as first-line treatment of chronic phase chronic myelogenous leukemia (CML). Licensing of these alternative treatments was based on randomized controlled trials assessing complete cytogenetic response (CCyR) and major molecular response (MMR) at 12 months as primary end points. We use this case study to illustrate the validation of CCyR and MMR as surrogate outcomes for overall survival in CML and how this evidence was used to inform National Institute for Health and Care Excellence’s recommendation on the public funding of these first-line treatments for CML. Methods We undertook a systematic review and meta-analysis to quantify the association between CCyR and MMR at 12 months and overall survival in patients with chronic phase CML. We estimated life expectancy by extrapolating long-term survival from the weighted overall survival stratified according to the achievement of CCyR and MMR. Results Five studies provided data on the observational association between CCyR or MMR and overall survival. Based on the pooled association between CCyR and MMR and overall survival, our modeling showed comparable predicted mean duration of survival (21–23 years) following first-line treatment with imatinib, dasatinib, or nilotinib. Conclusions This case study illustrates the consideration of surrogate outcome evidence in health technology assessment. Although it is often recommended that the acceptance of surrogate outcomes be based on randomized controlled trial data demonstrating an association between the treatment effect on both the surrogate outcome and the final outcome, this case study shows that policymakers may be willing to accept a lower level of evidence (i.e., observational association).

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We describe a novel approach to treatment planning for focal brachytherapy utilizing a biologically based inverse optimization algorithm and biological imaging to target an ablative dose at known regions of significant tumour burden and a lower, therapeutic dose to low risk regions.

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This talk gives an overview of the project "Uncanny Nature", which incoporates a style of animation called Hybrid Stop Motion, that combines physical object armatures with virtual copies. The development of the production pipeline (using a mix of Blender, Dragonframe, Photoscan and Arduino) is discussed, as well as the way that Blender was used throughout the production to visualise, model, animate and composite the elements together.

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The session examines the role of the metaphysical and physical in art and animation and how this relates to natural spaces. Soviet Russian film director and theorist Sergei Eisenstein saw animation as possessing an ability called “plasmaticity”, the capacity for a being to assume any conceivable form dynamically. He saw each being as “primordial protoplasm, not yet possessing a ‘stable’ form, but capable of assuming any form” (Eisenstein 1989, 21). He was enamoured by the capacity of animation to transform and be liberated, of being able to escape from a fixed and static identity—to embody a "rejection of the once-­‐and-­‐forever allotted form" in which we are held (Eisenstein 1989, 21). Czech Surrealist animator Jan Švankmajer uses a metaphysical approach based on a belief in animism to art and animation. He believes that objects possess a conscious life or spirit, he says ‘Objects conceal within themselves the events they’ve witnessed. I don’t actually animate objects. I coerce their inner life out of them.’ (Švankmajer in Imre 2009, 214) In this animistic world there are no boundaries or rules, no physical or conceptual restrictions; anything is possible, with inanimate objects and places able to become animate and transact in a conscious relationship with humans and each other. This session invites artists, animators and theorists to discuss their conceptions and approaches to using visuals to promote and provoke transformation.

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This paper discusses my current research which aims to re-member the site of the Peel Island Lazaret through re-imagining the Teerk Roo Ra forest as a series of animated artworks. Teerk Roo Ra National Park (formally known as Peel Island) is a small island in Moreton Bay, Queensland and is visible on the ferry journey from Cleveland to Stradbroke Island. The island has an intriguing history, and is the site of a former Lazaret and quarantine station. The Lazaret treated patients diagnosed with Hansen’s disease (or Leprosy), and operated between 1907 and 1959. In this paper I will discuss conceptions of the non-indigenous historical context of the Peel Island Lazaret and the notion of the liminal state (Turner,1967). Through this discussion conceptions of place from Australian cultural theorist Ross Gibson are also examined. The concept of two overlapping realms is then explored through the clues and shared stories about the people who inhabited the site. There is then an explanation of my own approach to re-member this place through re-imagining the forest that witnessed the events of the Lazaret. I then draw on theories of the uncanny from German Psychiatrist Ernst Jentsch, Austrian Neurologist Sigmund Freud and South African animation theorist Meg Rickards to argue that my experience of the forest of Teerk Roo Ra was an uncanny experience where two worlds or states of mind existed simultaneously and overlapped, causing a viscerally unsettling uncanny experience. Through an analysis of Czech Surrealist Animator Jan Švankmajer’s cinematic narrative Down to the cellar (1982), my creative work Structure #24(2011), and Australian Artist Patricia Piccinini’s cinematic artwork The Gathering (2007), I discuss the situation of the inanimate and the animate co-existing simultaneously. Using this approach I propose an understanding of the uncanny as an intellectual uncertainty as outlined by Jentsch (1906). I also develop the notion of the familiar being concealed and becoming unfamiliar through mimicry (Freud, 1919). These discussions form an introduction to my creative work Nocturne #5(2014) which re-members the forests of Teerk Roo Ra as an uncanny place primarily expressed through animation.

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This practice-led research project harnesses the plasmatic nature of animation (Eisenstein 1989) to embody the in-between state of being of the Peel Island Lazaret on the island of Teerk Roo Ra in Moreton Bay, Queensland. In this project the genius loci of this place is expressed through the development of a series of creative works that employs the unique transformative quality of animation to push and pull at the boundary lines between what can be apprehended as the ‘real’ and the ‘imaginary’. Drawing on the physical approach of Czech surrealist animator Jan Švankmajer and cultural theories from Australian writer Ross Gibson, this study re-members and re-imagines the site of the Lazaret as a liminal, uncanny place. This study investigates how conceptions of place are overlaid by aspects of history, memory and the imagination and these discoveries contribute to the currently limited academic discourse around place and place-making in animation practice in Australia.

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Chris Denaro is a Brisbane-based animator whose work incorporates a blend of physical stop motion and digital motion graphics. This exhibition, Nocturne, uses animation to embody the genius loci of the former Peel Island Lazaret on the island of Teerk Roo Ra in Moreton Bay, Queensland. This project developed a form of animation that harnesses animation’s plasmatic quality to express an in-between state of being, and examines the capacity of animation to push and pull at the boundary lines between what can be apprehended as the ‘real’ and the ‘imaginary’. The Nocturne constructions cycle forever, with no beginning and no end,only a slightly familiar hypnotic rhythm to describe a continual process of adaptation and renewal. These artworks consider the animation loop as a mental state, rather than a sequence of events which illustrate a narrative. The loop can also be an anxious, compulsive place, divorced from the linear nature of reality, hypnotised in a trance like repetition. Nocturne investigates how conceptions of place are overlaid by aspects of history, memory and the imagination.

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In Uncanny nature, Merri Randell and Chris Denaro use animation and surreal photography to make us rethink what we understand about nature.

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Creative Work as part of the Nocturne series

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3D Computer Graphics (CG) has become the dominant medium for modern animated feature films. It is widely understood that traditional principles of animation developed in the 1930s at the Walt Disney Studio remain applicable to this new medium and heavily influence the range of aesthetic motion styles in contemporary animation. Via a frame-by-frame textual analysis of four animated feature films, this thesis tests and confirms the validity of the principles of animation and expands upon them by reinterpreting the Disney principle of appeal as aesthetic harmony, which delineates the way in which character posing and transitions between poses contribute to the animated motion styles that animators work in today.