Nothing if not a performance of substance [REVIEW]

This is an oddly engaging piece of theatre by American playwright Will Eno. It starts with a deceptively simple, straightforward and familiar theatrical premise. A solitary character on a big, black stage, bare but for a single table and a single chair, tells us a story. Thom is a man we know nothing about. Nothing about the suit he wears, the stage he inhabits or the story he tells locates in him time, space, or a specific social milieu.

Overview of the INEX 2009 Ad Hoc Track

This paper gives an overview of the INEX 2009 Ad Hoc Track. The main goals of the Ad Hoc Track were three-fold. The first goal was to investigate the impact of the collection scale and markup, by using a new collection that is again based on a the Wikipedia but is over 4 times larger, with longer articles and additional semantic annotations. For this reason the Ad Hoc track tasks stayed unchanged, and the Thorough Task of INEX 2002–2006 returns. The second goal was to study the impact of more verbose queries on retrieval effectiveness, by using the available markup as structural constraints—now using both the Wikipedia’s layout-based markup, as well as the enriched semantic markup—and by the use of phrases. The third goal was to compare different result granularities by allowing systems to retrieve XML elements, ranges of XML elements, or arbitrary passages of text. This investigates the value of the internal document structure (as provided by the XML mark-up) for retrieving relevant information. The INEX 2009 Ad Hoc Track featured four tasks: For the Thorough Task a ranked-list of results (elements or passages) by estimated relevance was needed. For the Focused Task a ranked-list of non-overlapping results (elements or passages) was needed. For the Relevant in Context Task non-overlapping results (elements or passages) were returned grouped by the article from which they came. For the Best in Context Task a single starting point (element start tag or passage start) for each article was needed. We discuss the setup of the track, and the results for the four tasks.

Look

A live theatre performance with two performers, for audiences of children aged between two and five years old.

A comparative analysis of risk stratification tools for emergency department patients with chest pain

Background: Appropriate disposition of emergency department (ED) patients with chest pain is dependent on clinical evaluation of risk. A number of chest pain risk stratification tools have been proposed. The aim of this study was to compare the predictive performance for major adverse cardiac events (MACE) using risk assessment tools from the National Heart Foundation of Australia (HFA), the Goldman risk score and the Thrombolysis in Myocardial Infarction risk score (TIMI RS). Methods: This prospective observational study evaluated ED patients aged ≥30 years with non-traumatic chest pain for which no definitive non-ischemic cause was found. Data collected included demographic and clinical information, investigation findings and occurrence of MACE by 30 days. The outcome of interest was the comparative predictive performance of the risk tools for MACE at 30 days, as analyzed by receiver operator curves (ROC). Results: Two hundred eighty-one patients were studied; the rate of MACE was 14.1%. Area under the curve (AUC) of the HFA, TIMI RS and Goldman tools for the endpoint of MACE was 0.54, 0.71 and 0.67, respectively, with the difference between the tools in predictive ability for MACE being highly significant [chi2 (3) = 67.21, N = 276, p < 0.0001]. Conclusion: The TIMI RS and Goldman tools performed better than the HFA in this undifferentiated ED chest pain population, but selection of cutoffs balancing sensitivity and specificity was problematic. There is an urgent need for validated risk stratification tools specific for the ED chest pain population.

Exposition

During the course of study in semester 1, the first year BFA Dance (Performance) students were exposed to various dance genres (in terms of technical training) and associated practices. They were required to gain physical fitness and increase technical accomplishment, strength, flexibility and stylistic versatility through their training. The students also experienced dancing as soloists, with partners and in larger group scenarios. Exposition presents these elements experienced, through a pure dance work. Movement vocabulary was formed employing several methods: specifically choreographed for the individual student; through task-based instruction, which the students constructed; and from learning pre-existing material. Thom Willems dramatic and layered musical score informed the construction of new movement vocabulary; the development of pre-existing material; and the structure of the work.