Lesion detection performance: comparative analysis of low-dose CT data of the chest on two hybrid imaging systems

Incidental findings on low-dose CT images obtained during hybrid imaging are an increasing phenomenon as CT technology advances. Understanding the diagnostic value of incidental findings along with the technical limitations is important when reporting image results and recommending follow-up, which may result in an additional radiation dose from further diagnostic imaging and an increase in patient anxiety. This study assessed lesions incidentally detected on CT images acquired for attenuation correction on two SPECT/CT systems. Methods: An anthropomorphic chest phantom containing simulated lesions of varying size and density was imaged on an Infinia Hawkeye 4 and a Symbia T6 using the low-dose CT settings applied for attenuation correction acquisitions in myocardial perfusion imaging. Twenty-two interpreters assessed 46 images from each SPECT/CT system (15 normal images and 31 abnormal images; 41 lesions). Data were evaluated using a jackknife alternative free-response receiver-operating-characteristic analysis (JAFROC). Results: JAFROC analysis showed a significant difference (P < 0.0001) in lesion detection, with the figures of merit being 0.599 (95% confidence interval, 0.568, 0.631) and 0.810 (95% confidence interval, 0.781, 0.839) for the Infinia Hawkeye 4 and Symbia T6, respectively. Lesion detection on the Infinia Hawkeye 4 was generally limited to larger, higher-density lesions. The Symbia T6 allowed improved detection rates for midsized lesions and some lower-density lesions. However, interpreters struggled to detect small (5 mm) lesions on both image sets, irrespective of density. Conclusion: Lesion detection is more reliable on low-dose CT images from the Symbia T6 than from the Infinia Hawkeye 4. This phantom-based study gives an indication of potential lesion detection in the clinical context as shown by two commonly used SPECT/CT systems, which may assist the clinician in determining whether further diagnostic imaging is justified.

Fibras óticas de plástico em redes de acesso

Trabalho Final de Mestrado para obtenção do grau de Mestre em Engenharia de Eletrónica e Telecomunicações

The influence of experience and training in a group of novice observers: a jackknife alternative free-response receiver operating characteristic analysis

Purpose - The study evaluates the pre- and post-training lesion localisation ability of a group of novice observers. Parallels are drawn with the performance of inexperienced radiographers taking part in preliminary clinical evaluation (PCE) and ‘red-dot’ systems, operating within radiography practice. Materials and methods - Thirty-four novice observers searched 92 images for simulated lesions. Pre-training and post-training evaluations were completed following the free-response the receiver operating characteristic (FROC) method. Training consisted of observer performance methodology, the characteristics of the simulated lesions and information on lesion frequency. Jackknife alternative FROC (JAFROC) and highest rating inferred ROC analyses were performed to evaluate performance difference on lesion-based and case-based decisions. The significance level of the test was set at 0.05 to control the probability of Type I error. Results - JAFROC analysis (F(3,33) = 26.34, p < 0.0001) and highest-rating inferred ROC analysis (F(3,33) = 10.65, p = 0.0026) revealed a statistically significant difference in lesion detection performance. The JAFROC figure-of-merit was 0.563 (95% CI 0.512,0.614) pre-training and 0.677 (95% CI 0.639,0.715) post-training. Highest rating inferred ROC figure-of-merit was 0.728 (95% CI 0.701,0.755) pre-training and 0.772 (95% CI 0.750,0.793) post-training. Conclusions - This study has demonstrated that novice observer performance can improve significantly. This study design may have relevance in the assessment of inexperienced radiographers taking part in PCE or commenting scheme for trauma.

Weaving encounters: towards an art of participation

In the early 21st Century, with the phenomenon of digital convergence, the consecration of Web 2.0, the decrease of the cost of cameras and video recorders, the proliferation of mobile phones, laptops and wireless technologies, we witness the arising of a new wave of media, of an informal, personal and at times “minority” nature, facilitating social networks, a culture of fans, of sharing and remix. As digital networks become fully and deeply intricate in our experience, the idea of “participation” arises as one of the most complex and controversial themes of the contemporary critical discourse, namely in what concerns contemporary art and new media art. However, the idea of “participation” as a practice or postulate traverses the 20th century art playing an essential role in its auto-critic, in questioning the concept of author, and in the dilution of the frontiers between art, “life” and society, emphasizing the process, the everyday and a community sense. As such, questioning the new media art in light of a “participatory art” (Frieling, 2008) invokes a double gaze simultaneously attentive to the emerging figures of a “participatory aesthetics” in digital arts and of the genealogy in which it is included. In fact, relating the new media art with the complex and paradoxical phenomenon of “participation” allows us to, on the one hand, avoid “digital formalism” (Lovink, 2008) and analyse the relations between digital art and contemporary social movements; on the other hand, this angle of analysis contributes to reinforce the dialogue and the links between digital art and contemporary art, questioning the alleged frontiers that separate them.

Algorithm-oriented design of efficient many-core architectures applied to dense matrix multiplication

Recent integrated circuit technologies have opened the possibility to design parallel architectures with hundreds of cores on a single chip. The design space of these parallel architectures is huge with many architectural options. Exploring the design space gets even more difficult if, beyond performance and area, we also consider extra metrics like performance and area efficiency, where the designer tries to design the architecture with the best performance per chip area and the best sustainable performance. In this paper we present an algorithm-oriented approach to design a many-core architecture. Instead of doing the design space exploration of the many core architecture based on the experimental execution results of a particular benchmark of algorithms, our approach is to make a formal analysis of the algorithms considering the main architectural aspects and to determine how each particular architectural aspect is related to the performance of the architecture when running an algorithm or set of algorithms. The architectural aspects considered include the number of cores, the local memory available in each core, the communication bandwidth between the many-core architecture and the external memory and the memory hierarchy. To exemplify the approach we did a theoretical analysis of a dense matrix multiplication algorithm and determined an equation that relates the number of execution cycles with the architectural parameters. Based on this equation a many-core architecture has been designed. The results obtained indicate that a 100 mm(2) integrated circuit design of the proposed architecture, using a 65 nm technology, is able to achieve 464 GFLOPs (double precision floating-point) for a memory bandwidth of 16 GB/s. This corresponds to a performance efficiency of 71 %. Considering a 45 nm technology, a 100 mm(2) chip attains 833 GFLOPs which corresponds to 84 % of peak performance These figures are better than those obtained by previous many-core architectures, except for the area efficiency which is limited by the lower memory bandwidth considered. The results achieved are also better than those of previous state-of-the-art many-cores architectures designed specifically to achieve high performance for matrix multiplication.

Derek Jarman’s allegories of spectacle: inter-artistic embodiment

ABSTRACT - Derek Jarman was a multifaceted artist whose intermedial versatility reinforces a strong authorial discourse. He constructs an immersive allegorical world of hybrid art where different layers of cinematic, theatrical and painterly materials come together to convey a lyrical form and express a powerful ideological message. In Caravaggio (1986) and Edward II (1991), Jarman approaches two european historical figures from two different but concomitant perspectives. In Caravaggio, through the use of tableaux of abstract meaning and by focusing on the detailing of the models’ poses, Jarman re-enacts the allegorical spirit of Caravaggio’s paintings through entirely cinematic resources. Edward II was a king, and as a statesman he possessed a certain dose of showmanship. In this film Jarman reconstructs the theatrical basis of Christopher Marlowe’s Elizabethan play bringing it up to date in a successfully abstract approach to the musical stage. In this article, I intend to conjoin the practice of allegory in film with certain notions of existential phenomenology as advocated by Vivian Sobchack and Laura U. Marks, in order to address the relationship between the corporeality of the film and the lived bodies of the spectators. In this context, the allegory is a means to convey intradiegetically the sense-ability at play in the cinematic experience, reinforcing the textural and sensual nature of both film and viewer, which, in turn, is also materially enhanced in the film proper, touching the spectator in a supplementary fashion. The two corporealities favour an inter-artistic immersion achieved through coenaesthesia.