A navigation system for percutaneous needle interventions based on PET/CT images: design, workflow and error analysis of soft tissue and bone punctures

Percutaneous needle intervention based on PET/CT images is effective, but exposes the patient to unnecessary radiation due to the increased number of CT scans required. Computer assisted intervention can reduce the number of scans, but requires handling, matching and visualization of two different datasets. While one dataset is used for target definition according to metabolism, the other is used for instrument guidance according to anatomical structures. No navigation systems capable of handling such data and performing PET/CT image-based procedures while following clinically approved protocols for oncologic percutaneous interventions are available. The need for such systems is emphasized in scenarios where the target can be located in different types of tissue such as bone and soft tissue. These two tissues require different clinical protocols for puncturing and may therefore give rise to different problems during the navigated intervention. Studies comparing the performance of navigated needle interventions targeting lesions located in these two types of tissue are not often found in the literature. Hence, this paper presents an optical navigation system for percutaneous needle interventions based on PET/CT images. The system provides viewers for guiding the physician to the target with real-time visualization of PET/CT datasets, and is able to handle targets located in both bone and soft tissue. The navigation system and the required clinical workflow were designed taking into consideration clinical protocols and requirements, and the system is thus operable by a single person, even during transition to the sterile phase. Both the system and the workflow were evaluated in an initial set of experiments simulating 41 lesions (23 located in bone tissue and 18 in soft tissue) in swine cadavers. We also measured and decomposed the overall system error into distinct error sources, which allowed for the identification of particularities involved in the process as well as highlighting the differences between bone and soft tissue punctures. An overall average error of 4.23 mm and 3.07 mm for bone and soft tissue punctures, respectively, demonstrated the feasibility of using this system for such interventions. The proposed system workflow was shown to be effective in separating the preparation from the sterile phase, as well as in keeping the system manageable by a single operator. Among the distinct sources of error, the user error based on the system accuracy (defined as the distance from the planned target to the actual needle tip) appeared to be the most significant. Bone punctures showed higher user error, whereas soft tissue punctures showed higher tissue deformation error.

Physiological correlates of aesthetic perception of artworks in a museum

Arts experts are commonly skeptical of applying scientific methods to aesthetic experiencing, which remains a field of study predominantly for the humanities. Laboratory research has however indicated that artworks may elicit emotional and physiological responses. Yet, this line of aesthetics research has previously suffered from insufficient external validity. We therefore conducted a study in which aesthetic perception was monitored in a fine-art museum, unrestricting to the viewers’ freedom of aesthetic choice. Visitors were invited to wear electronic gloves through which their locomotion, heart rate and skin conductance were continuously recorded. Emotional and aesthetic responses to selected works of an exhibition were assessed using a customized questionnaire. In a sample of 373 adult participants, we found that physiological responses during perception of an artwork were significantly related to aesthetic-emotional experiencing. The dimensions ‘Aesthetic Quality’, ‘Surprise/Humor’, ‘Dominance’ and ‘Curatorial Quality’ were associated with cardiac measures (heart rate variability, heart rate level) and skin conductance variability. This is first evidence that aesthetics can be statistically grounded in viewers’ physiology in an ecologically valid environment, the art gallery, enhancing our understanding of the effects of artworks and their curatorial staging.

The Absence of Atrocity: On Bart Michiels’ "The Course of History" Photographs

This article examines the absence of atrocity in the photographic series The Course of History by the Belgian-born, New York-based photographer Bart Michiels (1964–). It shows, in beautiful, large-format prints, seemingly innocent landscapes and confined views of nature. Only when viewers read the titles of the photographs do they become aware of the violent history of the sites. These turn out to be the fields of fierce European battles such as Verdun, Waterloo and Stalingrad. The present article reviews recent trends towards using place as a motif in contemporary art photography and focuses on the ‘empty’ landscape as a pictorial strategy that opens up a narrative space, one that needs to be completed by the viewer. The absence evoked by the image is treated as antithetical to the conventional ethos of photography, which canonically stands as the evidence of an occurrence.

Nollywood in der Schweiz. Ein Blick auf die transnationalen Dimensionen des von Nollywood inspirierten Filmschaffens

The Nigerian video film industry known as Nollywood forms one of the world’s biggest entertainment industries today. In its stories, Nollywood reflects the values, desires and fears of African viewers and shows them new postcolonial forms of performative self-expression. In that way, it has become a point of reference for a wide range of people. As such, it not only excites a large number of viewers inside and outside Nigeria but also inspires some of them to make their own films. This nascent phenomenon of Nollywood inspired filmmaking is the starting point of my doctoral thesis and this article. By applying the methods of shared anthropology and performance ethnography I study a group of African migrants making their own film in Switzerland.

Assimilation and contrast in web product reviews: devaluing the recommendation of a proficient but dissimilar reviewer

When viewing web-consumer reviews consumers encounter the reviewers in an anonymous environment. Although their interactions are only virtual they still exchange social information, e.g. often reviewers refer to their proficiency or consumption motives within the review texts. Do these social information harm the viewers’ perception of the recommended products? The present study addresses this question by applying the paradigm of social comparison (Mussweiler, 2003) to web-consumer reviews. In a laboratory experiment with a student sample (n = 120) we manipulated the perceived similarity between reviewer and viewer and the perceived proficiency of the reviewer. A measurement of achievement goals (Elliott & McGregor, 2001) and average number of hours of study prior to the experiment allowed to introduce the reviewer as high [low] in proficiency and similar [dissimilar] in achievement goals. As predicted, the viewer’s evaluation of the recommended products differed as a function of this social information. Contrasting with the reviewer led to devaluing the products recommended by a proficient but dissimilar reviewer. However, against our prediction social comparison with the reviewer did not affect the viewer`s self-evaluation. Whether social information in web-product reviews affects the viewer`s self-evaluation and induces both social comparison processes remains an open question. Future studies aim to address this by manipulating the informational focus of the viewer, rather than the perceived similarity between viewer and reviewer. So far, the present study extends the application of social comparison to consumption environments and contributes to the understanding of the virtual social identity.

Capacity building in the use of geospatial tools for natural resource management in Tajikistan: Final Report

The Swiss Swiss Consultant Trust Fund (CTF) support covered the period from July to December 2007 and comprised four main tasks: (1) Analysis of historic land degradation trends in the four watersheds of Zerafshan, Surkhob, Toirsu, and Vanj; (2) Translation of standard CDE GIS training materials into Russian and Tajik to enable local government staff and other specialists to use geospatial data and tools; (3) Demonstration of geospatial tools that show land degradation trends associated with land use and vegetative cover data in the project areas, (4) Preliminary training of government staff in using appropriate data, including existing information, global datasets, inexpensive satellite imagery and other datasets and webbased visualization tools like spatial data viewers, etc. The project allowed building of local awareness of, and skills in, up-to-date, inexpensive, easy-to-use GIS technologies, data sources, and applications relevant to natural resource management and especially to sustainable land management. In addition to supporting the implementation of the World Bank technical assistance activity to build capacity in the use of geospatial tools for natural resource management, the Swiss CTF support also aimed at complementing the Bank supervision work on the ongoing Community Agriculture and Watershed Management Project (CAWMP).

Finding a voice - Nollywood inspired filmmaking practices in Switzerland

Under the name Nollywood a unique video film industry has developed in Nigeria in the last few decades, which now forms one of the world’s biggest entertainment industries. With its focus on stories reflecting „the values, desires and fears” (Haynes 2007: 133) of African viewers and its particular way of production, Nollywood brings „lived practices and its representation together in ways that make the films deeply accessible and entirely familiar to their audience“ (Marston et al. 2007: 57). In doing so, Nollywood shows its spectators new postcolonial forms of performative self‐expression and becomes a point of reference for a wide range of people. However, Nollywood not only excites a large number of viewers inside and outside Nigeria, it also inspires some of them to become active themselves and make their own films. This effect of Nigerian filmmaking can be found in many parts of sub‐Saharan Africa as well as in African diasporas all over the world – including Switzerland (Mooser 2011: 63‐66). As a source of inspiration, Nollywood and its unconventional ways of filmmaking offer African migrants a benchmark that meets their wish to express themselves as minority group in a foreign country. As Appadurai (1996: 53), Ginsburg (2003: 78) and Marks (2000: 21) assume, filmmakers with a migratory background have a specific need to express themselves through media. As minority group members in their country of residence they not only wish to reflect upon their situation within the diaspora and illustrate their everyday struggles as foreigners, but to also express their own views and ideas in order to challenge dominant public opinion (Ginsburg 2003: 78). They attempt to “talk back to the structures of power” (2003: 78) they live in. In this process, their audio-visual works become a means of response and “an answering echo to a previous presentation or representation” (Mitchell 1994: 421). The American art historian Mitchell, therefore, suggests interpreting representation as “the relay mechanism in exchange of power, value, and publicity” (1994: 420). This desire of interacting with the local public has also been expressed during a film project of African, mainly Nigerian, first-generation migrants in Switzerland I am currently partnering in. Several cast and crew members have expressed feelings of being under-represented, even misrepresented, in the dominant Swiss media discourse. In order to create a form of exchange and give themselves a voice, they consequently produce a Nollywood inspired film and wish to present it to the society they live in. My partnership in this on‐going film production (which forms the foundation of my PhD field study) allows me to observe and experience this process. By employing qualitative media anthropological methods and in particular Performance Ethnography, I seek to find out more about the ways African migrants represent themselves as a community through audio‐visual media and the effect the transnational use of Nollywood has on their form of self‐representations as well as the ways they express themselves.