Quantitative evaluation of visual function 12 months after bilateral implantation of a diffractive trifocal IOL

PURPOSE: To quantitatively evaluate visual function 12 months after bilateral implantation of the Physiol FineVision® trifocal intraocular lens (IOL) and to compare these results with those obtained in the first postoperative month. METHODS: In this prospective case series, 20 eyes of 10 consecutive patients were included. Monocular and binocular, uncorrected and corrected visual acuities (distance, near, and intermediate) were measured. Metrovision® was used to test contrast sensitivity under static and dynamic conditions, both in photopic and low-mesopic settings. The same software was used for pupillometry and glare evaluation. Motion, achromatic, and chromatic contrast discrimination were tested using 2 innovative psychophysical tests. A complete ophthalmologic examination was performed preoperatively and at 1, 3, 6, and 12 months postoperatively. Psychophysical tests were performed 1 month after surgery and repeated 12 months postoperatively. RESULTS: Final distance uncorrected visual acuity (VA) was 0.00 ± 0.08 and distance corrected VA was 0.00 ± 0.05 logMAR. Distance corrected near VA was 0.00 ± 0.09 and distance corrected intermediate VA was 0.00 ± 0.06 logMAR. Glare testing, pupillometry, contrast sensitivity, motion, and chromatic and achromatic contrast discrimination did not differ significantly between the first and last visit (p>0.05) or when compared to an age-matched control group (p>0.05). CONCLUSIONS: The Physiol FineVision® trifocal IOL provided satisfactory full range of vision and quality of vision parameters 12 months after surgery. Visual acuity and psychophysical tests did not vary significantly between the first and last visit.

The 1996 BFA Graduating Class Department of Visual arts

The work presented in this catalogue represent ten years of study, thought, practice and application. While each member of the fourth-year visual arts class has selected just one image and chosen only a few words for inclusion in this record of our graduates and the program, it is important that we understand the dimensions of experience and learning symbolized on these pages. The women and men represented here have all passed through a rigorous course of academic study,personal and professional development, and technical training. They have engaged issues and concepts from both theoretical and practical perspectives, and have been challenged to stretch their thinking about community, society and the world in terms past, present and future. These Students have translated ideas and insights into works of art in a variety of media.

The 1997 BFA Graduating Class: Department of Visual Arts.

This catalogue of works by senior students of the visual arts program continues our tradition of recognizing and recording the accomplishments of each graduating class. It Provides a historical record of those who are about to receive their bachelor of fine arts degrees from Sir Wilfred Grenfell College, as well as a contemporary reflection of the diverse array of creative talents and technical skills these students have refined and honed during four years of study - attributes and abilities that will be brought fully into play in their many future endevours.

The 1998 BFA Graduating Class: Department of Visual Arts

The exhibition of works by Sir Wilfred Grenfell College's graduating Class in visual arts constitutes the culmination of four years of intensive study and practice. our students are trained in the fundamentals of their craft and exposed tio a variety of media and styles ranging from the traditional to the avant garde. But their education has more to do with the exploration and development of their creativity, the enlargement of their capacity to see, and their mastery of the vocabulary of sight, enabling them to discover, uncover and represent. Each of the students ha sustained and nurtured an individual and unique quest over the four years of this rigorous programme.

The 1999 BFA Graduating Class: Department of Visual Arts

One of the Highlights of our academic year is the exhibition of the works of the graduating class in our visual arts degree program. Of course it is very Satisfying to see such an unambiguous evidence of accomplishments of our students.But i also find the exhibition invariably inspiring because of the works themselves,which stimulate us to see again as children, with wide-eyed curiosity and wonder, without the need to explain or reduce, with delight, with horror, with recognition. In enabling us to see again in this way, the students have learned a very demanding craft and educated themselves inthe history, vocabulary and syntax of visual expression.

The 2000 BFA Graduating Class: Department of Visual Arts

Sir Wilfred Grenfell Colleges Fine Arts Division offers two BFA programs: visual arts and theatre. They are the only BFA degree programs available in the province. The bachoelor of Fine arts(Visual Arts)program is a professional program designed to educate and train students in the history, theory and practice of the visual arts. The curriculum has been devised to produce well-rounded generalists with solid grounding in all aspects of visual arts. The Curriculum illustrates the philosophy that artistic freedom and creative expression require technical skill, intellectual awareness and personal vision, acquired through a disciplined application of effort and critical understanding of artistic issues, past and present. Academic electives are tended to provide a broad exposure to the liberal arts.

The 2001 BFA Graduating Class Department of Visual Arts

One of the highlights of Grenfells annual Convocation is the exhibition of the works of the graduating class in visual arts. The exhibition gives us a priviledged glimpse into the accomplishments of our students as these have emerged directly out of their studies. By their nature, most other disciplines do not afford such a view. In a sense, then, the exhibition of works by our visual arts students represents by analogy what can be achieved in four years of intensive university study under the guidance of dedicated professionals, no matter what the field of endeavour. These particular students began with a natural ability to see and to imagine.During tha past four years, they have been challenged to build on that base talent and to develop and educate their visual imaginations. Significant creative development is never easy but the results can be inspiring. The works represent the accomplishments of all our students and provide a fresh energeticaesthetic framework within which to contemplate them.

Power spectrum model of visual masking: simulations and empirical data

In the study of the spatial characteristics of the visual channels, the power spectrum model of visual masking is one of the most widely used. When the task is to detect a signal masked by visual noise, this classical model assumes that the signal and the noise are previously processed by a bank of linear channels and that the power of the signal at threshold is proportional to the power of the noise passing through the visual channel that mediates detection. The model also assumes that this visual channel will have the highest ratio of signal power to noise power at its output. According to this, there are masking conditions where the highest signal-to-noise ratio (SNR) occurs in a channel centered in a spatial frequency different from the spatial frequency of the signal (off-frequency looking). Under these conditions the channel mediating detection could vary with the type of noise used in the masking experiment and this could affect the estimation of the shape and the bandwidth of the visual channels. It is generally believed that notched noise, white noise and double bandpass noise prevent off-frequency looking, and high-pass, low-pass and bandpass noises can promote it independently of the channel's shape. In this study, by means of a procedure that finds the channel that maximizes the SNR at its output, we performed numerical simulations using the power spectrum model to study the characteristics of masking caused by six types of one-dimensional noise (white, high-pass, low-pass, bandpass, notched, and double bandpass) for two types of channel's shape (symmetric and asymmetric). Our simulations confirm that (1) high-pass, low-pass, and bandpass noises do not prevent the off-frequency looking, (2) white noise satisfactorily prevents the off-frequency looking independently of the shape and bandwidth of the visual channel, and interestingly we proved for the first time that (3) notched and double bandpass noises prevent off-frequency looking only when the noise cutoffs around the spatial frequency of the signal match the shape of the visual channel (symmetric or asymmetric) involved in the detection. In order to test the explanatory power of the model with empirical data, we performed six visual masking experiments. We show that this model, with only two free parameters, fits the empirical masking data with high precision. Finally, we provide equations of the power spectrum model for six masking noises used in the simulations and in the experiments.

Phenomenological model of visual acuity

We propose in this work a model for describing visual acuity (VV) as a function of defocus and pupil diameter. Although the model is mainly based on geometrical optics, it also incorporates nongeometrical effects phenomenologically. Compared to similar visual acuity models, the proposed one considers the effect of astigmatism and the variability of best corrected VV among individuals; it also takes into account the accommodation and the “tolerance to defocus,” the latter through a phenomenological parameter. We have fitted the model to the VV data provided in the works of Holladay et al. and Peters, showing the ability of this model to accurately describe the variation of VV against blur and pupil diameter. We have also performed a comparison between the proposed model and others previously published in the literature. The model is mainly intended for use in the design of ophthalmic compensations, but it can also be useful in other fields such as visual ergonomics, design of visual tests, and optical instrumentation.

The Effects of Visual Discriminability and Rotation Angle on 30-Month-Olds’ Search Performance in Spatial Rotation Tasks

Tracking objects that are hidden and then moved is a crucial ability related to object permanence, which develops across several stages in early childhood. In spatial rotation tasks, children observe a target object that is hidden in one of two or more containers before the containers are rotated around a fixed axis. Usually, 30-month-olds fail to find the hidden object after it was rotated by 180°. We examined whether visual discriminability of the containers improves 30-month-olds’ success in this task and whether children perform better after 90° than after 180° rotations. Two potential hiding containers with same or different colors were placed on a board that was rotated by 90° or 180° in a within-subjects design. Children (N D 29) performed above chance level in all four conditions. Their overall success in finding the object did not improve by differently colored containers. However, different colors prevented children from showing an inhibition bias in 90° rotations, that is, choosing the empty container more often when it was located close to them than when it was farther away: This bias emerged in the same colors condition but not in the different colors condition. Results are discussed in view of particular challenges that might facilitate or deteriorate spatial rotation tasks for young children.

La représentation de la masculinité dans les vidéoclips de musique populaire : le code visuel et l’expression de la vulnérabilité masculine

Ce mémoire propose d’étudier les représentations de la masculinité dans les vidéoclips de musique populaire. Il consiste plus précisément en une analyse textuelle de vidéoclips suivant l’approche sémiologique. La représentation y est entendue comme un processus d’attribution de sens, agissant dans la construction sociale de la masculinité. Selon une méthode qualitative, il est premièrement question de cerner et, ultérieurement, explorer les principaux schémas de la masculinité dans un corpus de 29 vidéoclips sélectionné auprès de la chaîne québécoise Musique Plus. L’observation des codes visuels est centrale à cette entreprise, l’articulation de ces derniers permettant la prolifération d’expressions du genre masculin. Partant du point de vue que des attributs, notamment la force et l’invulnérabilité, apparaissent comme typiquement masculins au sein de certaines représentations, il sera question de confronter cette idée aux trois scénarios majeurs ayant émané du corpus ; l’homme-enfant, l’introspectif et le meneur, indiquant tous trois la récente montée des représentations d’une masculinité vulnérable en musique populaire. Les constats qui résulteront de cette exploration seront finalement recadrés dans l’actuel cadre social, où le masculin et le féminin sont de moins en moins enclos dans les moules traditionnels et tendent à se redéfinir sur une nouvelle matrice.

O Raciocínio lógico-matemático: sua estrutura neurofisiológica e aplicações à educação matemática

Pós-graduação em Educação Matemática - IGCE

Visual signs and symptoms of Creutzfeldt-Jakob disease

A number of neurodegenerative diseases caused by prions have been described recently. These include Creutzfeldt-Jakob disease (CJD) in humans, scrapie in sheep and BSE in cows. Patients with CJD may suffer a range of visual problems including eye movement deficits and visual hallucinations. In addition, it is possible that CJD may be acquired via corneal transplant and that prions may be transmitted by reusable contact lenses.

Visual signs and symptoms of Alzheimer's disease

Alzheimer's disease is the commonest degenerative disease of the nervous system to affect elderly people. It is characterised by 'dementia', a global cognitive decline involving loss of short term memory, judgement and emotional control. In addition, patients may suffer a range of visual problems including impairment of visual acuity, colour vision, eye movement problems and complex visual disturbances.

Visual signs and symptoms of Parkinson's disease

Parkinson's disease (PD) is a common disorder of middle-aged and elderly people, in which there is degeneration of the extra-pyramidal motor system. In some patients, the disease is associated with a range of visual signs and symptoms, including defects in visual acuity, colour vision, the blink reflex, pupil reactivity, saccadic and smooth pursuit movements and visual evoked potentials. In addition, there may be psychophysical changes, disturbances of complex visual functions such as visuospatial orientation and facial recognition, and chronic visual hallucinations. Some of the treatments associated with PD may have adverse ocular reactions. If visual problems are present, they can have an important effect on overall motor function, and quality of life of patients can be improved by accurate diagnosis and correction of such defects. Moreover, visual testing is useful in separating PD from other movement disorders with visual symptoms, such as dementia with Lewy bodies (DLB), multiple system atrophy (MSA) and progressive supranuclear palsy (PSP). Although not central to PD, visual signs and symptoms can be an important though obscure aspect of the disease and should not be overlooked.