Direct comparison of 3D spiral vs. Cartesian gradient-echo coronary magnetic resonance angiography.

While 3D thin-slab coronary magnetic resonance angiography (MRA) has traditionally been performed using a Cartesian acquisition scheme, spiral k-space data acquisition offers several potential advantages. However, these strategies have not been directly compared in the same subjects using similar methodologies. Thus, in the present study a comparison was made between 3D coronary MRA using Cartesian segmented k-space gradient-echo and spiral k-space data acquisition schemes. In both approaches the same spatial resolution was used and data were acquired during free breathing using navigator gating and prospective slice tracking. Magnetization preparation (T(2) preparation and fat suppression) was applied to increase the contrast. For spiral imaging two different examinations were performed, using one or two spiral interleaves, during each R-R interval. Spiral acquisitions were found to be superior to the Cartesian scheme with respect to the signal-to-noise ratio (SNR) and contrast-to-noise-ratio (CNR) (both P < 0.001) and image quality. The single spiral per R-R interval acquisition had the same total scan duration as the Cartesian acquisition, but the single spiral had the best image quality and a 2.6-fold increase in SNR. The double-interleaf spiral approach showed a 50% reduction in scanning time, a 1.8-fold increase in SNR, and similar image quality when compared to the standard Cartesian approach. Spiral 3D coronary MRA appears to be preferable to the Cartesian scheme. The increase in SNR may be "traded" for either shorter scanning times using multiple consecutive spiral interleaves, or for enhanced spatial resolution.

THE SKEPTICAL CARTESIAN BACKGROUND OF HUME'S "OF THE ACADEMICAL OR SCEPTICAL PHILOSOPHY" (FIRST INQUIRY, SECTION 12)

ABSTRACT In section XII of the First Inquiry, Hume refers to the two Hellenistic schools of skepticism (Academic and Pyrrhonian) to present his own view of skepticism, which, however, depends on the ancient skeptics mainly indirectly. Hume's view of skepticism depends crucially on Descartes and post-Cartesian philosophers such as Pascal, Huet, Foucher and Bayle, who reacted skeptically to major Cartesian doctrines but followed one version or other of Descartes's methodical doubt. Although all these post-Cartesian philosophers are relevant in section XII, I focus on the topics in which Descartes himself-besides his skeptical followers-seems directly relevant. After an introductory section (I) on Julia Annas' and Richard Popkin's views of Hume's relation to, respectively, ancient and modern skepticism, I turn to section XII and examine what Hume calls (II) "consequent skepticism about the senses," (III) "antecedent skepticism," and (IV) "Academic skepticism."

Contrast sensitivity to angular frequency gratings is not higher than to Cartesian gratings

When contrast sensitivity functions to Cartesian and angular gratings were compared in previous studies the peak sensitivity to angular stimuli was reported to be 0.21 log units higher. In experiments carried out to repeat this result, we used the same two-alternative forced-choice paradigm, but improved experimental control and precision by increasing contrast resolution from 8 to 12 bits, increasing the screen refresh rate from 30 Hz interlaced to 85 Hz non-interlaced, linearizing the voltage-luminance relation, modulating luminance in frequencies that minimize pixel aliasing, and improving control of the subject's exposure to the stimuli. The contrast sensitivity functions to Cartesian and angular gratings were similar in form and peak sensitivity (2.4 cycles per visual degree (c/deg) and 32 c/360º, respectively) to those reported in a previous study (3 c/deg and 32 c/360º, respectively), but peak sensitivity to angular stimuli was 0.13 log units lower than that to Cartesian stimuli. When the experiment was repeated, this time simulating the experimental control level used in the previous study, no difference between the peak sensitivity to Cartesian and angular stimuli was found. This result agrees with most current models that assume Cartesian filtering at the first visual processing stage. The discrepancy in the results is explained in part by differences in the degree of experimental control.

Acute effect of alcohol intake on sine-wave Cartesian and polar contrast sensitivity functions

The aim of this study was to assess contrast sensitivity for angular frequency stimuli as well as for sine-wave gratings in adults under the effect of acute ingestion of alcohol. We measured the contrast sensitivity function (CSF) for gratings of 0.25, 1.25, 2.5, 4, 10, and 20 cycles per degree of visual angle (cpd) as well as for angular frequency stimuli of 1, 2, 4, 24, 48, and 96 cycles/360°. Twenty adults free of ocular diseases, with normal or corrected-to-normal visual acuity, and no history of alcoholism were enrolled in two experimental groups: 1) no alcohol intake (control group) and 2) alcohol ingestion (experimental group). The average concentration of alcohol in the experimental group was set to about 0.08%. We used a paradigm involving a forced-choice method. Maximum sensitivity to contrast for sine-wave gratings in the two groups occurred at 4 cpd sine-wave gratings and at 24 and 48 cycles/360° for angular frequency stimuli. Significant changes in contrast sensitivity were observed after alcohol intake compared with the control condition at spatial frequency of 4 cpd and 1, 24, and 48 cycles/360° for angular frequency stimuli. Alcohol intake seems to affect the processing of sine-wave gratings at maximum sensitivity and at the low and high frequency ends for angular frequency stimuli, both under photopic luminance conditions.

Structural Dynamics Model of a Cartesian Robot

Methods are developed for predicting vibration response characteristics of systems which change configuration during operation. A cartesian robot, an example of such a position-dependent system, served as a test case for these methods and was studied in detail. The chosen system model was formulated using the technique of Component Mode Synthesis (CMS). The model assumes that he system is slowly varying, and connects the carriages to each other and to the robot structure at the slowly varying connection points. The modal data required for each component is obtained experimentally in order to get a realistic model. The analysis results in prediction of vibrations that are produced by the inertia forces as well as gravity and friction forces which arise when the robot carriages move with some prescribed motion. Computer simulations and experimental determinations are conducted in order to calculate the vibrations at the robot end-effector. Comparisons are shown to validate the model in two ways: for fixed configuration the mode shapes and natural frequencies are examined, and then for changing configuration the residual vibration at the end of the mode is evaluated. A preliminary study was done on a geometrically nonlinear system which also has position-dependency. The system consisted of a flexible four-bar linkage with elastic input and output shafts. The behavior of the rocker-beam is analyzed for different boundary conditions to show how some limiting cases are obtained. A dimensional analysis leads to an evaluation of the consequences of dynamic similarity on the resulting vibration.

Venues on the verges: London's theater government between 1594 and 1614

In 1594, major decisions were made by the governors of London and the country about plays and playing. We need to learn what lay behind these events, such as what led James Burbage to build his Blackfriars theater in 1596. That initial fiasco might tell us much about what lay behind Shakespeare’s decision to join the new Chamberlain’s Men in 1594 and his subsequent commitment to them as a full-time playwright. When the Globe burned down in 1613, a majority of the shareholders decided to rebuild it at great cost, but Shakespeare withdrew. The rebuilding was old-fashioned thinking, reverting to the company’s desire, asserted in 1594, to play indoors in winter, which helps to clarify their decisions and Shakespeare’s own—to write plays rather than more long poems. The few surviving papers of the Privy Council and the London mayoralty from the time suggest that one of the two new companies of 1594 preferred to play indoors during the winter instead of at their allocated open playhouses in the suburbs. They tried to renew this traditional practice, first in 1594 and again in 1596 when James Burbage built the indoor Blackfriars playhouse for them. The renewal of the Globe in 1614 was part of the same thinking, although Shakespeare evidently opted out of the decision.

Samuel Beckett, the Gate Theatre Dublin, and the contemporary Irish independent theater sector: fragments of performance history

From 1991, when the Dublin Gate Theatre launched their Samuel Beckett Festival featuring nineteen of Beckett’s stage plays, to more recent years, the Gate dominated Irish productions of Beckett’s theater. The Gate Beckett Festival was remounted in 1996 at the Lincoln Center, New York, and at the Barbican Centre, London, in 1999, and individual or grouped productions have toured regularly since then in Ireland and internationally. However, since the Irish premiere of Waiting of Godot at the Pike Theatre in 1955, in addition to several Beckett plays mounted by the National Theatre, many independent Irish theater companies, such as Focus Theatre, Druid Theatre, and more recently Pan Pan Theatre, Blue Raincoat Theatre, The Corn Exchange, and Company SJ (under director Sarah Jane Scaife), have produced Beckett’s drama. While acknowledging earlier Irish productions, this essay will consider the role of the Dublin Gate Beckett Festival and the Beckett Centenary celebrations in Dublin in 2006 in greatly enhancing the marketability of Beckett’s work, and will discuss the proliferation of productions of Beckett’s stage plays (as opposed to stage adaptations of the prose work, which is a topic for another essay) in the independent theater sector in the Republic of Ireland since 2006. In addition to giving an overview of these recent productions, the essay will consider some issues at stake in creating or constructing performance histories