Evaluación características operativas : ecografía 2d y doppler color para diagnóstico de acretismo placentario, clínica universitaria Colombia, Bogotá

La placenta ácreta es la implantación anómala de la placenta en la pared uterina. Se presenta en 0.9% de todos los embarazos; actualmente es una de las causas más importantes de morbimortalidad materna. Ecografía 2D y Doppler placentario son métodos diagnósticos de primera y segunda línea. Objetivo: Evaluar la utilidad diagnóstica de ecográfica 2D y Doppler color Placentario para diagnóstico de acretismo placentario en gestantes con factores de riesgo comparándolos con diagnóstico clínico e histopatológico; y determinar incidencia de acretismo placentario en población asistente a Clínica Universitaria Colombia. Metodología: Estudio de evaluación de tecnología diagnóstica. Entre Agosto a octubre 2011 se incluyeron 137 gestantes entre 24 y 40 semanas de gestación con factores de riesgo para acretismo placentario. El desempeño diagnóstico de las pruebas se determinará por sensibilidad, especificidad, valores predictivos positivo y negativo. Las características demográficas de las pacientes y resultados neonatales se analizaron mediante proporción, media y rango. Resultados: En un grupo de 137 pacientes con factores de riesgo de acretismo placentario analizadas se obtuvo el dato de 119 en cuanto a la finalización del embarazo. Se observaron 4 casos con diagnóstico clínico e histopatológico de acretismo placentario, evidenciando una prevalencia del 2,9%. La ecografía 2D y Doppler en la detección de acretismo placentario con un nivel de confianza del 95%, presentaron sensibilidad del 100% (IC95% 87,5-100) y especificidad de 100% (IC95% 99,6-100). Conclusión: Con los datos analizados registramos una incidencia de acretismo placentario de 4 en 132 pacientes. Revisión de literatura sustenta la necesidad de realización diagnostica prenatal que impacte en la morbimortalidad materna y fetal, haciendo necesario la evaluación diagnostica valida de herramientas como el Eco 2D y Doppler color en población a riesgo.

Sensibilidad al contraste y percepción de color en pacientes con lentes intraoculares amarillos : estudio de corte transversal

El presente estudio descriptivo de corte transversal, comparó la percepción de color (Test de Farnsworth-100 y de Ishihara) y la sensibilidad al contraste en un grupo de 35 ojos con implantes de lentes intraoculares claros esféricos y otro grupo de 35 ojos con LIOs amarillos esféricos, para evaluar las diferencias entre tener o no el filtro de luz azul. Adicionalmente, después de un examen oftalmológico completo en el ojo a estudiar, se realizaron preguntas de satisfacción POP para evaluar el resultado subjetivo del procedimiento. Todos los pacientes tenían más de 3 meses POP. No se encontraron diferencias estadísticamente significativas en las pruebas de percepción de color que sugirieran que las alteraciones correspondían al filtro de luz azul, y aunque los pacientes con los LIOs amarillos lograron un mejor desempeño en la prueba de sensibilidad al contraste al analizarlos estadísticamente, clínicamente esto no parece tener importancia. La satisfacción general en ambos grupos tuvo una gran puntuación, y dentro de las molestias referidas más frecuentemente y que estaban presentes desde el procedimiento, se encontraban ardor ocular, lagrimeo y dificultad para ver de cerca sin corrección. Según estudios en modelos animales, hay evidencia que sugiere que los LIOs amarillos, al compararlos con LIOs claros, protegen de mejor manera la retina una vez el cristalino se ha retirado. Según este y otros estudios publicados a la fecha, la agudeza visual, sensibilidad al contraste y percepción de color no varían de manera importante entre ambos tipos de lentes en la población general.

A matter of fundamentals : sound and silence in the radio drama of Samuel Beckett

Samuel Beckett was arguably one of the most influential writers of the 20th century. Known for his stage plays, including the renowned En attendant Godot (1948), Beckett’s contribution to the field of radio drama is often overlooked. His corpus of radio dramas included some of the most innovativeradio works of the post-World War II period. For Beckett, radio drama was not exclusively verbocentric, for he always maintained that his work was “a matter of fundamental sounds (no joke intended) made as fully as possible” (Frost 362). His (radio) drama aesthetics defined a strict hierarchy of sound whereby the dramatist balances sound effects, music and the characters’ dialogue – and the use of silence. In this essay, I examine the juxtaposition of sound and silence in Samuel Beckett’s most influential radio dramas: All That Fall, Embers, Words and Music and Cascando. In the end, this essay will show that the sounds and silence employed in Beckett’s radio dramatic works were inextricably linked, which added to the overall meaning of his dramas.

Overview and response to reviewers of The Singing Neanderthals

Why are humans musical? Why do people in all cultures sing or play instruments? Why do we appear to have specialized neurological apparatus for hearing and interpreting music as distinct from other sounds? And how does our musicality relate to language and to our evolutionary history? Anthropologists and archaeologists have paid little attention to the origin of music and musicality — far less than for either language or ‘art’. While art has been seen as an index of cognitive complexity and language as an essential tool of communication, music has suffered from our perception that it is an epiphenomenal ‘leisure activity’, and archaeologically inaccessible to boot. Nothing could be further from the truth, according to Steven Mithen; music is integral to human social life, he argues, and we can investigate its ancestry with the same rich range of analyses — neurological, physiological, ethnographic, linguistic, ethological and even archaeological — which have been deployed to study language. In The Singing Neanderthals Steven Mithen poses these questions and proposes a bold hypothesis to answer them. Mithen argues that musicality is a fundamental part of being human, that this capacity is of great antiquity, and that a holistic protolanguage of musical emotive expression predates language and was an essential precursor to it. This is an argument with implications which extend far beyond the mere origins of music itself into the very motives of human origins. Any argument of such range is bound to attract discussion and critique; we here present commentaries by archaeologists Clive Gamble and Iain Morley and linguists Alison Wray and Maggie Tallerman, along with Mithen's response to them. Whether right or wrong, Mithen has raised fascinating and important issues. And it adds a great deal of charm to the time-honoured, perhaps shopworn image of the Neanderthals shambling ineffectively through the pages of Pleistocene prehistory to imagine them humming, crooning or belting out a cappella harmonies as they went.

Primary music education: the misrepresentation of the ideals of curricula in research

The author starts from a historical viewpoint to suggest that, at primary level, we have tended to perpetuate a nineteenth-century notion of music education. This is evident in the selection and organisation of musical content in curriculum documents, the scope of the teacher-pupil transaction implicit in these and the assumptions about music education which underpin research on practice conducted at official policy level. In light of the introduction of the 1999 Revised Primary School Curriculum, with its change in emphasis, she notes that it is timely to reconsider the situation. Central to this is the need to challenge the notion of music as a set of delineated skills, to explore the relationship between the primary teacher and music, and to move towards a notion of research which acknowledges the richness of multiple interpretations teachers bring to the curriculum.

Antioxidant properties of kilned and roasted malts

Compounds possessing antioxidant activity play a crucial role in delaying or preventing lipid oxidation in foods and beverages during processing and storage. Such reactions lead to loss of product quality, especially as a consequence of off-flavor formation. The aim of this study was to determine the antioxidant activity of kilned (standard) and roasted (speciality) malts in relation to phenolic compounds, sugars, amino acids, and color [assessed as European Brewing Convention units (degrees EBC) and absorbance at 420 nm]. The concentrations of sugars and amino acids decreased with the intensity of the applied heat treatment, and this was attributed to the extent of the Maillard reaction, as well as sugar caramelization, in the highly roasted malts. Proline, followed by glutamine, was the most abundant free amino/imino acid in the malt samples, except those that were highly roasted, and maltose was the most abundant sugar in all malts. Levels of total phenolic compounds decreased with heat treatment. Catechin and ferulic acid were the most abundant phenolic compounds in the majority of the malts, and amounts were highest in the kilned samples. In highly roasted malts, degradation products of ferulic acid were identified. Antioxidant activity increased with the intensity of heating, in parallel with color formation, and was significantly higher for roasted malts compared to kilned malts. In kilned malts, phenolic compounds were the main identified contributors to antioxidant activity, with Maillard reaction products also playing a role. In roasted malts, Maillard reaction products were responsible for the majority of the antioxidant activity.

Squirmish at the Oasis: an evening of performance and rant hosted by Agency of Noise at the Kinsgate Workshsops Trust in affiliation with Camden Arts Centre

Squirmish at the Oasis takes its name from Luigi Russolo's fourth noise network 'Skirmish at the Oasis' performed in Milan in 1913. 100 years on the Agency of Noise contemplate changes in technology and the culture industry that provoke new questions around the deliberate use of noise within music and art. Through live acts of enquiry and experimentation five artists unravel paradoxes associated with the use of noise in art, music and the gallery space. The works challenge tensions, contradictions and possible oxymorons that emerge through the use and acceptance of noise within an artistic framework. Featuring: DAISY DIXON / GRAHAM DUNNING / POLLYFIBRE / DANE SUTHERLAND / MARNIE WATTS

Changes in music tempo entrain movement related brain activity

The neural mechanisms of music listening and appreciation are not yet completely understood. Based on the apparent relationship between the beats per minute (tempo) of music and the desire to move (for example feet tapping) induced while listening to that music it is hypothesised that musical tempo may evoke movement related activity in the brain. Participants are instructed to listen, without moving, to a large range of musical pieces spanning a range of styles and tempos during an electroencephalogram (EEG) experiment. Event-related desynchronisation (ERD) in the EEG is observed to correlate significantly with the variance of the tempo of the musical stimuli. This suggests that the dynamics of the beat of the music may induce movement related brain activity in the motor cortex. Furthermore, significant correlations are observed between EEG activity in the alpha band over the motor cortex and the bandpower of the music in the same frequency band over time. This relationship is observed to correlate with the strength of the ERD, suggesting entrainment of motor cortical activity relates to increased ERD strength

A comparative study of the characteristics of French Fries produced by deep fat frying and air frying

Air frying is being projected as an alternative to deep fat frying for producing snacks such as French Fries. In air frying, the raw potato sections are essentially heated in hot air containing fine oil droplets, which dehydrates the potato and attempts to impart the characteristics of traditionally produced French fries, but with a substantially lower level of fat absorbed in the product. The aim of this research is to compare: 1) the process dynamics of air frying with conventional deep fat frying under otherwise similar operating conditions, and 2) the products formed by the two processes in terms of color, texture, microstructure, calorimetric properties and sensory characteristics Although, air frying produced products with a substantially lower fat content but with similar moisture contents and color characteristics, it required much longer processing times, typically 21 minutes in relation to 9 minutes in the case of deep fat frying. The slower evolution of temperature also resulted in lower rates of moisture loss and color development reactions. DSC studies revealed that the extent of starch gelatinization was also lower in the case of air fried product. In addition, the two types of frying also resulted in products having significantly different texture and sensory characteristics.

Space, authenticity and utopia in the hip-hop teen dance film

The dance film flourished in the 2000s in the form of the hip-hop teen dance film. Such films as Save the Last Dance (Thomas Carter, 2001), Honey (Billy Woodruff, 2002) and Step Up (Anne Fletcher, 2006) drew on hip-hop’s dominance of the mainstream music industry and combined the teen film’s pre-existing social problem and musical narratives. Yet various tension were created by their interweaving of representations of post-industrial city youth with the utopian sensibilities of the classical Hollywood musical. Their narratives celebrated hip-hop performance, and depicted dance’s ability to bridge cultural boundaries and bring together couples and communities. These films used hip-hop to define space and identity yet often constructed divisions within their soundscapes, limiting hip-hop’s expressive potential. This article explores the cycle’s celebration of, yet struggle with, hip-hop through examining select films’ interactions between soundscape, narrative and form. It will engage with these films’ attempts to marry the representational, narrative and aesthetic meanings of hip-hop culture with the form and ideologies of the musical genre, particularly the tensions and continuities that arise from their engagement with the genre’s utopian qualities identified by Richard Dyer (1985). Yet whilst these films illustrate the tensions and challenges of combining hip-hop culture and the musical genre, they also demonstrate an effective integration of hip-hop soundscape and the dancing body in their depiction of dance, highlighting both form’s aesthetics of layering, rupture and flow (Rose, 1994: 22).

Otherworlds: fantasy and history in medieval literature

This book offers a new perspective on the otherworlds of medieval literature. These fantastical realms are among the most memorable places in medieval writing, by turns beautiful and monstrous, alluring and terrifying. Passing over a river or sea, or entering into a hollow hill, heroes come upon strange and magical realms. These places are often very beautiful, filled with sweet music and adorned with precious stones and rich materials. There is often no darkness, time may pass at a different pace, and the people who dwell there are usually supernatural. Sometimes such a place is exactly what it appears to be-the land of heart's desire-but, the otherworld can also have a sinister side, trapping humans and keeping them there against their will. Otherworlds: Fantasy and History in Medieval Literature takes a fresh look at how medieval writers understood these places and why they found them so compelling. It focuses on texts from England, but places this material in the broader context of literary production in medieval Britain and Ireland. The narratives examined in this book tell a rather surprising story about medieval notions of these fantastical places. Otherworlds are actually a lot less 'other' than they might initially seem. Authors often use the idea of the otherworld to comment on very serious topics. It is not unusual for otherworld depictions to address political issues in the historical world. Most intriguing of all are those texts where locations in the real world are re-imagined as otherworlds. The regions on which this book focuses, Britain, Ireland and the surrounding islands, prove particularly susceptible to this characterization.

A new species of lizard genus Gymnodactylus Spix, 1825 (Squamata: Gekkota: Phyllodactylidae) from Serra do Sincora, northeastern Brazil, and the status of G. carvalhoi Vanzolini, 2005

A new species of gekkonid lizard genus Gymnodactylus Spix, 1825 is described on the basis of material collected in the ""campos rupestres"" (open rocky communities) of Mucuge municipality, northeastern Brazil. G. vanzolinii sp. nov. differs from its congeners in the number of transverse and longitudinal rows of dorsal tubercles and color pattern. It is thought to be closer to G. guttulatus which also occurs and is restricted to the rocky communities from highland open areas in the Espinhaco mountain range. The discovery leads to a reevaluation of the taxonomic status of G. carvalhoi Vanzolini, 2005, which is here considered a synonym of G. amarali Barbour, 1925.

Obfuscation and Strict Online Anonymity

I consider the case for genuinely anonymous web searching. Big data seems to have it in for privacy. The story is well known, particularly since the dawn of the web. Vastly more personal information, monumental and quotidian, is gathered than in the pre-digital days. Once gathered it can be aggregated and analyzed to produce rich portraits, which in turn permit unnerving prediction of our future behavior. The new information can then be shared widely, limiting prospects and threatening autonomy. How should we respond? Following Nissenbaum (2011) and Brunton and Nissenbaum (2011 and 2013), I will argue that the proposed solutions—consent, anonymity as conventionally practiced, corporate best practices, and law—fail to protect us against routine surveillance of our online behavior. Brunton and Nissenbaum rightly maintain that, given the power imbalance between data holders and data subjects, obfuscation of one’s online activities is justified. Obfuscation works by generating “misleading, false, or ambiguous data with the intention of confusing an adversary or simply adding to the time or cost of separating good data from bad,” thus decreasing the value of the data collected (Brunton and Nissenbaum, 2011). The phenomenon is as old as the hills. Natural selection evidently blundered upon the tactic long ago. Take a savory butterfly whose markings mimic those of a toxic cousin. From the point of view of a would-be predator the data conveyed by the pattern is ambiguous. Is the bug lunch or potential last meal? In the light of the steep costs of a mistake, the savvy predator goes hungry. Online obfuscation works similarly, attempting for instance to disguise the surfer’s identity (Tor) or the nature of her queries (Howe and Nissenbaum 2009). Yet online obfuscation comes with significant social costs. First, it implies free riding. If I’ve installed an effective obfuscating program, I’m enjoying the benefits of an apparently free internet without paying the costs of surveillance, which are shifted entirely onto non-obfuscators. Second, it permits sketchy actors, from child pornographers to fraudsters, to operate with near impunity. Third, online merchants could plausibly claim that, when we shop online, surveillance is the price we pay for convenience. If we don’t like it, we should take our business to the local brick-and-mortar and pay with cash. Brunton and Nissenbaum have not fully addressed the last two costs. Nevertheless, I think the strict defender of online anonymity can meet these objections. Regarding the third, the future doesn’t bode well for offline shopping. Consider music and books. Intrepid shoppers can still find most of what they want in a book or record store. Soon, though, this will probably not be the case. And then there are those who, for perfectly good reasons, are sensitive about doing some of their shopping in person, perhaps because of their weight or sexual tastes. I argue that consumers should not have to pay the price of surveillance every time they want to buy that catchy new hit, that New York Times bestseller, or a sex toy.

Ink-Jet Printing of Color Optical Filters for LCD Applications

At the age of multi-media, portable electronic devices such as mobile phones, personal digital assistant and handheld gaming systems have increased the demand for high performance displays with low cost production. Inkjet printing color optical filters (COF) for LCD applications seem to be an interesting alternative to decrease the production costs. The advantage of inkjet printing technology is to be fast, accurate, easy to run and cheaper than other technologies. In this master thesis work, we used various disciplines such as optical microscopy, rheology, inkjet printing, profilometering and colorimetry. The specific aim of the thesis was to investigate the feasibility of using company-A pigment formulation in inkjet production of COF for active matrix LCD applications. Ideal viscosity parameters were determined from 10 to 20mPa·s for easy inkjet printing at room temperature. The red pigments used are fully dispersed into the solvent and present an excellent homogenous repartition after printing. Thickness investigations revealed that the printed COF were equal or slightly thicker than typically manufactured ones. The colorimetry investigations demonstrated color coordinates very close to the NTSC red standard. LED backlighting seems to be a valuable solution to combine with the printed COF regarding to the spectrum and color analysis. The results on this thesis will increase the understanding of inkjet printing company-A pigments to produce COF for LCD applications.