523 resultados para Electronically interfaced


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To classify Listeria monocytogenes using taxonomic characters derived from the rRNA operons and their flanking sequences, we studied a sample of 1346 strains within the taxon. DNA from each strain was digested with a restriction endonuclease, EcoRI. The fragments were separated by gel electrophoresis, immobilized on a membrane, and hybridized with a labeled rRNA operon from Escherichia coli. The pattern of bands, positions, and intensities of hybridized fragments were electronically captured. Software was used to normalize the band positions relative to standards, scale the signal intensity, and reduce the background so that each strain was reproducibly represented in a data base as a pattern. With these methods, L. monocytogenes was resolved into 50 pattern types differing in the length of at least one polymorphic fragment. Pattern types representing multiple strains were recorded as the mathematical average of the strain patterns. Pattern types were arranged by size polymorphisms of assigned rRNA regions into subsets, which revealed the branching genetic structure of the species. Subtracting the polymorphic variants of a specific assigned region from the pattern types and averaging the types within each subset resulted in reduced sets of conserved fragments that could be used to recognize strains of the species. Pattern types and reduced sets of conserved fragments were conserved among different strains of L. monocytogenes but were not observed in total among strains of other species.

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We report on integral-, momentum transfer-and differential cross sections for elastic and electronically inelastic electron collisions with furfural (C5H4O2). The calculations were performed with two different theoretical methodologies, the Schwinger multichannel method with pseudopotentials (SMCPP) and the independent atom method with screening corrected additivity rule (IAM-SCAR) that now incorporates a further interference (I) term. The SMCPP with N energetically open electronic states (N-open) at either the static-exchange (N-open ch-SE) or the static-exchange-plus-polarisation (N-open ch-SEP) approximation was employed to calculate the scattering amplitudes at impact energies lying between 5 eV and 50 eV, using a channel coupling scheme that ranges from the 1ch-SEP up to the 63ch-SE level of approximation depending on the energy considered. For elastic scattering, we found very good overall agreement at higher energies among our SMCPP cross sections, our IAM-SCAR+I cross sections and the experimental data for furan (a molecule that differs from furfural only by the substitution of a hydrogen atom in furan with an aldehyde functional group). This is a good indication that our elastic cross sections are converged with respect to the multichannel coupling effect for most of the investigated intermediate energies. However, although the present application represents the most sophisticated calculation performed with the SMCPP method thus far, the inelastic cross sections, even for the low lying energy states, are still not completely converged for intermediate and higher energies. We discuss possible reasons leading to this discrepancy and point out what further steps need to be undertaken in order to improve the agreement between the calculated and measured cross sections. (C) 2016 AIP Publishing LLC.

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O cadastramento de peritos cíveis junto ao Poder Judiciário atualmente não é feito eletronicamente e o rol de profissionais não é divulgado pela internet, sendo necessário que os profissionais se cadastrem pessoalmente em cada fórum. Também não existe atualmente uma avaliação dos trabalhos periciais realizados, o que faz com que o resultado dos trabalhos periciais, ou seja, o laudo pericial tenha muitos defeitos e acabe por não ter a qualidade necessária para auxiliar o juiz em sua tomada de decisão. Após a realização de uma pesquisa com peritos sobre suas impressões quanto à forma de cadastramento atualmente utilizada, aplicou-se o método Analytic Hierarchy Process (AHP) para auxiliar na identificação do perfil dos profissionais que desejam modificações no sistema. Foram então feitas observações e sugestões para que este modelo atualmente utilizado seja modificado e possa assim atender aos princípios constitucionais da publicidade, eficiência e finalidade.

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The collection holds a heavily interleaved 1791 Triennial Catalogue annotated, in part, by Jeremy Belknap. A note by Harvard Librarian John Langdon Sibley, on the verso of the flyleaf, indicates a second annotator: "It should be observed that this catalogue is in the handwriting of two persons, Dr. Belknap & probably interlineations & additions by Rev. Dr. [John] Eliot. The interlineing part should not be too confidently relied on for accuracy. J. L. Sibley, April 14, 1848." The volume contains biographical notes, newspaper clippings, excerpts from manuscript and printed sources such as New England's First Fruits, the manuscript memoirs of Charles Chauncey, and John Winthrop's Journal, and a 1795 letter from Isaac Mansfield. In the letter, Mansfield references an item he believed to be written by his grandfather, Ames Cheever (Harvard AB 1707), and briefly describes his grandfather. A list of election sermon orators with dates is also pasted into the inside back cover, along with an obituary of the Rev. John Wales (Harvard AB 1728) from the Boston Post-Boy, March 4, 1765.

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This diary, effectively a commonplace book, documents Flynt's daily activities and personal reflections from 1723 to 1747. Many entries concern his dealings with family members, business associates, acquaintances, ministers, and political officials. The diary includes a list of books Flynt loaned to others from 1723 to 1743 and detailed financial entries from 1724 to 1747. These entries provide information about the costs of goods and services, as well as Flynt's consumption habits; they detail where he traveled, what he ate and drank (including, apparently, many pounds of almonds), what he read, and many other aspects of daily life. The diary also contains entries related to Flynt's land holdings and other investments, as well as copies of meeting minutes from several sessions of the Harvard Board of Overseers.

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THE AIM OF THE STUDY There are limited data on blood pressure targets and vasopressor use following cardiac arrest. We hypothesized that hypotension and high vasopressor load are associated with poor neurological outcome following out-of-hospital cardiac arrest (OHCA). METHODS We included 412 patients with OHCA included in FINNRESUSCI study conducted between 2010 and 2011. Hemodynamic data and vasopressor doses were collected electronically in one, two or five minute intervals. We evaluated thresholds for time-weighted (TW) mean arterial pressure (MAP) and outcome by receiver operating characteristic (ROC) curve analysis, and used multivariable analysis adjusting for co-morbidities, factors at resuscitation, an illness severity score, TW MAP and total vasopressor load (VL) to test associations with one-year neurologic outcome, dichotomized into either good (1-2) or poor (3-5) according to the cerebral performance category scale. RESULTS Of 412 patients, 169 patients had good and 243 patients had poor one-year outcomes. The lowest MAP during the first six hours was 58 (inter-quartile range [IQR] 56-61) mmHg in those with a poor outcome and 61 (59-63) mmHg in those with a good outcome (p<0.01), and lowest MAP was independently associated with poor outcome (OR 1.02 per mmHg, 95% CI 1.00-1.04, p=0.03). During the first 48h the median (IQR) of the TW mean MAP was 80 (78-82) mmHg in patients with poor, and 82 (81-83) mmHg in those with good outcomes (p=0.03) but in multivariable analysis TWA MAP was not associated with outcome. Vasopressor load did not predict one-year neurologic outcome. CONCLUSIONS Hypotension occurring during the first six hours after cardiac arrest is an independent predictor of poor one-year neurologic outcome. High vasopressor load was not associated with poor outcome and further randomized trials are needed to define optimal MAP targets in OHCA patients.

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“Autonomous Sensory Meridian Response” (ASMR) is a term that has emerged online to describe a mysterious tingling sensation that some people experience in response to particular audiovisual and interpersonal “triggers.” Initially coalescing via discussion threads on health forums, ASMR culture quickly began using platforms like YouTube and Reddit to exchange trigger videos. This paper frames the emergence of ASMR video culture as an example of how bodies and algorithms are conspiring to bring into being new cultural forms that can seem literally inexplicable on first encounter. Treating videos as “inputs,” judged not as messages to be understood or interpreted but by their ability to elicit particular affective and somatic “outputs,” ASMR communities cultivate a quasi-cybernetic relationship with the moving image, using video as a vehicle for “feeling out” phenomena that seem to thwart linguistic articulation and rational comprehension.

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Among young women, lifestyle videos have become extremely popular on YouTube, and a similar trend has emerged among young Muslim women who share modest fashion tips and discuss religious topics. This paper examines the videos of two prominent Muslim women on YouTube, Amena Khan and Dina Torkia, in an effort to understand how they engage with aesthetic styles in order to work against Western stereotypes of Muslim women as oppressed and lacking individuality. Islamic lifestyle videos might appear to simply promote a vacuous focus on appearances, but I argue that it is through the aesthetics and affects of these videos that Amena and Dina do political work to redistribute the sensible and shift what is considered attractive, beautiful and pleasurable in Western society. Additionally, the hybrid aesthetic styles and affects of authenticity and pleasure, which are possible in digital spaces like YouTube, offer Amena and Dina the chance to control their own visual images and to resist being coopted as icons of Western freedom or Islamic piety.

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Do the “democratization” of media and the proliferation of online participatory culture undermine the aesthetic hegemony of professional filmmakers? This article is a case study of both more and less popular animated Lego videos, also called “brickfilms,” that asks how amateur videos adhere to and/or depart from professionalized aesthetic standards. It addresses the definitions of professionalism and amateurism and proposes that the dichotomy between democratization and ongoing elitism is insufficient to describe the complex dialogue between professional film aesthetics and amateur production—a dialogue that is diverse but nonetheless follows certain patterns. These patterns link Lego videos to silent era cinema as well as contemporary professional live-action and stop-motion animation. Furthermore, a mixture of parody, pastiche, and homage suggest that amateur work has a variety of affective relationships to professional work. Ultimately, amateur filmmaking indicates a negotiation of professional standards rather than slavish adherence.

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WorldStarHipHop.com (WSHH) is an online video aggregating website that describes itself as “the premiere online hip hop destination” and a home for “urban media.” Yet, browsing through the site provides little clarity on what constitutes a hip-hop video or urban Internet space because of the disparate video content, the actual racial diversity of the performers, and the website’s generic design. As a result, WSHH’s taglines make a strange claim about the current state of the black musical tradition. Through close readings of the site, this article considers the architecture of this space of interracial exchange and identifies the interface as an example of Modernist architectural simplicity. I argue WSHH’s modular design is flexible enough to include non-black bodies, while remaining a black “urban” space. Thus, the site’s straightforward architecture paradoxically becomes the scaffolding of a much more complex, de-corporealized, and “shareable” blackness.

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Producers of online instructional videos about bokeh emphasize disks of light and out-of-focus backgrounds. They demonstrate how camera lenses and technical features can render bokeh, or unfocused areas. Photographic and video bokeh ordinarily appears away from the center of attention. The bokeh genre, in opposition to typical photography and video practices, foregrounds the peripheral and proposes aesthetics and ways of looking by seeing and not seeing objects. However, producers of online instructional videos about bokeh sometimes couple their sensual aestheticization of backgrounds to their stated attempts to satisfy viewers’ investments in filling foregrounds with images of objectified women. These producers emphasize unconventional aesthetics as a means of establishing their creative and technical expertise and obscuring their reproduction of traditional conceptions of women as viewable and controllable. Close textual analysis, literature on photography and transparency, and feminist considerations of representation allow me to consider the aesthetics and functions of this how-to form.

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