Visualization tools for high angular resolution diffusion imaging

There is a major effort in medical imaging to develop algorithms to extract information from DTI and HARDI, which provide detailed information on brain integrity and connectivity. As the images have recently advanced to provide extraordinarily high angular resolution and spatial detail, including an entire manifold of information at each point in the 3D images, there has been no readily available means to view the results. This impedes developments in HARDI research, which need some method to check the plausibility and validity of image processing operations on HARDI data or to appreciate data features or invariants that might serve as a basis for new directions in image segmentation, registration, and statistics. We present a set of tools to provide interactive display of HARDI data, including both a local rendering application and an off-screen renderer that works with a web-based viewer. Visualizations are presented after registration and averaging of HARDI data from 90 human subjects, revealing important details for which there would be no direct way to appreciate using conventional display of scalar images.

Zarathustra’s Cave

In 'Zarathustra’s Cave' the iconic apartment set from 90’s sitcom 'Seinfeld' is presented devoid of actors or action of any kind. Instead the ‘apartment’ sits empty, accompanied by the ambient noise of the screen-space and the distant sound of city traffic. At irregular intervals this relative silence is punctuated by the laughter of an off-screen audience. Unprompted by any on-screen action, this spontaneous audience response ranges from raucous fits of cheering and applause to singular guffaws and giggles. The work is the product of a deep engagement with its subject matter, the result of countless hours of re-watching and editing to isolate the aural and visual spaces presented on the screen. In its resolute emptiness, the installation addresses the notion of narrative expectation. It creates a ‘nothing-space’, where a viewer can experientially oscillate between a sense of presence and absence, tension and pathos, or even between humour and existential crisis. The work was first exhibited in ‘NEW14’, at the Australian Centre for Contemporary Art in Melbourne.

Real-life Social Attention in Children with Autism Spectrum Disorders

Autism is a neuro-developmental disorder defined by atypical social behaviour, of which atypical social attention behaviours are among the earliest clinical markers (Volkmar et al., 1997). Eye tracking studies using still images and movie clips have provided a method for the precise quantification of atypical social attention in ASD. This is generally characterised by diminished viewing of the most socially pertinent regions (eyes), and increased viewing of less socially informative regions (body, background, objects) (Klin et al., 2002; Riby & Hancock, 2008, 2009). Ecological validity within eye tracking studies has become an increasingly important issue. As of yet, however, little is known about the precise nature of the atypicalities of social attention in ASD in real-life. Objectives: To capture and quantify gaze patterns for children with an ASD within a real life setting, compared to two Typically Developing (TD) comparison groups. Methods: Nine children with an ASD were compared to two age matched TD groups – a verbal (N=9) and a non-verbal (N=9) comparison group. A real-life scenario was created involving an experimenter posing as a magician, and consisted of 3 segments: a conversation segment; a magic trick segment; and a puppet segment. The first segment explored children’s attentional preferences during a real-life conversation; the magic trick segment explored children’s use of the eyes as a communicative cue, and the puppet segment explored attention capture. Finally, part of the puppet section explored children’s use of facial information in response to an unexpected event. Results: The most striking difference between the groups was the diminished viewing of the eyes by the ASD group in comparison to both control groups. This was found particularly during the conversation segment, but also during the magic trick segment, and during the puppet segment. When in conversation, participants with ASD were found to spend a greater proportion time looking off-screen, in comparison to TD participants. There was also a tendency for the ASD group to spend a greater proportion of time looking to the mouth of the experimenter. During the magic trick segment, despite the fact that the eyes were not predictive of a correct location, both TD comparison groups continued to use the eyes as a communicative cue, whereas the ASD group did not. In the puppet segment, all three groups spent a similar amount of time looking between the puppet and regions of the experimenter’s face. However, in response to an unexpected event, the ASD group were significantly slower to fixate back on the experimenter’s face. Conclusions: The results demonstrate the reduced salience of socially pertinent information for children with ASD in real life, and they provide support for the findings from previous eye tracking studies involving scene viewing. However, the results also highlight a pattern looking off-screen for both the TD and ASD groups. This eye movement behaviour is likely to be associated specifically with real-life interaction, as it has functional relevance (Doherty-Sneddon et al., 2002). However, the fact that it is significantly increased in the ASD group has implications for their understanding of real life social interactions.

Généalogie des résistances cinématographiques : le cas de trois machines autopoïétiques (Eisenstein, Syberberg, Welles)

Notre thèse s’attache à définir certains rapports possibles entre le cinéma et le politique ou, plus précisément, entre le cinéma et le concept pratique de résistance. Il existe une théorie de la résistance, soit sous la forme d’une cartographie du pouvoir moléculaire (M. Foucault), soit sous la forme d’une analytique de la résistance (F. Proust). Il existe également une théorie de la résistance cinématographique, soit comme sociologie ou histoire de l’action politique par le cinéma (cinéma de la Résistance, cinéma militant), soit comme une sémiotique des formes et des genres marginaux (cinéma expérimental, cinéma des avant-gardes). Suivant une direction tracée par Serge Daney et Gilles Deleuze, nous croyons qu’il faut poser autrement le problème : si « le politique est affaire de perception », alors la résistance est d’abord une invention de visibilité et d’audibilité. En ce sens, la résistance cinématographique est une exploration de ce que peut le cinéma, tant d’un point de vue esthétique, éthique, que politique. D’où notre hypothèse, qui est double : d’une part, cette invention de visibilité, cette création de potentiel n’est peut-être possible qu’en passant par un ré-enchaînement anachronique d’une déformation plastique, narrative et audiovisuelle à une autre, c’est-à-dire d’une survivance à une autre. D’autre part, nous croyons qu’une forme esthétique est en soi matière politique et manière de politique, et qu’elle implique également une éthique venant brasser notre propre subjectivité (de cinéaste, de spectateur, de citoyen, etc.). Or, pour saisir cette invention de visibilité inhérente au cinéma, il faut en passer par une généalogie de certaines alliances théoriques et pratiques parmi les plus importantes. Le cas de trois machines autopoïétiques nous intéressera tout particulièrement, trois constellations d’œuvres et de pensées qui débordent le nom propre des « Auteurs » convoqués : Eisenstein et les résistances méthodologiques ; Syberberg et les résistances plastiques ou audiovisuelles (à travers la seule figure du hors-champ) ; Welles et les résistances esth/éthico-politiques. Ainsi, une telle chaîne généalogique nous permettra de mieux mesurer l’efficace de ces résistances, mais sans désir de systématisation ni constitution d’une Théorie de la résistance cinématographique.

Opening movements in Ophuls: Caught (and Madame de …)

This audiovisual essay was created at the wonderful NEH-funded workshop in videographic criticism at Middlebury College, ‘Scholarship in Sound and Image’. The essay provides an analysis of the orchestration of long takes and camera movement in the opening of Caught (Ophuls, 1949), and develops a comparison with the opening of Madame de… (Ophuls, 1953 – U.S. release title The Earrings of Madame de…), not least through a series of juxtapositions, which can be directly presented and compared in an audiovisual essay. The openings share a concern with the subjectivity of the female protagonists and our relationship toward it, evoking the women’s experience while balancing this with other kinds of perspective. As has been noted in the critical literature on Ophuls, and on melodramas of passion more generally, such views enable us to perceive the women concerned to be caught in material and ideological frameworks of which they are at best partially aware. Among the interests of this particular comparison, however, is the extent to which the dynamic around female subjectivity is played in relation to luxury goods, imagined, owned or admired. Tensions between on- and off-screen spaces and sounds are critical to the interest of the long takes under discussion. Camera movements subtly inflect the extent to which we are aligned (or otherwise) with the characters and the ways in which their material circumstances are revealed to us.

Simbologia em realidade aumentada móvel

Tese de mestrado, Engenharia Informática (Sistemas de Informação), Universidade de Lisboa, Faculdade de Ciências, 2016

Choosing the Arranged One, Arranging the Chosen One – Imagining an Indian Modernity: Reconciling Love, Marriage and Family On and Off the Screen

This is a study on the changing practices of kinship in Northern India. The change in kinship arrangements, and particularly in intermarriage processes, is traced by analysing the reception of Hindi popular cinema. Films and their role and meaning in people´s lives in India was the object of my research. Films also provided me with a methodology for approaching my other subject-matters: family, marriage and love. Through my discussion of cultural change, the persistence of family as a core value and locus of identity, and the movie discourses depicting this dialogue, I have looked for a possibility of compromise and reconciliation in an Indian context. As the primary form of Indian public culture, cinema has the ability to take part in discourses about Indian identity and cultural change, and alleviate the conflicts that emerge within these discourses. Hindi popular films do this, I argue, by incorporating different familiar cultural narratives in a resourceful way, thus creating something new out of the old elements. The final word, however, is the one of the spectator. The “new” must come from within the culture. The Indian modernity must be imaginable and distinctively Indian. The social imagination is not a “Wild West” where new ideas enter the void and start living a life of their own. The way the young women in Dehra Dun interpreted family dramas and romantic movies highlights the importance of family and continuity in kinship arrangements. The institution of arranged marriage has changed its appearance and gained new alternative modes such as love cum arranged marriage. It nevertheless remains arranged by the parents. In my thesis I have offered a social description of a cultural reality in which movies act as a built-in part. Movies do not work as a distinct realm, but instead intertwine with the social realities of people as a part of a continuum. The social imagination is rooted in the everyday realities of people, as are the movies, in an ontological and categorical sense. According to my research, the links between imagination and social life were not so much what Arjun Appadurai would call global and deterritorialised, but instead local and conventional.

The effect of screen size on mission commander's situation awareness

Situation awareness lost is a common factor leading to human error in the aviation industry. However, few studies have investigated the effect on situation awareness where the control interface is a touch-screen device that supports simultaneous multi-touch input and information output. This research aims to conduct an experiment to evaluate the difference in situation awareness on a large screen device, DiamondTouch (DT107), and a small screen device, iPad, both with multi-touch interactive functions. The Interface Operation and Situation Awareness Testing Simulator (IOSATS), is a simulator to test the three basis interface operations (Search Target, Information Reading, and Change Detection) by implementing a simplified search and rescue scenario. The result of this experiment will provide reliable data for future research for improving operator's situation awareness in the avionic domain.

Novel biosensing device for point-of-care applications with plastic antibodies grown on Au-Screen Printed Electrodes

A gold screen printed electrode (Au-SPE) was modified by merging Molecular Imprinting and Self-Assembly Monolayer techniques for fast screening cardiac biomarkers in point-of-care (POC). For this purpose, Myoglobin (Myo) was selected as target analyte and its plastic antibody imprinted over a glutaraldehyde (Glu)/cysteamine (Cys) layer on the gold-surface. The imprinting effect was produced by growing a reticulated polymer of acrylamide (AAM) and N,N′-methylenebisacrylamide (NNMBA) around the Myo template, covalently attached to the biosensing surface. Electrochemical impedance spectroscopy (EIS) and cyclic voltammetry (CV) studies were carried out in all chemical modification steps to confirm the surface changes in the Au-SPE. The analytical features of the resulting biosensor were studied by different electrochemical techniques, including EIS, square wave voltammetry (SWV) and potentiometry. The limits of detection ranged from 0.13 to 8 μg/mL. Only potentiometry assays showed limits of detection including the cut-off Myo levels. Quantitative information was also produced for Myo concentrations ≥0.2 μg/mL. The linear response of the biosensing device showed an anionic slope of ~70 mV per decade molar concentration up to 0.3 μg/mL. The interference of coexisting species was tested and good selectivity was observed. The biosensor was successfully applied to biological fluids.

Reliability, Validity and Classification Accuracy of the South Oaks Gambling Screen in a Brazilian Sample

The purpose of this study was to examine the reliability, validity and classification accuracy of the South Oaks Gambling Screen (SOGS) in a sample of the Brazilian population. Participants in this study were drawn from three sources: 71 men and women from the general population interviewed at a metropolitan train station; 116 men and women encountered at a bingo venue; and 54 men and women undergoing treatment for gambling. The SOGS and a DSM-IV-based instrument were applied by trained researchers. The internal consistency of the SOGS was 0.75 according to the Cronbach`s alpha model, and construct validity was good. A significant difference among groups was demonstrated by ANOVA (F ((2.238)) = 221.3, P < 0.001). The SOGS items and DSM-IV symptoms were highly correlated (r = 0.854, P < 0.01). The SOGS also presented satisfactory psychometric properties: sensitivity (100), specificity (74.7), positive predictive rate (60.7), negative predictive rate (100) and misclassification rate (0.18). However, a cut-off score of eight improved classification accuracy and reduced the rate of false positives: sensitivity (95.4), specificity (89.8), positive predictive rate (78.5), negative predictive rate (98) and misclassification rate (0.09). Thus, the SOGS was found to be reliable and valid in the Brazilian population.

Adapting Victorian Gypsies for the Screen: Ethnicity, Otherness and (In)visibility in Neo-Victorian Popular Film

This paper aims at analysing the presence of gypsy characters in two neo-Victorian popular films, namely Joe Johnston’s The Wolfman (2010) and Guy Ritchie’s Sherlock Holmes: Game of Shadows (2011). The cultural construction of nineteenth-century gypsies, those “Others within Europe” (Boyarin 433) whose presence in Victorian fiction was peripheral, spectral and at times invisible (Nord 3-4), is simultaneously exploited and contested by these two neo-Victorian screen narratives to raise issues of otherness and invisibility on the screen. Setting off from the premise that screen texts, just like print texts, can also be participant in the neo-Victorian project of reimagining the underside of Victorian culture for contemporary audiences (Whelehan 273), this paper traces how the adaptation of Victorian gypsies for the screen, true to the palimpsestuous potential inherent to the process of adaptation (Hutcheon 6) and sharing the double drive between past and present which characterises the neo-Victorian genre (Arias and Pulham xiii; Shiller 539), hybridises our cultural memory of the Victorian Age on the screen while concurrently raises concerns over the persistent liminal status of gypsies in contemporary European culture. In particular, this paper illustrates how the tropes prototypically associated to gypsies (namely their nomadic lifestyle, mysticism, alienated existence or their perceived association to criminality) which can be traced back to Victorian culture are deployed on the neo-Victorian popular screen (with varyingly succesful outcomes) to comment on their (in)visibility in the European popular imagination.

Handgrip strength cut-off for cardiometabolic risk index among Colombian children and adolescents : the FUPRECOL study

Abstract Objective: Evidence shows an association between muscular strength (MS) and health among youth, however low muscular strength cut-points for the detection of high metabolic risk in Latin-American populations are scarce. The aim of this study was two-fold: to explore potential age- and sex-specific thresholds of MS, for optimal cardiometabolic risk categorization among Colombian children and adolescents; and to investigate if cardiometabolic risk differed by MS group by applying the receiver operating characteristic curve (ROC) cut point. Methods: This is a secondary analysis of a cross-sectional study (the FUPRECOL study), published elsewhere. The FUPRECOL study assessments were conducted during the 2014– 2015 school year. MS was estimated by a handle dynamometer on 1,950 children and adolescents from Colombia, using the MS relative to weight (handgrip strength/body mass). A metabolic risk score was computed from the following components: waist circumference, triglycerides, HDL-c, glucose, systolic and diastolic blood pressure. ROC analysis showed a significant discriminatory accuracy of MS in identifying the low/high metabolic risk in children and adolescents and both gender. Results: In children, handgrip strength/body mass level for a low metabolic risk were 0.359 and 0.376 in girls and boys, respectively. In adolescents, these points were 0.440 and 0.447 in girls and boys, respectively. Conclusion: In conclusion, the results suggest a hypothetical MS level relative to weight for having a low metabolic risk, which could be used to identify youths at risk.