Concept and basic framework prototype for a flexible and intervention-independent situation recognition system in the OR

Author(s):  
Denise Junger ◽  
Bernhard Hirt ◽  
Oliver Burgert
2008 ◽  
Vol 31 (4) ◽  
pp. 415-437 ◽  
Author(s):  
A. David Redish ◽  
Steve Jensen ◽  
Adam Johnson

AbstractThe understanding of decision-making systems has come together in recent years to form a unified theory of decision-making in the mammalian brain as arising from multiple, interacting systems (a planning system, a habit system, and a situation-recognition system). This unified decision-making system has multiple potential access points through which it can be driven to make maladaptive choices, particularly choices that entail seeking of certain drugs or behaviors. We identify 10 key vulnerabilities in the system: (1) moving away from homeostasis, (2) changing allostatic set points, (3) euphorigenic “reward-like” signals, (4) overvaluation in the planning system, (5) incorrect search of situation-action-outcome relationships, (6) misclassification of situations, (7) overvaluation in the habit system, (8) a mismatch in the balance of the two decision systems, (9) over-fast discounting processes, and (10) changed learning rates. These vulnerabilities provide a taxonomy of potential problems with decision-making systems. Although each vulnerability can drive an agent to return to the addictive choice, each vulnerability also implies a characteristic symptomology. Different drugs, different behaviors, and different individuals are likely to access different vulnerabilities. This has implications for an individual's susceptibility to addiction and the transition to addiction, for the potential for relapse, and for the potential for treatment.


2018 ◽  
Vol 1 (2) ◽  
pp. 34-44
Author(s):  
Faris E Mohammed ◽  
Dr. Eman M ALdaidamony ◽  
Prof. A. M Raid

Individual identification process is a very significant process that resides a large portion of day by day usages. Identification process is appropriate in work place, private zones, banks …etc. Individuals are rich subject having many characteristics that can be used for recognition purpose such as finger vein, iris, face …etc. Finger vein and iris key-points are considered as one of the most talented biometric authentication techniques for its security and convenience. SIFT is new and talented technique for pattern recognition. However, some shortages exist in many related techniques, such as difficulty of feature loss, feature key extraction, and noise point introduction. In this manuscript a new technique named SIFT-based iris and SIFT-based finger vein identification with normalization and enhancement is proposed for achieving better performance. In evaluation with other SIFT-based iris or SIFT-based finger vein recognition algorithms, the suggested technique can overcome the difficulties of tremendous key-point extraction and exclude the noise points without feature loss. Experimental results demonstrate that the normalization and improvement steps are critical for SIFT-based recognition for iris and finger vein , and the proposed technique can accomplish satisfactory recognition performance. Keywords: SIFT, Iris Recognition, Finger Vein identification and Biometric Systems.   © 2018 JASET, International Scholars and Researchers Association    


2012 ◽  
Vol 21 (2) ◽  
pp. 157-180
Author(s):  
David Foster

This article examines the use of movement and visual form in the film adaptation of Samuel Beckett's Comédie (Marin Karmitz, 1966). The article broaches the kinetic elements of the work through addressing the manner in which the diegetic motion of the film can be seen to reflect extra-diegetic cinematic processes. The sense of movement that is created through Comédie's montage is then considered at length, making use of work on this theme by two quite different (though tangentially related) theorists: Sergei Eisenstein and Jean-François Lyotard. The article then charts the film's different manifestations of formal movement, and a basic framework is proposed to explain the manner in which the film creates moments of intensity, through what is termed the ‘local movement’ of the montage, and the manner in which the film manifests an overall curve of intensity, through what is termed the montage's ‘global movement’. It is argued that each form of montagic motion is reflected in the other, and that ultimately these movements might be seen to dramatise a human drive towards, and a concomitant flight from, an impossible state of ontological totality.


2012 ◽  
Vol 3 (4) ◽  
pp. 514-515
Author(s):  
Meenakshi BK Meenakshi BK ◽  
◽  
Prasad M R Prasad M R

Sign in / Sign up

Export Citation Format

Share Document