The Impact of Endoscopy Sedation Information Sheets on the Level of Concern Regarding Possible Awareness in Patients Undergoing Endoscopy Sedation

Sedation encompasses a continuum from complete unconsciousness to drowsiness and anxiolysis where some awareness might be expected. Most patients undergoing endoscopy sedation expect to be completely unconscious during the procedure and thus have unmet expectations regarding their state of consciousness. This study aimed to evaluate whether endoscopy sedation information sheets reduce the level of concern regarding possible awareness during endoscopy sedation at a major regional hospital. Our findings were that 28.8% of patients who received the endoscopy sedation information sheet (n = 82) were concerned about awareness during the procedure, compared to 36.5% of patients in the control group (n = 105). However, the difference was not statistically significant. We also found that the incidence of awareness was higher (13.9%) in the intervention group compared to 8.8% in the control group but, again, not statistically different. This study allowed us to elucidate the level of concern regarding possible awareness during sedation and the incidence of awareness during endoscopy sedation. This will enable future work investigating the role of endoscopy sedation information methods involving written and video material in assisting pre-procedure patient counselling.

From a sound to the discourse: the system of effective promoting auditive competence of students

The article is dedicated to the analysis of actual aims of foreign languages teaching. Its practical orientation is highlighted as the principle vector of training process. Reading, writing, speaking and listening as the basic speech activity forms are named, their characteristic features are revealed. The authors’ practical experience, and the assessment of the results of the survey among the students made it possible to determine listening as a crucial challenge in authentic communication. These data achieved by practical ways are confirmed in the process of reviewing numerous scientific, methodical, psychological, pedagogical researches. Answering to the target request of students and colleagues searching optimal methodological techniques for audio competence development, the authors propose a six-level system of audio practice, which is built up on the principles of mindfulness, sequence, progressiveness. A step work in the frame of the mentioned system is described and substantiated – from the meaningful audio perception of sounds, combinations of sounds to detailed semantic understanding of phrases, sentences and discourse of foreign speech in general. In addition, the authors present a method of four-step work with authentic video material which promotes effective development of auditive competence. This technique can be applied in formal face-to-face learning as well as self-study training.

Video materials in the educational process: Experience of approbation and use (The case of natural science disciplines)

Modern society, like a modern education, is no longer possible to imagine without technological visualization devices and various interactive materials. A few years ago, it was often not possible to widely use not only dynamic images, but even audio materials. Now the educational process is developing in step with technical progress and it is difficult to imagine a lecture or a seminar without educational means of visualizing information. However, the time for static presentations is coming to an end and it is being replaced by the use of educational video materials of various types and directions. The study presents a fairly detailed typology of currently existing video materials that can be used in the educational process. An example of the implementation of an interactive video clip in educational work with geography students is also given. The author pays special attention to the involvement of students in the process of designing, creating and evaluating creative video projects. Practical benefits of such a pedagogical technology are analyzed, both for the development of students' professional skills and for their creative growth. In addition, the article uses the QR codes of the student project, which makes it possible to view the video material presented in the study.

Sound phantoms: The hidden sonic signatures resident in objects with particular reference to that of the tree

<p>This exegesis informs the ten accompanying audiovisual artworks which express the concept of the sound phantom. The sound phantom is a speculative entity, enjoying persistence, and harboured by all objects. It consists of every sound, real or conceptual, that the object has made or could make, past and future, time-condensed and folded into spatial form. Once this form, or field, is entered by a listener, various sonic representations of the object can be experienced. The object chosen for this paper is that of the tree. There is a possibility that the sound phantom is an ancient idea in both academia and cultural fora, though it has not necessarily enjoyed the scrutiny and artistic response presented here. Given that the actual sound of an object is only part of the sound phantom, the phantom encompasses sonic representation of its other sensual properties (such as visual and textural) as well as conceptual (such as human and non-human perceptions of the object, and its own memories and goals). The sound phantom can be imagined as a zone straddling the boundary of scientific/philosophical understanding and the unknown. There is support from existing academic research for the existence of such a concept, not least in that conceptual and sensory objects enjoy the same status as objects, even if their ‘realness’ is what is in question. This also implies that at some level these objects have experience and even agency, even if it is far from human understanding. Once we accept that different life forms exist on vastly different timescales, it becomes easier to accept the notion that slowly-moving organisms like trees may be able to sense, remember, communicate and make decisions. If we could somehow perceive the object’s ‘sonic self’, that may re-encourage an idea that has been in decline over the last few hundred years: that of inter-entity empathy. At least in practice, it is undeniable that the environment and its non-human inhabitants have been severely disrespected and damaged to a critical point in modern times. If we are able to empathise with other things through art, we might yet rekindle enough action to avert disaster to both the world and ourselves. I have chosen established media to portray the idea of the sound phantom, using 2D projection of biaxial 360º video material as a visual guide to the immersive 7.1-surround sonic material. There are other artists that have approached various aspects of the idea of the sound phantom, if not necessarily the political reasons for doing so. Even though our perception of the sound phantom can only be partial, through this paper and our powers of cognition, we might yet be able to grasp the concept and remember that we are not seperate from the world, but of it, and would do well to realise that through our individual and collective actions. This exegesis and the works are a first a step along that pathway.</p>

Sound phantoms: The hidden sonic signatures resident in objects with particular reference to that of the tree

<p>This exegesis informs the ten accompanying audiovisual artworks which express the concept of the sound phantom. The sound phantom is a speculative entity, enjoying persistence, and harboured by all objects. It consists of every sound, real or conceptual, that the object has made or could make, past and future, time-condensed and folded into spatial form. Once this form, or field, is entered by a listener, various sonic representations of the object can be experienced. The object chosen for this paper is that of the tree. There is a possibility that the sound phantom is an ancient idea in both academia and cultural fora, though it has not necessarily enjoyed the scrutiny and artistic response presented here. Given that the actual sound of an object is only part of the sound phantom, the phantom encompasses sonic representation of its other sensual properties (such as visual and textural) as well as conceptual (such as human and non-human perceptions of the object, and its own memories and goals). The sound phantom can be imagined as a zone straddling the boundary of scientific/philosophical understanding and the unknown. There is support from existing academic research for the existence of such a concept, not least in that conceptual and sensory objects enjoy the same status as objects, even if their ‘realness’ is what is in question. This also implies that at some level these objects have experience and even agency, even if it is far from human understanding. Once we accept that different life forms exist on vastly different timescales, it becomes easier to accept the notion that slowly-moving organisms like trees may be able to sense, remember, communicate and make decisions. If we could somehow perceive the object’s ‘sonic self’, that may re-encourage an idea that has been in decline over the last few hundred years: that of inter-entity empathy. At least in practice, it is undeniable that the environment and its non-human inhabitants have been severely disrespected and damaged to a critical point in modern times. If we are able to empathise with other things through art, we might yet rekindle enough action to avert disaster to both the world and ourselves. I have chosen established media to portray the idea of the sound phantom, using 2D projection of biaxial 360º video material as a visual guide to the immersive 7.1-surround sonic material. There are other artists that have approached various aspects of the idea of the sound phantom, if not necessarily the political reasons for doing so. Even though our perception of the sound phantom can only be partial, through this paper and our powers of cognition, we might yet be able to grasp the concept and remember that we are not seperate from the world, but of it, and would do well to realise that through our individual and collective actions. This exegesis and the works are a first a step along that pathway.</p>

Features of Futurism Performance on the Example of the Works ‘Luna, Lussuria e Velocita’ in Ilkham Nazarov’s Interpretation

The purpose of the study is to determine the vocal performance characteristics of the ‘Luna, Lussuria e Velocita’ work, written in the style of futurism in the interpretation of I. Nazarov, taking into account the peculiarities of the timbre of his voice. ‘Luna, Lussuria e Velocita’ is written in the futuristic style and is intended for bass/countertenor and electronic musical instruments. The purpose of the research is to determine the features of the vocal performance of the ‘Luna, Lussuria e Velocita’ work composed in the style of futurism, taking into account the features of I. Nazarov's voice timbre. The research methodology is based on the use of music analytical, historical and theoretical analysis methods. The analysis of vocal performance given in the research was carried out based on the note presented by the composer and the video material performed by I. Nazarov. At the same time, a number of scientific literature on futurism was referred to. The scientific novelty of the research is that the work of Italian composer S. Muscaritolo ‘Luna, Lussuria e Velocita’ was involved in the study for the first time. The work is designed for two registers (bass/countertenor) and is composed in the style of futurism, which characterizes its scientific novelty. The work uses non-traditional playing methods for bass and countertenor. In the research, the research of vocal performance methods used by I.Nazarov during the performance was carried out for the first time. Conclusions. I.Nazarov is the first and only singer in the history of Azerbaijani music culture with a countertenor voice and boundless vocal technique. Not only Azerbaijani but also European composers create works of various genres in accordance with the possibilities of his voice. These works are new due to their features and performance requirements. In ‘Luna, Lussuria e Velocita’ I. Nazarov showed himself as a singer with high technical capabilities, able to perfectly control both the baritone and countertenor sound timbre. The singer expanded the possibilities of performing the countertenor sound timbre, which gave rise to the assessment of the sound timbre from a new position.

BOVIDS: A deep learning-based software for pose estimation to evaluate nightly behavior and its application to Common Elands (Tragelaphus oryx) in zoos

Only a few studies on the nocturnal behavior of African ungulates exist so far, with mostly small sample sizes. For a comprehensive understanding of nocturnal behavior, this database needs to be expanded. Zoo animals offer a good opportunity to lay the corresponding foundations. The results can provide clues for the study of wild animals and furthermore contribute to a better understanding of animal welfare and better husbandry conditions in zoos. To tackle this open question, we developed a stand-alone open-source software based on deep learning techniques, named BOVIDS (Behavioral Observations by Videos and Images using a Deep-Learning Software). This software is used to identify ungulates in their enclosure and to determine crucial behavioral poses on video material with an accuracy of 99.4%. A case study on 25 Common Elands (Tragelaphus oryx) out of 5 EAZA zoos with a total of 11,411 hours video material out of 822 nights is conducted, yielding the first detailed description of the nightly behavior of Common Elands. Our results indicate that age and sex are influencing factors on the nocturnal activity budget, the length of behavioral phases as well as the number of phases per behavioral state during the night. Finally, the results suggest the existence of species-specific rhythms that open future research directions.

The “Magnificent Seven Errors” in Forensic Autopsy Practice: The Italian Context

According to the Italian legal system, forensic autopsies are performed by a medical doctor specialized in legal medicine, otherwise known as a medicolegal expert (MLE), who has a range of very complex responsibilities. Indeed, the quality of forensic autopsy activity is always questioned in courts of law; incorrect assessments are dangerous because they can jeopardize the validity of a criminal investigation and thus affect the outcome so that a real culprit may be acquitted or an innocent person convicted. Nonconformities also discredit the professionalism of the specialist who performs the autopsy. The work of a MLE implies a series of assignments and duties that should be given constant consideration, but when certain aspects of this activity are underestimated or overlooked, this can lead the expert to make mistakes with irreparable consequences for the judicial investigation. In this article, for the first time, we present a summary of seven known errors related to autopsy activity following death by unnatural causes, with the purpose of alerting MLEs who work under the Italian judicial system to the potential dangers of such errors. These relate to: oversights in autopsy technique, incorrect collection of photographic and video material, unauthorized attendance at the autopsy, missing/mistaken reporting at any stage of the forensic activity, failure to notify the party forensic consultant, using histological or toxicological nonaccredited laboratories for forensic activities, and lack of observance of the chain of custody.

Textbook Evaluation: A Case Study of Cutting Edge

This paper, in deviation from the traditional practices of textbook evaluation, reports the faculty members’ evaluation of Cutting Edge, Student Book, KSA Third Edition Intermediate Level, by Sarah Cunningham & Peter Moor, published by Pearson 2013 in terms of Language Development Skills, in general, and, Listening, Speaking, Reading, Writing, Grammar & Vocabulary, and Style & Appropriacy in particular. 20 EFL teachers participated in this mixed method approach of study who work at the Department of English Skills, Preparatory Year, Najran University, Saudi Arabia. A google form questionnaire, consisted of 57 numerically rated items & open-ended questions under 7 domains, was created to elicit faculty members’ responses. The validity of the questionnaire was examined by a group of experts in the textbook evaluation and content analysis. The analysis indicates that the respondents evaluated the textbook contents positively and the majority viewed them mostly suitable in terms of language skills, usage, and appropriacy. However, the researcher, based on the adverse comments like video material for listening, lack of specific strategies for conversation or other spoken activities, and hardly distinction between active and passive vocabulary under listening, speaking and grammar & vocabulary domains, suggests that a latest EFL commercial textbook or series be reviewed which, potentially, will cover the space. To conclude, the researcher recommends developing authentic materials that are tailored to the needs and interests of the learners.

Mayo Clinic Cases in Neuroimmunology

In the past 2 decades, diagnostics and therapeutics in neuroimmunology have rapidly evolved and increased in complexity. Diagnosis is assisted by various laboratory and advanced imaging techniques. Randomized clinical trials in multiple sclerosis and neuromyelitis optica, and smaller studies for rarer autoimmune diseases, have led to distinct immune molecule–targeted and mechanism-specific therapies. The fields of cerebrovascular medicine, neurooncology, and neuroinfectious diseases have not remained static either. All of these gains present a challenge, however, in that early and accurate neurologic diagnosis is more important than ever. In our experience, some diagnostic pitfalls lie in the interpretation of test results and images without reference to the nuances of the clinical history and examination. Although some things change (eg, technology), other things never change (eg, clinical common sense). The 83 case-based chapters focus on key components of the history, examination and test findings, and differential diagnosis, although we also reference treatment approaches extensively throughout. To bring some form to this extensive repertoire of cases, the book is divided into 3 sections covering central nervous system demyelinating disease, autoimmune neurologic disorders, and others. Illustrations include imaging and, where relevant, pathologic images and video material. Board review–style questions are also provided.