Lady/applicant : on the Lazarus

Analysis of Simulated Angiographic Procedures: Part 1—Capture and Presentation of Audio and Video Recordings

Validation of a digital audio recording method for the objective assessment of cough in the horse

All events that transpire during laparoscopic cholecystectomy (LC) cannot be adequately reproduced in the operative note. Video recording is already known to add important information regarding this operation. It is hypothesized that additional audio recordings can provide an even better procedural understanding by capturing the surgeons' considerations. The Simultaneous Video and Audio Recording of Laparoscopic Cholecystectomy Procedures (SONAR) trial is a multicenter prospective observational trial conducted in the Netherlands in which operators were requested to dictate essential steps of LC. Elective LCs of patients 18 years and older were eligible for inclusion. Data collection occurred from September 18, 2018, to November 13, 2018. Adequacy rates for video recordings and operative note were compared. Adequacy was defined as the competent depiction of a surgical step and expressed as the number of adequate steps divided by the total applicable steps for all cases. In case of discrepancies, in which a step was adequately observed in the video recording but inadequately reported in the operative note, an expert panel analyzed the added value of the audio recording to resolve the discrepancy. A total of 79 patients (49 women [62.0%]; mean [SD] age, 54.3 [15.9] years) were included. Video recordings resulted in higher adequacy for the inspection of the gallbladder (note, 39 of 79 cases [49.4%] vs video, 79 of 79 cases [100%]; P < .001), the inspection of the liver condition (note, 17 of 79 [21.5%] vs video, 78 of 79 cases [98.7%]; P < .001), and the circumferential dissection of the cystic duct and the cystic artery (note, 25 of 77 [32.5%] vs video, 62 of 77 [80.5%]; P < .001). The total adequacy was higher for the video recordings (note, 849 of 1089 observations [78.0%] vs video, 1005 of 1089 observations [92.3%]; P < .001). In the cases of discrepancies between video and note, additional audio recordings lowered discrepancy rates for the inspection of the gallbladder (without audio, 40 of 79 cases [50.6%] vs with audio, 17 of 79 cases [21.5%]; P < .001), the inspection of the liver condition (without audio, 61 of 79 [77.2%] vs with audio, 37 of 79 [46.8%]; P < .001), the circumferential dissection of the cystic duct and the cystic artery (without audio, 43 of 77 cases [55.8%] vs with audio, 17 of 77 cases [22.1%]; P < .001), and similarly for the removal of the first accessory trocar (without audio, 27 of 79 [34.2%] vs with audio, 16 of 79 [20.3%]; P = .02), the second accessory trocar (without audio, 24 of 79 [30.4%] vs with audio, 11 of 79 [13.9%]; P < .001), and the third accessory trocar (without audio, 27 of 79 [34.2%] vs with audio, 14 of 79 [17.7%]; P < .001). The total discrepancy was lower with audio adjustment (without audio, 254 of 1089 observations [23.3%] vs with audio, 128 of 1089 observations [11.8%]; P < .001). Audio recording during LC significantly improves the adequacy of depicting essential surgical steps and exhibits lower discrepancies between video and operative note.

In this thesis I use conversation analytic (CA) and discursive psychological (DP) principles to examine the ways in which groups of people watch situation comedy shows (sitcoms) together. More specifically, this thesis addresses three aims, the first of which is to explore how people watch, engage with, and understand sitcoms together in a domestic setting. My second aim is to examine the ways in which laughter is utilised by sitcom viewers. Finally, this thesis also aims to explore the ways in which people interact with each other whilst watching TV. To address these aims, almost twelve hours of video and audio recordings were made of groups of people watching sitcoms together in their homes as part of their usual TV watching routines, with 25 participants in total. The only inclusion criteria for this research was that participants would be watching a sitcom with another person as part of their usual TV watching routine. This ensured that recordings could be made of naturally occurring sitcom watching, that is, sitcom watching happening outside the artificial setting of a laboratory or requiring the intervention of a researcher. As such, recordings made via unobtrusive video cameras offer an insight into how individuals ‘do’ sitcom watching in their own homes. The main findings from this thesis demonstrate that sitcom watching audiences are not just passive receptors of the show that is playing out on-screen, but that they are engaged in a range of hitherto undiscovered interactional business. This interactional business deals with i) the ways that laughter is deployed by viewers, ii) the ways in which certain types of humorous content is oriented and attended to by viewers, iii) how individuals respond to each other’s responses to the sitcom, and how co-viewers work collaboratively to understand on-screen content. More specifically, in Chapter 3 I offer a close inspection of the laughter produced by the sitcom viewers and demonstrate how multifaceted and diverse the laughs produced by these individuals are. This is discussed in relation to how laughter is transcribed for research and this chapter offers suggestions for how we can better capture the performative qualities of laughter in the transcripts we create for CA/DP research. Continuing with the topic of laughter, Chapter 4 builds upon the observations of Chapter 3 and outlines how laughter is deployed by individuals in ways that are sensitive to the material to which the laughter is responsive to. I show how laughter can be designed and utilised by speakers to accomplish a range of social actions, such as displaying shock or disgust. Here, the CA/DP concepts of accountability and stance will be discussed and the role in which laughter plays in managing will be examined. In Chapter 5, I explore the ways in which sitcom watching is a collaborative accomplishment and how issues of understanding what is happening on-screen are facilitated through interaction between co-viewers. My specific focus here is on the ways in which viewers ‘get’ the jokes in sitcoms, the role that laughter plays in this, and how this is tied to issues of accountability management. Finally, the last chapter of this thesis discusses the implications of my findings in relation to current understanding of laughter, TV audiences, transcription of talk, and humour more generally. I demonstrate how watching sitcoms together is a social activity which individuals work together to accomplish. In addition, more general concerns about naturally occurring data and the adequacy of video recordings to capture this are considered in relation to the sitcom watching dataset. Also, the ways in which this present work contributes to discussions about the taken for granted nature of everyday life and the social organization that underpins it, will also be discussed here.

A group of researchers from Rēzekne Academy of Technologies is actively involved in the project “Diversity of the Latvian Language in Time and Space”, which involves data acquisition, processing and adding ~10 hours of audio recordings to the corpus of modern Latgalian speech (MuLaR) and their transcription. The creators of the MuLaR have agreed to transcribe the spoken texts into orthographic Latgalian language. The ELAN software was used to transcribe the interviews from audio and video recordings. The MuLaR creators have developed their own conventions for transcribing text to create transcripts that are understandable to a wide range of stakeholders. At the same time, they try to capture the features of the spoken text as accurately as possible. The aim of this study is to analyse the challenges encountered in transcribing audio recordings and to propose potential solutions. By March 2024, the author had transcribed 16 interviews totalling 3.5 hours. This includes 14 interviews from the field study in Aglona conducted in 2021 and two radio interviews from the “Latgolys stuņde” programme spanning 2022–2023. In the process of transcription, the author has encountered three problematic cases that need attention when creating a corpus platform: 1) the use of phonetic variants and parallel forms in one noun case (some words have more than four phonetic variants); 2) the use of homoforms; 3) the use of abbreviated forms. During the study, the working group agreed that the elongated -y- would be represented as -yy-, following the previously established convention. The issue of establishing a well-organized speech corpus platform is under consideration, featuring either a searchable alphabetical index of word forms or even a separate thesaurus showing parallel forms, abbreviations or phonetic variants of words encountered in the transcription process. A challenging situation arises when one form corresponds to multiple conjugations. In such cases, the researcher must manually analyse the material to determine the appropriate conjugation for each form. These cases are likely to expedite the development of a morphologically labelled corpus.

Automated note-taking software uses machine learning and natural language processing to transcribe spoken words from audio recordings. In the current fast-paced environment, individuals and organisations regularly have to manage enormous amounts of data in the form of audio recordings, video recordings, and text documents. The manual summarization and transcription of such data can be laborious and time-consuming. This problem has been resolved by automated note-taking software for audio recordings. Natural language processing (NLP) and machine learning techniques are used by these technologies to transform spoken words into text, which is subsequently used to build a summary or set of notes. This project report looks at the effectiveness and utilisation of automated note-taking software for audio recordings.To transform the audio recordings of online classes into text-based PDF or Word documents, which are voice-based in correctness, a module for automated notes creator from audio recordings is shown in this presentation.

The article analyzes the rules for the use of audio and video recordings as means of evidence in cases arising from family legal relations. The problems of legal regulation of audio and video recordings as means of evidence in civil proceedings are also investigated. The author examines the limitations of the use of audio and video recordings as means of proof. The article uses the prospects of using software (parental control tools) as evidence of child abuse in civil proceedings.

Behavioral analyses of in-the-wild HRI studies generally rely on interviews or visual information from videos. This can be very limiting in settings where video recordings are not allowed or limited. We designed and tested a vocalization-based protocol to analyze in-the-wild child–robot interactions based upon a behavioral coding scheme utilized in wildlife biology, specifically in studies of wild dolphin populations. The audio of a video or audio recording is converted into a transcript, which is then analyzed using a behavioral coding protocol consisting of 5–6 categories (one indicating non-robot-related behavior, and 4–5 categories of robot-related behavior). Refining the code categories and training coders resulted in increased agreement between coders, but only to a level of moderate reliability, leading to our recommendation that it be used with three coders to assess where there is majority consensus, and thereby correct for subjectivity. We discuss lessons learned in the design and implementation of this protocol and the potential for future child–robot experiments analyzed through vocalization behavior. We also perform a few observational behavior analyses from vocalizations alone to demonstrate the potential of this field.

The 15th Meeting of IEC TC 60 - Recording, Subcommittees SC 60A - Audio Recording, and SC 60B - Video Recording

Introduction: Obsessive-compulsive disorder (OCD) and treatment-resistant bipolar depression (TRBD) constitute some of the most challenging psychiatric disorders to treat, as a significant proportion of patients demonstrate poor response to pharmacological strategies alone or in combination with psychoterapeutic approaches.1 Deep brain stimulation (DBS) is a potential therapeutic approach for select patients, although clinical outcomes remain inconsistent. To improve treatment efficacy, clinicians need to gain a deeper understanding of the neural activity and associated behavioral outcomes that correspond to distinct symptom profiles.2 One of the major hurdles in any effort to explore psychiatric neuromodulation is linking neural activity with behavior that we can observe. Examining correlated neural features with behaviorial information may provide biomarkers to inform DBS interventions.3-5 The present study introduces a platform that integrates video, audio, and neural data, including theta-band activity and spectrograms, all collected during real-world observations. This multimodal data approach enables clinicians to examine brain-behavior interactions with greater precision, facilitating the development of more individualized and effective treatment strategies. Objective: to validate the feasibility of frame-level synchronization of video, audio, and intracranial signals during real-world clinical sessions, and to demonstrate its potential to support behavioral–neural biomarker discovery for DBS in OCD and TRBD.Method: We implemented a hardware-based synchronization system designed for ecological clinical environments, that interfaces continuous high-definition video (FLIR Blackfly), high-fidelity audio, and direct neural recordings from implanted DBS systems. As shown in Figure 1, an Arduino-based controller generates a unique frame ID that increases sequentially, embedding it into one audio channel. This ID serves as the common temporal reference to align video and audio streams, which are later synchronized with the neural recordings. This platform aligns: Patient video recordings capturing spontaneous behavior and facial expressions; multichannel audio, including verbal responses and environmental context; intracranial electrophysiology from DBS electrodes. By extracting the frame ID from the audio channel, all modalities can be aligned with sub-frame accuracy. This approach remains robust to environmental noise and brief recording outages, which is crucial for long term clinical monitoring. The resulting output is processed and merged into a single synchronized outputs for subsequent behavioral annotation and biomarker analysis.Results: In recent recordings, the system was able to constantly align continuous video, audio, and neural signals over sessions lasting up to one hour. The system was validated across five patient sessions, consistently achieving stable synchronization throughout. Each dataset contained thousands of precisely matched frame identifiers, ensuring accurate temporal alignment across all modalities. The resulting synchronized outputs (Figure 2) allowed frame-by-frame correlation of patient behavior, speech patterns, and neural activity without perceptible desynchronization. Across recordings, alignment error remained below one frame (&lt;33 ms), ensuring temporal precision sufficient for clinical and research analysis.Discussion: Synchronizing neural, behavioral, and contextual data enables real-time insight into brain–behavior relationships, helping identify biomarkers that can inform and refine DBS treatment. In the future, synchronized datasets could be integrated into clinical routines by allowing physicians to review neural activity alongside patient behavior and speech, providing a more objective complement to standard psychiatric assessments. One limitation is that the system has so far been validated in sessions of about one hour, which is well suited for proof-of-concept but more challenging to scale to recordings lasting several hours.Conclusions: This platform demonstrates the feasibility of precise multimodal synchronization in DBS patients, providing clinicians with richer, time-aligned datasets to link behavior and neural activity. These results lay the groundwork for future clinical studies aimed at validating multimodal biomarkers and testing whether such data can inform adaptive DBS programming.

A BSTRACT: The learning process , which was made by the model observer lecturers , w as success in increasing the students learning process. Based on the result and the discussion of some research ers , it can be concluded that the learning process , in the basic subject of mathematics learning process through applying “ l esson s tudy” , can help in increasing the learning students ’ motivation. The learning model modification was done based on the students need. Meanwhile, the role of intrinsic and extrinsic motivation s are needed in the learning process. The intrinsic motivation is the encouragement coming from the students themselves , such as the desire and the willingness to be success, the encouragement and the learning need, and the dream of the future. The extrinsic motivation is the encourag e ment coming from the outside of the students themselves , which are shown by the existence of the reward, the interesting activity, the conducive learning environment in the learning process, so that the students are able to learn well. This research aimed at describing the students learning motivation in the subject of mathematics learning basic and process through applying the “ l esson s tudy”. The research consisted of 4 cycles, and every cycle consisted of 3 steps, they are “plan, do , and see ” . The subject of research was the Class D mathematics education study program students of UMP (Muhammadiyah University of Purwokerto) in academic year 2012. The data were got from the observation sheet, video recording , and questionnaire. The data analysis techniques were data reducing, data presenting, and concluding. The research showed that the students learning motivation was different in every cycle and the highest average motivation score was the fourth cycle. KEY WORDS : L earning motivation, lesson study , intrinsic and extrinsic motivation s, basic subject of mathematics , and students learning process . About the Authors: Anggun Badu Kusuma, M.Pd., Fitrianto Eko Subekti, M.Pd ., and Reni Untarti, M.Pd. are the Lecturers at the Department of Mathematics Education, Faculty of Education and Teacher Training UMP (Muhammadiyah University of Purwokerto) in Central Java, Indonesia. The authors can be reached at: anggun.badu@gmail.com , efitrians@ymail.com , and reniuntarti@gmail.com How to cite this article? Kusuma, Anggun Badu, Fitrianto Eko Subekti & Reni Untarti. (2015). “Description of the Students Learning Motivation in the Subject of Mathematics Learning Basic and Process Using the Lesson Study” in EDUCARE: International Journal for Educational Studies , Vol.7(2) February, pp.103-110. Bandung, Indonesia: Minda Masagi Press and UMP Purwokerto, ISSN 1979-7877. Chronicle of the article: Accepted (January 9, 2015); Revised (February 10, 2015); and Published (February 28, 2015).

AVIM—A contactless system for infant data acquisition and analysis: Software architecture and first results

the United Kingdom (UK). This includes audience expectations shaped by theatre conventions, the ways in which actors perform as well as the strategies employed by event producers to encourage audience participation. This research aims to contribute to the field of immersive practice by proposing a new approach to immersive dramaturgy that enhances the experience of individual audiences in immersive, interactive and participatory theatre. This study maps the development of a new approach to actor training, audience interviews and the making of an immersive theatre production trilogy (Hotel Medea). The development process and production of the Hotel Medea trilogy comprise a key practice-based outcome of this research, and it was performed in full in London (2009, 2010 and 2012), Edinburgh (2011) Rio de Janeiro (2010), and in part in the city of Brasilia (2012). A second key outcome of the research is a new methodology of immersive practice—‘dramaturgy of participation’—that includes approaches to theatrical dramaturgy in which each audience member is offered opportunities to proactively participate as an individual, and which will be a useful resource for emerging theatre makers in the field of immersive practice. The overnight theatre production Hotel Medea is a major and central part of this submission. The written material provides context, detailed exegesis and expands upon relevant topics. Readers can access video recordings of Hotel Medea (LIFT, 2010) in full on the following address: http://www.vimeo.com/hotelmedea. I will use the Hotel Medea trilogy as the case study for this research utilizing its durational overnight structure to lead my argument for immersive theatre events to meaningfully consider the experience of each (and every) audience member individually throughout the duration of performance. An experience not based on competitive participation or chance journeys but instead on a carefully designed dramaturgy that allows individuals to build a temporary community with fellow audiences. My argument suggests that there is a need for immersive theatre practitioners to devise adequate tools for its audiences prior to participation being offered, in order to aid a fuller participation in the event. Hotel Medea is a durational interactive theatrical event that takes place in real time from 00.00 a.m. to 06.00 a.m., in three parts. It retells the Greek myth of Medea through three types of participation design: participatory rituals, immersive environments and interactive game-play. Hotel Medea is concerned with the experience of the individual audience members as ticket-paying public, as participants and as players. At every step of the event, expectations are re-negotiated to allow individuals to engage with the event—at times proactively, at others passively. I have focused on the perspective of the author as opposed to solely drawing upon audience questionnaires, feedback and testimonies of collaborators. My choice of critical approach is based on the accumulated experience gathered, especially as a performer in Hotel Medea, allowing me to explore the complex and nuanced responses from individual audience members over the course of six years. During the early stages of my research, audience and collaborator interviews played an important part in evaluating the basic structure of the performance event. However, it soon became clear that the production would need to devise its own tools for capturing relevant data. Therefore the role of the Captain – the first host the audiences meet as they arrive in Hotel Medea - became itself one of the most valuable tools for articulating this research. The Captain, as well as other approaches used, are described in detail through the course of the first chapters. The key focus of this research project is the proposition of a dramaturgy of participation through the notion of the ‘micro-event’. Micro-events are determined by three interrelated design elements, each of which nuances a larger area of practice, namely participatory rituals, immersive environments, and interactive game-play. The significance of this enquiry is the unique new practice in relation to audience behaviour in immersive experiences in a time when the term ‘immersive’ is widely explored both within and beyond the arts. The production output of this research—Hotel Medea—has itself been widely recognized by specialized press and cultural programmers as a leader in the field, creating a direct impact on the wider understanding of processes and methods of audience immersion across the UK and internationally. This recognition can be observed through awards and nominations, public statements of influential figures in the cultural sector, references in academic publications (Boenisch, 2012; White, 2013), in newspaper articles placing Hotel Medea as part of ‘the original cadre of British participatory ensembles’ (Armstrong, 2011) and in other UK publications such as The Herald, Scotsman, Metro (2011), Time Out, and Telegraph (2012).

BackgroundAs evidence supports task-shifting approaches to reduce the global mental health treatment gap, counselor competency evaluation measures are critical to ensure evidence-based therapies are administered with quality and fidelity.ObjectiveThis article describes a training technique for evaluating lay counselors’ competency for mental health lay practitioners without rating scale experience.MethodsMental health practitioners were trained to give the Enhancing Assessment of Common Therapeutic Factors (ENACT) test to assess counselor proficiency in delivering the Common Elements Treatment Approach (CETA) in-person and over the phone using standardized video and audio recordings. A two-day in-person training was followed by a one-day remote training session. Training includes a review of item scales through didactic instructions, active learning by witnessing and scoring role-plays, peer interactions, and trainer observation and feedback. The trainees rated video and audio recordings, and ICC values were calculated.ResultsThe training technique presented in this research helped achieve high counselor competency scores among lay providers with no prior experience using rating scales. ICC rated both trainings satisfactory to exceptional (ICC: .71 - .89).ConclusionsRaters with no past experience with rating scales can achieve high consistency when rating counselor competency through training. Effective rater training should include didactic learning, practical learning with trainer observation and feedback, and video and audio recordings to assess consistency.

BackgroundManual cough counting is time-consuming and laborious; however it is the standard to which automated cough monitoring devices must be compared. We have compared manual cough counting from video recordings with manual cough counting from digital audio recordings.MethodsWe studied 8 patients with chronic cough, overnight in laboratory conditions (diagnoses were 5 asthma, 1 rhinitis, 1 gastro-oesophageal reflux disease and 1 idiopathic cough). Coughs were recorded simultaneously using a video camera with infrared lighting and digital sound recording.The numbers of coughs in each 8 hour recording were counted manually, by a trained observer, in real time from the video recordings and using audio-editing software from the digital sound recordings.ResultsThe median cough frequency was 17.8 (IQR 5.9–28.7) cough sounds per hour in the video recordings and 17.7 (6.0–29.4) coughs per hour in the digital sound recordings. There was excellent agreement between the video and digital audio cough rates; mean difference of -0.3 coughs per hour (SD ± 0.6), 95% limits of agreement -1.5 to +0.9 coughs per hour. Video recordings had poorer sound quality even in controlled conditions and can only be analysed in real time (8 hours per recording). Digital sound recordings required 2–4 hours of analysis per recording.ConclusionManual counting of cough sounds from digital audio recordings has excellent agreement with simultaneous video recordings in laboratory conditions. We suggest that ambulatory digital audio recording is therefore ideal for validating future cough monitoring devices, as this as this can be performed in the patients own environment.