bluuebunny/crossref_metadata_2025_split huggingface dataset:
Instantaneous monitoring of heart beat dynamics during anesthesia and sedation
Authors: Valenza Gaetano , Akeju Oluwaseun , Pavone Kara J , Citi Luca , Hartnack Katharine E , Sampson Aaron , Purdon Patrick L , Brown Emery N , Barbieri Riccardo 
Published: November 2014

AbstractAnesthesia-induced altered arousal depends on drugs having their effect in specific brain regions. These effects are also reflected in autonomic nervous system (ANS) outflow dynamics. To this extent, instantaneous monitoring of ANS outflow, based on neurophysiological and computational modeling, may provide a more accurate assessment of the action of anesthetic agents on the cardiovascular system. This will aid anesthesia care providers in maintaining homeostatic equilibrium and help to minimize drug administration while maintaining antinociceptive effects. In previous studies, we established a point process paradigm for analyzing heartbeat dynamics and have successfully applied these methods to a wide range of cardiovascular data and protocols. We recently devised a novel instantaneous nonlinear assessment of ANS outflow, also suitable and effective for real-time monitoring of the fast hemodynamic and autonomic effects during induction and emergence from anesthesia. Our goal is to demonstrate that our framework is suitable for instantaneous monitoring of the ANS response during administration of a broad range of anesthetic drugs. Specifically, we compare the hemodynamic and autonomic effects in study participants undergoing propofol (PROP) and dexmedetomidine (DMED) administration. Our methods provide an instantaneous characterization of autonomic state at different stages of sedation and anesthesia by tracking autonomic dynamics at very high time-resolution. Our results suggest that refined methods for analyzing linear and nonlinear heartbeat dynamics during administration of specific anesthetic drugs are able to overcome nonstationary limitations as well as reducing inter-subject variability, thus providing a potential real-time monitoring approach for patients receiving anesthesia.
Analysis of pain level in cases treated with Invisalign aligner: comparison with fixed edgewise appliance therapy
Authors: Fujiyama Koji , Honjo Tadashi , Suzuki Makoto , Matsuoka Shinya , Deguchi Toru 
Published: November 2014

Abstract

Background
The aim of this study was to evaluate and compare the difference in the level of pain using the visual analog scale (VAS) between cases treated with the edgewise appliance and Invisalign. In addition, the cause of pain and discomfort in the Invisalign cases was identified.

Methods
The sample consisted of 145 cases for the edgewise group (EG; n = 55), Invisalign group (IG; n = 38), and edgewise and Invisalign group (EIG; n = 52). VAS scores were collected during the first three stages (first stage: 0 to 7 days, second stage: 14 to 21 days, and third stage: 28 to 35 days) and at the end of the treatment (overall VAS score). Evaluation of the cause of pain was categorized into three different types of problem (category 1: non-smoothed marginal ridge or missing materials, category 2: deformation of attachments, and Category 3: deformation of the tray). Statistical comparison of VAS scores between groups was performed by two-way analysis of variance.

Results
A significantly higher VAS score was observed at 3 and 4 days after, at 1, 2, and 3 days after, and at 2 and 3 days after in stages 1, 2, and 3, respectively, in EG compared to EIG and IG. A significant difference was observed in overall VAS scores between EG and IG in intensity of pain, number of days that pain lasted, and discomfort level. Only intensity of pain resulted in a significant difference between EG and EIG. Most of the causes of problem in the Invisalign cases were deformation of the tray.

Conclusions
Invisalign may offer less pain compared to the edgewise appliance during the initial stages of treatment. In the use of Invisalign, deformation of tray must be carefully checked to avoid pain and discomfort for the patients.
Rock classification in the Haynesville Shale based on petrophysical and elastic properties estimated from well logs
Authors: Saneifar Mehrnoosh , Aranibar Alvaro , Heidari Zoya 
Published: November 2014

Rock classification can enhance fracture treatment design for successful field developments in organic-shale reservoirs. The petrophysical and elastic properties of formations are important to consider when selecting the best candidate zones for fracture treatment. Rock classification techniques based on well logs can be advantageous compared to conventional ones based on cores, and they enable depth-by-depth formation characterization. We developed and evaluated three rock classification techniques in organic-shale formations that incorporate well logs and well-log-based estimates of elastic properties, petrophysical properties, mineralogy, and organic richness. The three rock classification techniques include (1) a 3D crossplot analysis of organic richness, volumetric concentrations of minerals, and rock brittleness index, (2) an unsupervised artificial neural network (ANN), built from an input of well logs, and (3) an unsupervised ANN, constructed using an input of well-log-based estimates of petrophysical, compositional, and elastic properties. A so-called self-consistent approximation rock-physics model is used to estimate elastic rock properties. This model enables assessment of the elastic properties based on the well-log-derived estimates of mineralogy and shapes of rock components, in the absence of acoustic-wave velocity logs. Finally, we apply the three proposed techniques to the Haynesville Shale for rock classification. We verify the identified rock types using thin-section images and previously identified lithofacies. We determined that well logs can be directly used for rock classification instead of petrophysical, compositional, and elastic properties obtained from well-log interpretation. Direct use of well logs, instead of well-log-derived properties, can reduce uncertainty associated with the physical models used to estimate elastic moduli and petrophysical/compositional properties. The three proposed well-log-based rock classification techniques can potentially enhance fracture treatment for production from complex organic-shale reservoirs through (1) detecting the best candidate zones for fracture treatment and (2) optimizing the number of required fracture stages.
Hydrothermal Synthesis of N-Acetyl-l-cysteine-capped CuInS2 Nanoparticles
Authors: Bu Hang-Beom , Yokota Hiroki , Shimura Kunio , Takahasi Kohji , Taniguchi Taichi , Kim DaeGwi 
Published: November 2014

Abstract
CuInS2 (CIS) nanoparticles (NPs) were hydrothermally prepared by the reaction of Cu2+, In2+, and Na2S in the presence of N-acetyl-l-cysteine as a stabilizer. The X-ray diffraction pattern of the resultant CIS NPs indicated that the chalcopyrite NPs could be obtained. The X-ray photoelectron spectroscopy data suggested that Cu2+ is reduced to Cu+ during the reaction process. The absorption and photoluminescence peaks of the NPs were clearly red-shifted with increasing size of the particles. Our method will aid in the synthesis of other I–III–VI ternary compounds.
Phenotypic variation of Thaumatomyia notate (Meigen, 1830) (Diptera; Chloropidae) in East Azerbaijan province - Iran
Authors: Khaghaninia Samad , Gharajedaghi Yaser , Kubik Stepan 
Published: November 2014

The phenotypic variation of Thaumatomyia notate (Meigen, 1830) (Chloropidae) collected from six different regions was studied in the East Azerbaijan province in northwestern Iran during 2009-2012. Eight populations of Thaumatomyia notata with different phenotypes were recognized. Environmental parameters such as temperature, elevation and habitat were examined. The results of this study show that colour variation in T. notata is caused mostly by seasonal temperature, dark coloration in April to light in July. In addition, variation in some morphological characters such as antenna, ocellar triangle, microchaetotaxy and size as well as diagnostic characters and photos of each variation are provided.
The veil of ignorance or unveiling Yoko Ono’s Cut Piece
Authors: Daris Gabriella 
Published: November 2014

Abstract
Yoko Ono’s performance Cut Piece (1964) is anchored by the instructions Cut Piece that the artist had produced in 1962 and in 1966, where the concept of the work lies. The clothing the performer wears is equally an important component of the work, and its cutting is what activates it. These aspects will be examined under the theoretical framework built on Kant’s and Derrida’s concept of the parergon, Heidegger’s ‘Gelassenheit’ (releasement), destruction and retrieval, Agamben’s clothing/nudity apparatus and Mauss’ notion of the gift-giving exchange. Cut Piece’s concern with the power relation between author and reader will also be examined throughout the article, with recurrent reference to Yoko Ono’s earlier work, Audience Piece (1962), and through Sartre’s and Levinas’ theories on Being for the Other and the limits of freedom. In search of the fons et origo of Cut Piece, the investigation will use Derrida’s method of deconstruction and further on discuss its displacement and recontextualization. Seamlessly, it will decipher the many layers of meanings it conceals and unveils, and will bring forth a number of viewpoints, reminding us that since the artist’s attempt is to realize her ideas in the actions of Others, it inevitably means that the work projects a range of ongoing interpretations.
(Di)Visible layers: Bodies, genders and costumes in the works of Suzan-Lori Parks
Authors: O’Gorman Siobhán 
Published: November 2014

Abstract
This article examines the destabilizing efficacy of costuming in contemporary theatre in relation to naturalized genders. It focuses on selected portions of Suzan-Lori Parks’ Venus, In the Blood and Topdog/Underdog that are noteworthy within the context of costuming, illuminated by Judith Butler’s theories on gender performativity. The article places at the centre of its investigation subversive images that Parks’ dramaturgy promotes for the stage, and argues for the important role that directors and designers play in executing the dramatist’s interrogation of abiding genders. I argue that, in the work of this playwright, intersecting gendered, racial and social categorizations can all be shown to encompass layers of cultural meaning that fossilize over time to give the appearance of fixity. Parks’ plays have the potential, through costuming opportunities, to make these layers visible, revealing their cultural and historical materialization and showing that they are, in fact, divisible.
Alarming the heart: Costume as performative body-object-event
Authors: Hannah Dorita 
Published: November 2014

Abstract
The word ‘costume’, like ‘design’, connotes both artefact (noun) and action (verb), highlighting costume design as an active practice and activating object, capable of dynamically intervening between the body and space. This article looks to the affective and effective impact elicited by highly performative quotidian garments outside the theatre and how, linked to ancient mythology, human history and current sociopolitical events, they have been critically adopted for live performance. Focusing on the universally beguiling red dress, referred to by Anaïs Nin as capable of ‘alarming the heart with the violent gong of catastrophe’, the costume is discussed as a spatial body-object, disrupting and charging social environments to reveal their ‘evental’ nature: calling up monumental moments, productive aesthetic encounters and multiple daily experiences. This reiterates the complexity of our contemporary condition, in which we cannot separate the theatrical from the sociopolitical: something Jon McKenzie maintains could be understood through the critical tool of ‘performance design’ – a constructive means of drawing upon and critiquing the proliferation of manifold events played out in the new century. Referencing my own research-informed practice (created and often articulated in collaboration with choreographer/dancer, Carol Brown), this article will theorize costumes as spatial body-objects as well as active and activating agents that are integral to complex spatiotemporal webs, particularly in relation to our highly mediated reality.
Embodied interactions: Towards an exploration of the expressive and narrative potential of performance costume through wearable technologies
Authors: Pantouvaki Sofia 
Published: November 2014

Abstract
The use of smart materials and wearable electronics has rapidly expanded in the field of fashion, introducing new interactive qualities of surfaces, materials and garments. In fashion garments, the performative environment functions as an abstract site for experimentation, expression and communication of the wearer through the intelligent garment. However, there is still limited use of embodied technologies in the field of performance costume for text-based and music-based performance, with the exception of integrated lighting technologies, currently broadly used in musical performance. This article provides a critical review of specific examples of technology-led garments in live performance, and uses a specific fragment from the Athens 2004 Olympic Games Opening Ceremony as a case study to highlight how technologies embedded in costume can create interactive interfaces between the body of the performer and the environment – the space, the other performers, the audience – becoming a transmitter and receiver of emotions, experiences and meanings in innovative ways. By analysing this case, as well as by posing questions, this article aims at generating a discourse on the expressive and narrative potential of the use of intelligent materials and embodied technologies within the creative practice of costume design.
Choreography and sounding wearables
Authors: Danjoux Michèle 
Published: November 2014

Abstract
This article explores the role of ‘sounding costumes’ and body-worn technologies for choreographic composition, with real-time interactional elements (such as microphones, speakers, sensors) potentially integrated into movement and expressive behaviour. Sounding garments explore the interactions between dancer/performer, the costume and the environment in the generation and manipulation of sonic textures. Briefly discussing historical precedents of integrated composition, the article will mainly refer to sounding prototypes in DAP-Lab’s latest production, For the time being [Victory over the Sun] (2012–2014), for which I designed the wearables, highlighting new methods for building sensual wearable electro-acoustic costumes to create kinaesonic choreographies. The article analyses the multi-perspectival potentials of such conceptual garments/wearable artefacts to play a significant part in the creation process of a performance, focusing on how wearable design can influence and shape movement vocabularies through the impact of its physical material presence on the body, distinctive design aesthetics and sound-generating capabilities. Choreographically, garments and body-worn technologies act as amplifying instruments as well as sculptural constraints or conversely enablers of new movement and ways of sounding/listening that affect different kinetic and acoustic awareness (both in the performers and in the audience).
The costume of MoCap: A spatial collision of velcro, avatar and Oskar Schlemmer
Authors: Delbridge Matt 
Published: November 2014

Abstract
The rationale that governs motion of the organic in the cubical leans towards a transformation of the body in space, emphasizes its mathematical properties and highlights the potential to measure and plot movement – this is the work of a Motion Capture (MoCap) system. The translation in the MoCap studio from physical to virtual is facilitated by the MoCap suit, a device that determines the abstract cubical representation that drives first the neutral, and then the characterized avatar in screen space. The enabling nature of the suit, as apparatus, is a spatial phenomenon informed by Schlemmer’s abstract ‘native’ costume and his vision of the Tanzermensch as the most appropriate form to occupy cubical space. The MoCap suit is similarly native. It bridges the physical and virtual, provides a Victor Turner like threshold and connection between environments, enacting a spatial discourse facilitated by costume. This collision of Velcro, Avatar and Oskar Schlemmer allows a performance of space, binding historical modernity to contemporary practice. This performance of activated space is captured by a costume that endures, in Dorita Hannah’s words, despite the human form.
BODYreFORMation
Authors: Kourmpeti Meni 
Published: November 2014

Abstract
The subject of this practical research involves two personal enquiries around scenography and the body: the performative role of scenographic elements combined with an investigation on the limits of human morphology. Aiming to blur the borders between scenography and the body, I experimented with the idea of a performing costume. My theoretical research on body modification in history and cross-culturally mainly focuses on the human figure as an object of visual interest, while my practical work explores the sculptural possibilities and the limits of the body’s morphology, at the point where it can become ‘monstrous’. I experiment with the diversity of these figures and the transformation that the body is subjected to, in order to fit into the ‘beauty’ standards that different cultures have established in a specific time frame. This project suggests a shift from the conventional role of the costume as a ‘decorative’ element on a performer’s body to a costume that is itself performative and moves to a state where scenography can perform without the body.
Dancing dress: Experiencing and perceiving dress in movement
Authors: Bugg Jessica 
Published: November 2014

Abstract
Clothing design for dance is an area that has been little documented, particularly in relation to the experience and perception of the dancer. Contemporary dance and clothing can both be understood as fundamentally phenomenological and as such there is further potential to investigate the lived experience of wearing clothing in dance. This article approaches dress in the context of the moving and dancing body, and it aims to develop an understanding of the role of dress in dance by focusing on the sensory, embodied experience and perception of the performer. It addresses questions of how clothing is perceived in movement by the performer, how and if clothing’s design intention, materiality and form motivate physical response, and what conscious or unconscious cognitive processes may be at play in this interaction between the active body and clothing. The intention is to propose developed methods for designers across clothing disciplines to contribute in a meaningful way to the overall dance work. The article draws on an analysis of my practice-led research that employs embodied experience of dress to inform the design and development of clothing as communication and performance. The research has involved close collaboration with a dancer, analysis of recorded interviews, and visual documentation of design and movement. The research has produced data on the dancer’s experience and perception of garments in performance and this is discussed here in relation to writings on perception, performance, the body and cognition. The research is approached through theory and practice and draws on interviews, observation and lived experience. This article is developed from an earlier conference paper that investigated the role and developed potential of clothing in contemporary dance that was presented at the 4th Global Conference: Performance: Visual Aspects of Performance Practice, Inter-Disciplinary.Net, held in Oxford on 17–19 September 2013.
Somatic costumes™: Traversing multi-sensorial landscapes
Authors: Dean Sally E. 
Published: November 2014

Abstract
This article introduces Sally E. Dean’s ‘Somatic Movement & Costume Project’ by presenting examples of the ‘somatic costumes’ created and the costume design, choreographic and pedagogic methodologies applied. ‘Somatic costumes’ aim to facilitate multi-sensorial experiences that change our relationships to ourselves, others and the environment. Although costume has been incorporated in performance for centuries, this project argues for a critical social–cultural paradigm shift: the aesthetic and movement of the performance work comes from the somatic experiences (kinaesthetic and sensorial) of the costume, rather than the costumes being designed to enhance an aesthetic already established in advance. This is also inherent in the costume design process itself: we start with what somatic experiences we would like to enhance or generate as opposed to the visual aesthetic. This approach has the potential to not only instigate new ways of moving, being, perceiving, creating, teaching and performing, but to also foster social–cultural understanding. This project aims to create bridges between somatic practices, costume design, culture and performance.
Tool use and the human mind: From basic to materially mediated operative intentionality
Authors: Woelert Peter 
Published: November 2014

Abstract
This paper explores some of the cognitive-ecological dimensions of various manual forms of tool use occurring among human agents. In particular, it clarifies what such forms reveal about the intentionality of the human mind. Integrating phenomenological, philosophical and anthropological findings and perspectives, I argue that there exists not one but at least three different forms of operative types of intentionality that are associated with three specific forms of manual technical activity. First, there is the direct type of operative intentionality that realizes itself through a human agent’s concrete bodily movements. Second, there is a materially mediated form of operative intentionality, which is required for performing those technical activities where the external tool directly extends the movements of the human body. Third, there is a more complex variety of such materially mediated intentionality, which underpins those forms of tool use where the dynamics of the tool and those of the body significantly diverge. It is suggested that the relation between these three forms of operative intentionality is best conceived in terms of a structural hierarchy.
Productivity Change and Mine Dynamics: The Coal Industry in Japan during World War II
Authors: Okazaki Tetsuji 
Published: November 2014

Abstract
In the 1930s and 1940s, the Japanese coal industry experienced huge fluctuations in production and labor productivity. In this paper, I explore the micro-aspects of labour productivity change in the coal industry during World War II using mine-level data, compiled from official statistics and original documents of the Coal Control Association (Sekitan Toseikai). The coal industry in this period was characterized by dynamic changes in market structure: a number of mines entered and exited the industry, and shares of incumbent mines changed substantially. These mine dynamics had significant implications on productivity. In the early stage of the war, many low productivity mines entered the industry which considerably reduced average labor productivity. The government and the Coal Control Association implemented a policy to concentrate resources and production on efficient mines during the war, which curbed the decline in average labor productivity. Despite the deteriorating environment during the war, coal production in Japan was maintained fairly well. One of the factors that made this possible was the policy of resource reallocation.