50 research outputs found
SĂ©diments accumulĂ©s dans un bassin de retenue-dĂ©cantation : quâen est-il de la contamination par les substances Ă©mergentes ?
Agitation Sensor Based on Facial Grimacing for Improved Sedation Management in Critical Care
The effective delivery of sedation in critical care relies primarily on an accurate and consistent measure of a
patientâs agitation level. However, current methods for assessing agitation are subjective and prone to error, often leading to over sedation or cycles between agitation and oversedation. This paper builds on previous work developing agitation sensors based on heart rate and blood pressure variability, and overall whole body motion.
In this research, the focus is on real-time measurement of high resolution facial changes that are observed to occur in agitation. An algorithm is developed that measures the degree of facial grimacing from a single digital camera. The method is demonstrated on simulated patient facial motion to prove the concept. A consistent measure is obtained that is robust to significant random head movement and compares well against visual observation of different levels of grimacing. The method provides a basis for clinical validation
CaractĂ©risation spatiale et Ă©volution physico-chimique des sĂ©diments accumulĂ©s dans un bassin de retenue-dĂ©cantation des eaux pluviales - Ăvaluation des charges en mĂ©taux, pesticides, HAPs et AlkylphĂ©nols
Interdisciplinary approach to better characterize sediments in dry detention basins - the French Cabrres programme
Measuring facial grimacing for quantifying patient agitation in critical care
The effective delivery of sedation in critical care relies primarily on an accurate and consistent measure of a patient's agitation level. However, current methods for assessing agitation are subjective and prone to error, often leading to over sedation or cycles between agitation and oversedation. This paper builds on previous work developing agitation sensors based on heart rate and blood pressure variability, and overall whole body motion. In this research, the focus is on real-time measurement of high-resolution facial changes that are observed to occur in agitation. An algorithm is developed that measures the degree of facial grimacing from a single digital camera. The method is demonstrated on simulated patient facial motion to prove the concept. A consistent measure is obtained that is robust to significant random head movement and compares well against visual observation of different levels of grimacing. The method provides a basis for clinical validation
Du symbolisme comme chambre noire de l'imaginaire photographique
To refer to the existence of a photographical imagination arises an ideological issue when bringing the status of photography into question. To try to demonstrate the existence of this imagination; consideration should be given to a movement fundamentally reflecting the notion of the symbolist movement. Therefore, would it be necessary to consider how symbolism is founder of the photographical imagination? At that time, photography widely fits into a positivist system, it is the best recording scientific technique. Hence, photography has emerged from the middle of the 19th century as a new type of objectivity whose main characteristic is the exclusion of the observer's subjectivity. As for Symbolism, it reached its peak around 80-90s. It will oppose a searching for unity philosophical conception with scientific classification principle, based on separation and difference. Despite that, Symbolists have chosen to use the photographical tool. On the one hand, they took into account the most scientific and objective photographs over that period in relation with imagination and critical acumen. On the other hand, some of them became themselves photographers and will even institute photography as a real creative and practical experience. However, these concepts remain more or less alive on the long run. A set of symbols and methods were taken into account by the surrealist revolution. Those remain present at the origin of the contemporary photography by their re-actualization. The contemporary photography would really require the photographical imagination potential that were already set up by Symbolism. Therefore, the imperialist way of feeling and imagining reality would be thrown back into question. The aim of this research is not to assert that photography is symbolist but to determine which influence of symbolism about photography may currently be through the use of common concepts. All in all, this research is based on questioning about the photographical imagination.Ăvoquer l'existence d'un imaginaire photographique pose un problĂšme d'ordre idĂ©ologique quant au statut de la photographie. Pour tenter de dĂ©montrer l'existence de cet imaginaire, il faut se pencher sur un mouvement qui, en son temps, rĂ©flĂ©chit Ă cette notion de maniĂšre fondamentale: le mouvement symboliste. Aussi est-il nĂ©cessaire de se demander en quoi le symbolisme est fondateur de lâimaginaire photographique ? A cette Ă©poque la photographie est largement intĂ©grĂ©e dans un systĂšme positiviste, elle est la technique scientifique dâenregistrement par excellence, ayant pour trait caractĂ©ristique la mise hors circuit de la subjectivitĂ© de lâobservateur. Le symbolisme, quant Ă lui, est Ă son apogĂ©e, autour des annĂ©es 1880-90. Il va opposer au principe scientifique de classification, fondĂ© sur la sĂ©paration et la diffĂ©rence, une conception philosophique tournĂ©e vers la recherche dâunitĂ©. Or les symbolistes, vont se servir de lâoutil photographique. Dâune part, ils rĂ©investissent dâun imaginaire et dâun esprit critique les photographies les plus scientifiques et « objectives » de lâĂ©poque. Dâautre part certains deviennent eux-mĂȘmes photographes et vont instituer la photographie comme une vĂ©ritable expĂ©rience crĂ©atrice et poĂ©tique. Ces concepts demeurent plus ou moins vifs sur le long terme. Un ensemble de symboles et de dĂ©marches ont Ă©tĂ© rĂ©investis par la rĂ©volution surrĂ©aliste. Ceux-ci restent prĂ©sents et fondateurs de la photographie contemporaine par leur rĂ©actualisation. Cette derniĂšre ferait vĂ©ritablement appel aux potentiels de lâimaginaire photographique dĂ©jĂ mis en place par le Symbolisme, remettant dĂšs lors en question la maniĂšre impĂ©rialiste de voir et concevoir le rĂ©el. Le but de cette recherche, nâest pas dâaffirmer que toute photographie est symboliste mais de dĂ©terminer quelle peut ĂȘtre aujourdâhui lâinfluence du symbolisme en photographie, Ă travers la mise en Ćuvre de concepts communs. Cette recherche se fonde sur une interrogation concernant lâimaginaire photographique
Symbolism : the darkroom of the photographic imagination
Ăvoquer l'existence d'un imaginaire photographique pose un problĂšme d'ordre idĂ©ologique quant au statut de la photographie. Pour tenter de dĂ©montrer l'existence de cet imaginaire, il faut se pencher sur un mouvement qui, en son temps, rĂ©flĂ©chit Ă cette notion de maniĂšre fondamentale: le mouvement symboliste. Aussi est-il nĂ©cessaire de se demander en quoi le symbolisme est fondateur de lâimaginaire photographique ? A cette Ă©poque la photographie est largement intĂ©grĂ©e dans un systĂšme positiviste, elle est la technique scientifique dâenregistrement par excellence, ayant pour trait caractĂ©ristique la mise hors circuit de la subjectivitĂ© de lâobservateur. Le symbolisme, quant Ă lui, est Ă son apogĂ©e, autour des annĂ©es 1880-90. Il va opposer au principe scientifique de classification, fondĂ© sur la sĂ©paration et la diffĂ©rence, une conception philosophique tournĂ©e vers la recherche dâunitĂ©. Or les symbolistes, vont se servir de lâoutil photographique. Dâune part, ils rĂ©investissent dâun imaginaire et dâun esprit critique les photographies les plus scientifiques et « objectives » de lâĂ©poque. Dâautre part certains deviennent eux-mĂȘmes photographes et vont instituer la photographie comme une vĂ©ritable expĂ©rience crĂ©atrice et poĂ©tique. Ces concepts demeurent plus ou moins vifs sur le long terme. Un ensemble de symboles et de dĂ©marches ont Ă©tĂ© rĂ©investis par la rĂ©volution surrĂ©aliste. Ceux-ci restent prĂ©sents et fondateurs de la photographie contemporaine par leur rĂ©actualisation. Cette derniĂšre ferait vĂ©ritablement appel aux potentiels de lâimaginaire photographique dĂ©jĂ mis en place par le Symbolisme, remettant dĂšs lors en question la maniĂšre impĂ©rialiste de voir et concevoir le rĂ©el. Le but de cette recherche, nâest pas dâaffirmer que toute photographie est symboliste mais de dĂ©terminer quelle peut ĂȘtre aujourdâhui lâinfluence du symbolisme en photographie, Ă travers la mise en Ćuvre de concepts communs. Cette recherche se fonde sur une interrogation concernant lâimaginaire photographique.To refer to the existence of a photographical imagination arises an ideological issue when bringing the status of photography into question. To try to demonstrate the existence of this imagination; consideration should be given to a movement fundamentally reflecting the notion of the symbolist movement. Therefore, would it be necessary to consider how symbolism is founder of the photographical imagination? At that time, photography widely fits into a positivist system, it is the best recording scientific technique. Hence, photography has emerged from the middle of the 19th century as a new type of objectivity whose main characteristic is the exclusion of the observer's subjectivity. As for Symbolism, it reached its peak around 80-90s. It will oppose a searching for unity philosophical conception with scientific classification principle, based on separation and difference. Despite that, Symbolists have chosen to use the photographical tool. On the one hand, they took into account the most scientific and objective photographs over that period in relation with imagination and critical acumen. On the other hand, some of them became themselves photographers and will even institute photography as a real creative and practical experience. However, these concepts remain more or less alive on the long run. A set of symbols and methods were taken into account by the surrealist revolution. Those remain present at the origin of the contemporary photography by their re-actualization. The contemporary photography would really require the photographical imagination potential that were already set up by Symbolism. Therefore, the imperialist way of feeling and imagining reality would be thrown back into question. The aim of this research is not to assert that photography is symbolist but to determine which influence of symbolism about photography may currently be through the use of common concepts. All in all, this research is based on questioning about the photographical imagination
Caractérisation et estimation des flux de substances prioritaires dans les rejets urbains par temps de pluie sur deux bassins versants expérimentaux
La rĂ©duction des rejets urbains par temps de pluie (RUTP) est devenue un enjeu majeur pour de nombreuses collectivitĂ©s dans le but d'atteindre les objectifs de qualitĂ© des masses d'eau superficielles et souterraines fixĂ©s par la Directive Cadre europĂ©enne sur l'Eau (DCE 2000/60/CE). Alors que les concentrations et les charges des polluants classiques (MES, DBO, DCO, nutriments ... ) dans les RUTP sont bien documentĂ©es, trĂšs peu d'informations sont disponibles sur la prĂ©sence, les concentrations et les charges des substances prioritaires dans ces rejets. Le projet ESPRIT (Ăvaluation des Substances Prioritaires dans les Rejets InhĂ©rents au Temps de pluie) a pour objectif d'identifier, d'Ă©valuer, de caractĂ©riser puis de modĂ©liser les flux de substances prioritaires dans les RUTP dans les systĂšmes d'assainissement unitaire et sĂ©paratif en tenant compte de leurs diffĂ©rentes origines. Deux sites expĂ©rimentaux ont Ă©tĂ© choisis pour les campagnes de mesure: Ecully (rĂ©sidentiel, rĂ©seau unitaire) et Chassieu (industriel, rĂ©seau sĂ©paratif). Les concentrations moyennes Ă©vĂ©nementielles Ă l'exutoire par temps de pluie, les concentrations moyennes journaliĂšres par temps sec dans le cas d'un rĂ©seau unitaire, la collecte pĂ©riodique des dĂ©pĂŽts atmosphĂ©riques secs et les concentrations Ă©vĂ©nementielles des eaux mĂ©tĂ©oriques ont Ă©tĂ© mesurĂ©es. 26 mĂ©taux sont analysĂ©s par ICP-MS/AFS dans les phases dissoute et particulaire. Une analyse multi-rĂ©sidus permet de quantifier 36 micropolluants organiques dans les phases dissoute et particulaire par GS-MS et LC-FLDMS/MS. Des analyses complĂ©mentaires sont Ă©galement rĂ©alisĂ©es afin de mieux caractĂ©riser les rejets et Ă©valuer leur traitabilitĂ©. Sur les 40 substances prioritaires de la DCE recherchĂ©s dans les RUTP, seulement 17 ont Ă©tĂ© dĂ©tectĂ©es. Tous les mĂ©taux ont Ă©tĂ© quantifiĂ©s pour les deux sites pour toutes les campagnes. Sur les 36 substances organiques, seulement 13 ont des CME supĂ©rieures Ă la LOD, telles que diuron, atrzine et fluoranthĂšne.The reducing urban stormwater discharges is one of the major stakes for operators of urban water systems in order to achieve quality objectives of surface and underground water established by Water Framework Directive. Whereas concentrations and loads of traditional pollutants (suspended solids, BOD, COD, nutriments ...) in stormwater discharges are well documented since three decades, less information is available on the presence, the pathways, the concentrations and the loads of priority pollutants in these effluents. The objectives of the ESPRIT collaborative project are to identify, evaluate, characterize and later on model the fluxes of priority substances in urban stormwater, for bath combined and separate sewer systems, tacking out different sources. Two experimental sites have been selected ln Lyon, France for monitoring campaigns: Ecully (residential, combined sewer system) and Chassieu (industrial, separate stormwater system). The monitoring campaigns included storm event mean concentrations (EMC), dry weather daily and hourly mean concentrations in wastewater for the combined sewer, the periodic collection of dry atmospheric deposits and event sam pies of rainwater. 26 metals are analysed by ICP-MS/AFS in dissolved and particulate phases. A new multi-residues analytical method is used to quantify 3 organic micro-pollutants in the dissolved phase and in the particulate phase by GS-MS and LC-FLD-MS/MS. On 40 priority pollutants of WFD investigated in stormwater discharges, only 17 pollutants have been detected. Ali metals were present in bath sites for all rain event campaigns. On 36 organic pollutants, only 13 were above the LOD, like diuron, atrazine and fluoranthĂšne.VILLEURBANNE-DOC'INSA LYON (692662301) / SudocSudocFranceF