Emotive Captioning and Access to Television

Closed captioning has been enabling access to television for people who are deaf and hard of hearing since the early 1970s. Since that time, technology and people’s demands have been steadily improving and increasing. Closed captioning has not kept up with these changes. We present the results of a study that used graphics, colour, icons and animation as well as text, emotive captions, to capture more of the sound information contained in television content. deaf and hard of hearing participants compared emotive and conventional captions for two short video segments. The results showed that there was a significant difference between deaf and hard of hearing viewers in their reaction to the emotive captions. Hard of hearing viewers seemed to enjoy them and find them interesting. deaf viewers had a strong dislike for them although they did see some potential for intermittent use of emotive captions or for use with children’s programs

Модифицированные методы хирургической коррекции замыкательного механизма кардии

Описаны результаты модифицированных и традиционных фундопликаций при гастроэзофагеальной рефлюксной болезни. Обсуждаются показания к каждому виду фундопликации. Показана безопасность и эффективность модифицированных методов оперативного лечения с использованием традиционного и лапароскопического подходов.The results of modified and traditional fundoplications in gastroesophageal reflux are described. The indications to each type of fundoplication are discussed. Safety and efficacy of modified surgical techniques with the use of traditional and laparoscopic approaches are shown

The Vibrochord: Investigating a Virboractile Musical Instrument

A novel device called the Vibrochord is proposed and validated for its use in the composition and production of vibrotactile music. Vibrotactile music is patterns of vibration applied to the skin rather than the ear. In the first of four studies, four audio music composers were recruited to offer suggestions for the design of the Vibrochord and to probe their composition style and process. Several design ideas that will be implemented in future versions of the Vibrochord were elicited. Attitudes about the Vibrochord and vibrotactile music seemed cautiously optimistic. In the second study participants were recruited to compare various aspects of the Vibrochord to the traditional piano keyboard. It seems that for playing short vibrotactile phrases the design of the Vibrochord allowed for an increase in player accuracy. In the third study, three artists composed a happy and sad vibrotactile song using the Vibrochord and Emoti-Chair. All composers were able to complete this task suggesting the Vibrochord is a viable tool for the composition and production of vibrotactile music. It seems that each artist thought similarly about what characteristics of vibrotactile music would convey the desired emotions. In the fourth study an audience rated the emotional content of the vibrotactile songs composed and produced in study three. All artists were successful in composing and producing vibrotactile music that conveyed the basic emotions of either happy or sad. It seems that notes per second, jumps per second, lengths per second, average note length and lengths per jump are primarily responsible for the conveyance of emotion. The fifth study had audiences rating the emotional content of short vibrotactile clips created using the fourth study as a guide. Notes per second, or "tempo", most likely plays a role in the conveyance of basic emotion. Note frequency also plays a role in this conveyance. Faster tempo songs with higher frequency notes were interpreted as conveying more happiness and vice versa. A regression model showing the relationship between emotional rating of a vibrotactile song and the songs notes per second and average note frequency is proposed.Ph.D

Emotive Captioning and access to Television

et al. Emotive captioning and access to television