The criterion-related validity of the Northwick Park Dependency Score as a generic nursing dependency instrument for different rehabilitation patient groups

Objective: To investigate the criterion or concurrent validity of the Northwick Park Dependency Score (NPDS) for determining nursing dependence in different rehabilitation groups, with the Barthel Index (BI) and the Care Dependency Scale (C D S).Design: Cross-sectional study.Setting: Centre for Rehabilitation of the University Medical Center Groningen, The Netherlands.Subjects: Patients after stroke, spinal cord injury, multitrauma, head injury, amputation, rheumatoid arthritis, diabetes mellitus, lung diseases, tuberculosis and coronary artery disease. One hundred and fifty-four patients were included.Measures: The Northwick Park Dependency Score (NPDS), the Barthel Index (BI) and the Care Dependency Scale (CDS).Results: The correlation (rho) between the NPDS and the BI for all groups was - 0.87-1 R-2 = 0.76 (n = 154). Per patient group rho varied from - 0.70 (R-2 = 0.49) to - 0.93 (R-2 = 0.86). The overall correlation between the NPDS and CDS was larger than the criterion of rho = 0.60 (r=- 0.74; R-2 = 0.55) but was &lt;0.60 in the rheumatoid arthritis and tuberculosis group. The overall correlation between BI and CDS exceeded the criterion (r = 0.75; R-2 = 0.56).Conclusions: The NPDS is a generic nursing dependency instrument that can be used as a valid measure across various patient groups in rehabilitation.</p

Trials, Truth-telling and the Performing Body

In this thesis, I examine the role performance plays in the adversarial criminal jury trial. The initial motivation behind this inquiry was the pervasiveness of a metaphor: why is the courtroom so frequently compared to a theatre? Most writings on this topic see the courtroom as bearing what might be termed a cosmetic resemblance to a theatre, making comparisons, for instance, between elements of costume and staging. I pursue a different line of argument. I argue that performance is not simply an embellishment of the trial process but rather a constitutive feature of the criminal jury trial. It is by means of what I call the performance of tradition that the trial acquires its social significance as a (supposedly) timeless bulwark of authority and impartiality. In the first three chapters I show that popular usage of the term ‘theatrical’ (whether it be to describe the practice of a flamboyant lawyer, or a misbehaving defendant) is frequently laden with pejorative connotations and invariably (though usually only implicitly) invokes comparison to a presupposed authentic or natural way of behaviour (‘not-performing’). Drawing on the work of Michel Foucault and Pierre Bourdieu I argue that, whatever legal agents see as appropriate trial conduct (behaviour that is ‘not-performing’), they are misrecognising the performative accomplishments and demands required of both legal agents and laypersons in the trial. This performance constructs and maintains a gap between legal practitioners and laypersons which is essential to maintaining the status of the legal profession, and which continually positions the trial in legal and popular belief. I then look at specific moments of ‘anxiety’ where alterations to traditional procedure provoke debate as to the otherwise unnoticed or unarticulated value of live performance. In Chapter 4, I examine the growth of the private advocacy training industry that frequently positions lawyers as actors. Resistance to the idea of acting demonstrates the tainted status of performance terminology as well as legal agents’ belief that lawyers are acting naturally. I argue instead that lawyers have always been trained in acting: an habituated performance style I term legal naturalism. In Chapter 5, I examine the television broadcasting of trials. Some legal agents argue that broadcasting risks ‘theatricalising’ the trial—causing participants to ‘act up’. However, this overlooks the fact that the court has a long history as a source of popular entertainment. I argue that resistance to broadcasting also stems from a reluctance to remit control of the trial to external producers. Broadcasting invites greater scrutiny into a process that if not always fair, needs to be believed in as fair and has historically been tightly self-regulated by the legal field, through its reliance on live performance’s ‘essential’ quality—its inability to be captured and subsequent disappearance. In Chapter 6, I examine the debates around CCTV testimony, which demonstrate a consistency of belief in live or ‘face-to-face’ confrontation to produce juridical ‘Truth’ that can be traced back over 800 years. The final chapter of this thesis examines sexual assault trials. This chapter brings together all of these sources of anxiety. Although often termed ‘exceptional’, sexual assault trials highlight how essential live performance is to manufacturing the authority of ‘The Law’ through the weight given to demeanour assessment, and because these trials make visible the sustained symbolic violence characteristic of adversarial criminal trials that is particularly traumatic for sexual assault complainants. Examination of sexual assault trials also reveals the double-edged position of performance in the trial. The exploitation of the symbolic value of live performance is the source of much trauma, yet the performance of tradition is also essential to maintaining popular belief in the adversarial criminal jury trial

Digital afx: digital dressing and affective shifts in Sin City and 300

In Sin City (Robert Rodriguez, 2005) and 300 (Zack Snyder, 2006) extensive post-production work has created stylised colour palettes, manipulated areas of the image, and added or subtracted elements. Framing a discussion around the terms ‘affect’ and ‘emotion’, this paper argues that the digital technologies used in Sin City and 300 modify conventional interactions between representational and aesthetic dimensions. Brian Massumi suggests affective imagery can operate through two modes of engagement. One mode is embedded in a meaning system, linked to a speci?c emotion. The second is understood as an intensi?cation whereby a viewer reacts but that reaction is not yet gathered into an alignment with meaning. The term ‘digital afx’ is used to describe manipulations that produce imagery allowing these two modes of engagement to coexist. Digital afx are present when two competing aesthetic strategies remain equally visible within sequences of images. As a consequence the afx mingle with and shift the content of representation

Recognition of 3-D Objects from Multiple 2-D Views by a Self-Organizing Neural Architecture

The recognition of 3-D objects from sequences of their 2-D views is modeled by a neural architecture, called VIEWNET that uses View Information Encoded With NETworks. VIEWNET illustrates how several types of noise and varialbility in image data can be progressively removed while incornplcte image features are restored and invariant features are discovered using an appropriately designed cascade of processing stages. VIEWNET first processes 2-D views of 3-D objects using the CORT-X 2 filter, which discounts the illuminant, regularizes and completes figural boundaries, and removes noise from the images. Boundary regularization and cornpletion are achieved by the same mechanisms that suppress image noise. A log-polar transform is taken with respect to the centroid of the resulting figure and then re-centered to achieve 2-D scale and rotation invariance. The invariant images are coarse coded to further reduce noise, reduce foreshortening effects, and increase generalization. These compressed codes are input into a supervised learning system based on the fuzzy ARTMAP algorithm. Recognition categories of 2-D views are learned before evidence from sequences of 2-D view categories is accumulated to improve object recognition. Recognition is studied with noisy and clean images using slow and fast learning. VIEWNET is demonstrated on an MIT Lincoln Laboratory database of 2-D views of jet aircraft with and without additive noise. A recognition rate of 90% is achieved with one 2-D view category and of 98.5% correct with three 2-D view categories.National Science Foundation (IRI 90-24877); Office of Naval Research (N00014-91-J-1309, N00014-91-J-4100, N00014-92-J-0499); Air Force Office of Scientific Research (F9620-92-J-0499, 90-0083

Current And Future Land Use Around A Nationwide Protected Area Network

Land-use change around protected areas can reduce their effective size and limit their ability to conserve biodiversity because land-use change alters ecological processes and the ability of organisms to move freely among protected areas. The goal of our analysis was to inform conservation planning efforts for a nationwide network of protected lands by predicting future land use change. We evaluated the relative effect of three economic policy scenarios on land use surrounding the U.S. Fish and Wildlife Service\u27s National Wildlife Refuges. We predicted changes for three land-use classes (forest/range, crop/pasture, and urban) by 2051. Our results showed an increase in forest/range lands (by 1.9% to 4.7% depending on the scenario), a decrease in crop/pasture between 15.2% and 23.1%, and a substantial increase in urban land use between 28.5% and 57.0%. The magnitude of land-use change differed strongly among different USFWS administrative regions, with the most change in the Upper Midwestern US (approximately 30%), and the Southeastern and Northeastern US (25%), and the rest of the U.S. between 15 and 20%. Among our scenarios, changes in land use were similar, with the exception of our restricted-urban-growth\u27\u27 scenario, which resulted in noticeably different rates of change. This demonstrates that it will likely be difficult to influence land-use change patterns with national policies and that understanding regional land-use dynamics is critical for effective management and planning of protected lands throughout the U.S