Exploring health visitors'role and experiences when working with perinatal mental health and parent-infant relationship difficulities

Section A provides a review of the empirical literature of health visitors’ role in supporting women with perinatal mental health problems (PMHPs). The review outlines what interventions health visitors can offer as well as the effectiveness of these interventions. Other key areas of their role are outlined, for example, making referrals and providing support to women experiencing PMHPs. Papers are reviewed in light of their methodological strengths and limitations, and clinical and research implications are discussed. Section B describes a qualitative study that explores how health visitors make sense of their experience of talking about difficulties with the parent-infant relationship. Ten semistructured interviews were completed and analysed using Interpretative Phenomenological Analysis. Five superordinate themes and related sub themes are outlined and discussed in relation to existing literature. Limitations, clinical implications and future research are outlined. Section C provides supporting documentatio

Modernist and Postmodernist Arts of Noise, Part 2: From the Clifton Hill Mob to Chamber Made Opera’s Phobia

This paper will continue to trace negotiations outlined in Part 1 of the music/noise dichotomy as expressed in modernist and postmodernist works.1 Drawing connections with the trajectory of “glitch” in popular music since the 1970s, the paper will examine a number of key ways in which the music/noise dichotomy has been addressed as a borderline dispute between, for example, the embodied and the disembodied, the scored and the unscored, the accidental and the intentional, sense and nonsense, culture and nature. Two key figures from the highly influential group of sound artists who came together at Melbourne’s Clifton Hill Community Centre during the 1970s are Warren Burt and Chris Mann. They collaborated on “Subjective Beats Metaphor” (1983), which plays with biological vocoders and electronic voice manipulation, illuminating constructions such as subjectivity, accent and syntactical meaning. Chamber Made Opera’s recent production, “Phobia” (2004), is a startling tribute to Alfred Hitchcock’s “Vertigo” and Hollywood noise artists, or sound effects teams, achieving a mesmeric amalgamation of music theatre, performance art and “physical theatre” in which “noises off” mime the disintegration of characters’ mental states, sense into nonsense, meaning into materiality

Toilets, Tears and Transcendence: The Postmodern (Dis-)Placement of, and in, Two Water-Based Examples of Australian Sound Art

Water has enjoyed an enduring place as subject matter in western musical works for centuries. And what Douglas Kahn calls “discursive” water has streamed in ‘traditional’ musical works from Handel’s Water Music from 1717 through Romanticism, “albeit in the harmonic gushes that repulsed Cage”. In the ‘experimental’ genres, the early to middle parts of the twentieth century were splattered by various engagements with water and sound, with Percy Grainger’s Free Music innovations sparked by gazing at the waves in the Victorian waters of his childhood from as far back as the late nineteenth century. Water in Surrealist art of the mid-twentieth century often featured live women inhabiting large fish-tank/window displays of sound and water — but their own voices were silent. Kahn wonders whether water for the Surrealist men represented “the vaunted maternal voice proffered in certain psychoanalytic scenarios”. But as Kahn also comments, “since the early 1960s, innumerable artists have combined sound, fluidity and water in every way imaginable”. Two examples of postmodern Sound Art, “Tears”, from Passion (1998), by Andrée Greenwell and The Gordon Assumption (2004) by Wax Sound Media artists David Chesworth and Sonia Leber, have traversed a sizable slab of historico-cultural ground in their use of water (via toilets!) as a major component since mid-century modernism. Through select psychoanalytic theories, it is fascinating to witness how they grapple with the themes of water, woman’s voice and transcendence — “discursively”, with a re-examination of the notions and possibilities of “harmonic gushes”, as well as using modernist-based technology

Modernist and Postmodernist Arts of Noise, Part 2: From the Clifton Hill mob to Chamber Made Opera’s Phobia

This paper will continue to trace negotiations outlined in Part 1 of the music/noise dichotomy as expressed in modernist and postmodernist works.1 Drawing connections with the trajectory of glitch in popular music since the 1970s. The paper will examine a number of key ways in which the music/noise dichotomy has been addressed as a borderline dispute between, for example, the embodied and the disembodied, the scored and the unscored, the accidental and the intentional, sense and nonsense, culture and nature. Two key figures from the highly influential group of sound artists who came together at Melbourne\u27s Clifton Hill Community Centre during the 1970s are Warren Burt and Chris Mann. They collaborated on Subjective Beats Metaphor (1983), which plays with biological vocoders and electronic voice manipulation, illuminating constructions such as subjectivity, accent and syntactical meaning. Chamber Made Opera\u27s recent production, Phobia (2004), is a startling tribute to Alfred Hitchcock\u27s Vertigo and Hollywood noise artists, or sound effects teams, achieving a mesmeric amalgamation of music theatre, performance art and physical theatre in which noises off mime the disintegration of characters\u27 mental states, sense into nonsense, meaning into materiality

Ανάπτυξη Διαδικτυακής Συλλογής Κωδικοποίησης Προσβάσιμων Μαθηματικών Συμβόλων με βάση το σύστημα Nemeth

Στην εργασία αυτή ασχοληθήκαμε με το συστηματοποίηση της αναπαράστασης των μαθηματικών συμβόλων σε προσβάσιμες μορφές οι οποίες είναι κατάλληλες για άτομα με τύφλωση ή μειωμένη όραση. Συγκεκριμένα μας ενδιαφέρουν οι κωδικοποιήσεις των μαθηματικών συμβόλων που μπορούν να χρησιμοποιηθούν για την ακουστική ή/και απτική απόδοση των μαθηματικών συμβόλων μέσω κατάλληλης Υποστηρικτικής Τεχνολογίας, όπως οθόνες braille, εκτυπωτές braille ή συστήματα μετατροπής μαθηματικών σε συνθετική ομιλία . Ως βάση της εργασίας μας χρησιμοποιήσαμε τον κώδικα Nemeth που αποτελεί μία επέκταση του συστήματος braille για τα μαθηματικά, ο οποίος υποστηρίζει συμβολογραφία όλων των επιπέδων (δηλαδή από το δημοτικό σχολείο ως και ανώτερων μαθηματικών πανεπιστημιακού επιπέδου) και ο οποίος είναι ο επίσημος κώδικας μαθηματικής κωδικοποίησης braille για την Ελλάδα και τις ΗΠΑ. Οι ομάδες χρηστών που μας ενδιαφέρουν περιλαμβάνουν: α) τους δασκάλους, καθηγητές και εκπαιδευτικούς όλων των βαθμίδων που χρησιμοποιούν εκπαιδευτικό περιεχόμενο με μαθηματικά σύμβολα, β) τους μαθητές, φοιτητές θετικών επιστημών με απώλεια όρασης ή και άλλους χρήστες τους (π.χ. τυφλούς καθηγητές μαθηματικών) και γ) του επαγγελματίες που ασχολούνται με την παραγωγή προσβάσιμων βιβλίων και συγγραμμάτων θετικών επιστημών. Ύστερα από ανάλυση των αναγκών των χρηστών, σχεδιάσαμε και αναπτύξαμε μια web-based εφαρμογή η οποία αποτελεί συλλογή κωδικοποίησης των προσβάσιμων μαθηματικών συμβόλων με βάση το σύστημα Nemeth. Η εφαρμογή υποστηρίζει εκτός από το σύστημα Nemeth και τις κωδικοποιήσεις LaTeX, MathML και Unicode και περιλαμβάνει το όνομα του κάθε μαθηματικού συμβόλου (στα Ελληνικά και Αγγλικά), την περιγραφή του (στα Ελληνικά και Αγγλικά), την κατηγοριοποίησή καθώς και την εικόνα του. Επίσης έχει τη δυνατότητα παράθεσης παραδειγμάτων χρήσης του μαθηματικού συμβόλου. Η εφαρμογή λειτουργεί στη διεύθυνση http://access.uoa.gr/MATH/ της Μονάδας Προσβασιμότητας του Πανεπιστημίου Αθηνών.In this project, we dealt with the systemization of representing mathematical symbols in accessible forms suitable for blind and people with reduced vision accuracy. In particular, we are interested in coding the mathematical symbols that can be used for acoustic and / or tactile rendering of mathematical symbols through appropriate Assistive Technology, such as braille displays, braille printers, or math conversion systems in synthetic speech. As foundation of our project, we used the Nemeth code, an extension of the braille system for mathematics, which supports symbology of all levels (from elementary school to higher university mathematics) and which is the official code of mathematical coding braille for Greece and the USA. The groups of users we are interested in, include: a) teachers, professors, educators of all levels using mathematical educational content, b) students, visually impaired students or other users (e.g. blind teachers of Mathematics) and c) professionals engaged in the production of books and science mannuals. After the analysis of users’ needs, we designed and developed a web-based application which is a collection of accessible mathematical symbols based on the Nemeth system. This application supports not only Nemeth, but also LaTeX, MathML and Unicode and the name of each mathematical symbol (in Greek and English), its description (in Greek and English), its categorization as well as its image. It is also possible to give examples of use of the mathematical symbol. The application works at http://access.uoa.gr/MATH/ of the Accessibility Unit of the University of Athens

Double chambered right ventricle with severe calcification of the tricuspid valve in an elderly woman: a case report

<p>Abstract</p> <p>Introduction</p> <p>Double chambered right ventricle is a rare congenital cardiac anomaly in which the right ventricle is divided into two chambers by an anomalous muscle bundle. The diagnosis of this disorder is difficult in adults. Calcification of the tricuspid valve is extremely rare, and very few cases have been reported. Most cases of tricuspid valve calcification had a congenital disorder with high pressure in the right ventricle.</p> <p>Case presentation</p> <p>We report a rare case of a 71-year-old Japanese woman who presented with chest discomfort, and was found to have a double chambered right ventricle with severe calcification of the tricuspid valve. This abnormality was found by echocardiography, and the diagnosis was confirmed by multislice cardiac computerized tomography, cardiac magnetic resonance imaging, and cardiac catheterization. Our patient rejected surgical repair, and medical therapy with carvedilol was effective to reduce her symptoms.</p> <p>Conclusion</p> <p>Calcification of the tricuspid valve is extremely rare, and considered to be due to high pressure in the right ventricle. To the best of our knowledge, there are no other reported cases of this combination of double chambered right ventricle and calcification of the tricuspid valve.</p