41 research outputs found
IoT for Diabetics: Exploring IoT Adoption Issues
No full textAn increasing problem worldwide is the number of people living with and dying of critical,
chronic diseases. One of these diseases is type 1 diabetes, which, as of today, is uncurable yet
treatable through careful and precise monitoring. Using the Internet of Things (IoT) is one of
the most efficient ways to monitor diabetes and is also said to improve the life-quality of people
with diabetes. However, the great potential of IoT in diabetes treatment is followed by various
challenged factors regarding privacy and security. Cyberattacks can affect not only the
individual patient but everyone connected to the IT infrastructure of the hacked device. Existing
reports show cyberattacks against the Norwegian healthcare sector have increased by 72% over
the last year, resulting in about 450 attacks each week. Still, diabetic patients tend to trust their
devices to be safe and are willing to take the risk as they consider their medical data as not
interesting to cybercriminals. Healthcare personnel's lack of knowledge about information
security and privacy best practice is reported to be an entry point for cybercriminals to gain
access to critical IT systems. This study aimed to investigate the relationship between the
potentially improved life-quality from using diabetes IoT and the challenges regarding privacy
and cyberthreats, including the perspective of three different Norwegian stakeholder groups:
diabetic patients (type 1), healthcare personnel working with diabetes patients, and industry
representatives within healthcare and security. Findings suggest that neither patients nor
healthcare personnel is concerned about patient privacy or threats against diabetes IoT, despite
the increased cyberthreats in the healthcare sector. It further indicates a pressing matter for a
discussion about data ownership generated by IoT and a revision of privacy regulations that
make it easier for all Norwegian healthcare regions to interpret, comply, and act upon equally,
to utilize the technology available and ensure diabetes patients all over the country have the
same opportunities when it comes to patient care
Experimental design matters for statistical analysis:how to handle blocking
No full textBACKGROUND: Nowadays, the evaluation of effects of pesticides often relies on experimental designs that involve multiple concentrations of the pesticide of interest or multiple pesticides at specific comparable concentrations and, possibly, secondary factors of interest. Unfortunately, the experimental design is often more or less neglected when analyzing data. Two data examples were analyzed using different modelling strategies: Firstly, in a randomized complete block design, mean heights of maize treated with a herbicide and one of several adjuvants were compared. Secondly, translocation of an insecticide applied to maize as a seed treatment was evaluated using incomplete data from an unbalanced design with several layers of hierarchical sampling. Extensive simulations were carried out to further substantiate the effects of different modelling strategies.RESULTS: It was shown that results from sub-optimal approaches (two-sample t-tests and ordinary ANOVA assuming independent observations) may be both quantitatively and qualitatively different from the results obtained using an appropriate linear mixed model. The simulations demonstrated that the different approaches may lead to differences in coverage percentages of confidence intervals and type I error rates, confirming that misleading conclusions can easily happen when an inappropriate statistical approach is chosen.CONCLUSION: To ensure that experimental data are summarized appropriately, avoiding misleading conclusions, the experimental design should duly be reflected in the choice of statistical approaches and models. We recommend that author guidelines should explicitly point out that the authors need to indicate how the statistical analysis reflects the experimental design.</p
J.-H. et Marie Rosny, un journal conjugal
No full textSigne d’une rupture notable avec la pratique d’écriture naturaliste, le Journal de Rosny aîné offre un visage particulier. Après une première étape d’écriture individuelle, conforme à la tradition du journal littéraire, il met en scène une écriture à deux. L’écrivain et son épouse, Marie Rosny, partagent le même cahier pour relater, décrire, analyser quelques moments vécus. Rosny aîné a déjà pratiqué l’écriture en collaboration puisqu’il a publié, jusqu’en 1908, près de quarante romans avec son frère. La collaboration conjugale apparaît d’un autre ordre : plus intime, elle est paradoxalement plus visible. Parfois, l’énoncé laisse apercevoir au travers de l’utilisation des pronoms personnels, une forme de fusion d’écriture. D’abord simple secrétaire de son époux, Marie Rosny prend peu à peu de l’ascendant en notant l’évocation de moments estivaux durant l’année 1907. Cette collaboration – apprentissage de l’écriture – cessera vite. Marie Rosny écrira désormais son propre journal personnel.Revealing a notable break with Naturalist writing, Rosny Aîné’s Journal (Diary) offers an unusual aspect. After a first stage of individual writing in the literary diary tradition, he performed a duo writing. The author and his wife, Marie Rosny, shared the same notebook to record, describe, analyze several experiences. Rosny Aîné had already practiced writing in collaboration, having published up to 1938 over forty novels with his brother. Matrimonial collaboration is apparently of a different order : more private, it is paradoxically more visible. Occasionally, through the use of personal pronouns, the wording reveals a form of merged writing. First merely her husband’s secretary, Marie Rosny gradually took over while recording the summer days of 1907. This collaboration – writing training – soon ceased. Henceforth Marie Rosny kept her own diary.Signo de una ruptura importante con la práctica de escritura naturalista, el Diario de Rosny (primogénito) presenta rasgos muy singulares : después de una etapa de escritura individual, conforme con la tradición del diario literario, despliega una escritura a cuatro manos. El escritor y su esposa, Marie Rosny, comparten el mismo cuaderno para relatar, describir, analizar algunos momentos vividos. Rosny (primogénito) ya había practicado la escritura en colaboración, puesto que publicó, hasta 1908, alrededor de cuarenta novelas con su hermano. La colaboración conyugal es de otro orden : más íntima y, paradójicamente, más visible. Por momentos, el enunciado deja traslucir a través de la utilización de los pronombres personales, una forma de fusión de la escritura. Primero, simple secretaria de su marido, poco a poco Marie Rosny va adquiriendo protagonismo inscribiendo la evocación de momentos estivales durante el año 1907. Esta colaboración –aprendizaje de la escritura – se interrumpirá rápidamente : Marie Rosny escribirá en adelante su propio diario personal.Zeichen eines bemerkenswerten Bruchs mit der naturalistischen Schreibpraxis, bietet das Tagebuch von Rosny, dem Älteren, ein besonderes Bild. Nach einer ersten Etappe individuellen Schreibens, wie es der Tradition des literarischen Tagebuchs entspricht, wird es zur Bühne eines zweistimmigen Schreibens. Der Schriftsteller und seine Ehefrau, Marie Rosny, teilen sich ein und dasselbe Heft, um einige gelebte Momente zu erzählen, zu beschreiben und zu analysieren. Rosny der Ältere hat bereits Erfahrung mit einer kollaborativen Schreibweise, da er bis 1908 an die vierzig Romane zusammen mit seinem Bruder veröffentlicht hat. Die eheliche Zusammenarbeit zeigt sich von anderer Ordnung : Wenngleich intimer, ist sie paradoxerweise sichtbarer. Durch den Gebrauch von Personalpronomen lässt der Ausdruck manchmal eine Form von Verschmelzung der Schrift erkennen. Marie Rosny, zunächst nur Sekretärin ihres Mannes, übernimmt in der Heraufbeschwörung sommerlicher Augenblicke im Verlauf des Jahres 1907 nach und nach die Führung. Diese Zusammenarbeit, Lehrzeit des Schreibens, ist bald beendet. Von nun an wird Marie Rosny ein eigenes Tagebuch führen.Sinal de ruptura notável com a prática da escrita naturalista, o Journal de Rosny sénior tem um aspecto particular. Após uma primeira etapa de escrita individual, conforme com a tradição do diário literário, põe em cena uma escrita a dois. O escritor e a esposa, Marie Rosny, compartilham um mesmo caderno para relatar, descrever e analisar as suas experiências vividas. Rosny já tinha praticado a escrita colaborativa, tendo publicado com o irmão perto de quarenta romances até 1908. Mas a colaboração conjugal afigura-se de uma outra ordem : sendo mais íntima, é paradoxalmente mais visível. Às vezes, o enunciado deixa perceber através da utilização dos pronomes pessoais uma espécie de fusão da escrita. Primeiro simples secretária do marido, Marie Rosny gradualmente ganha ascendente quando evoca experiências estivais de 1907. Esta colaboração – aprendizagem da escrita – não dura muito e Marie Rosny passará doravante a escrever o seu próprio diário pessoal.Segno di un’evidente rottura con la pratica di scrittura naturalista, il Diario di Rosny, il maggiore, offre un’immagine particolare. Dopo una prima tappa di scrittura individuale, conforme alla tradizione del diario letterario, mette in scena una scrittura a due. Lo scrittore e sua moglie, Marie Rosny, condividono lo stesso quaderno per riferire, descrivere, analizzare i momenti vissuti. Rosny ha già praticato la scrittura in collaborazione, dato che ha pubblicato, fino al 1908, circa quaranta romanzi con suo fratello. La collaborazione tra i coniugi è di un altro ordine : più intima, essa è paradossalmente più visibile. Talvolta l’enunciato lascia percepire, con l’uso dei pronomi personali, una forma di fusione della scrittura. All’inizio semplice segretaria del marito, Marie Rosny a poco a poco si impone annotando i momenti estivi del 1907. Questa collaborazione – tirocinio alla scrittura – cesserà presto. Marie Rosny scriverà poi il suo proprio diario
Je autofictionnel/jeux intertextuels : cosmopolitisme et/ou narcissisme ? Dans Le Pays de Marie Darrieussecq.
No full textThis article discusses the autofictional "I" as the undisputed mediator of the author's ego meanders. Indeed, it will be question of demonstrating that the "I" sign of narcissism, is not it in the autofictional novel and more particularly in the Country, novel written by Marie Darrieussecq and that it is, on the contrary, cosmopolitan because it does not refer only to the author of the novel but rather to all those who have overcome the same pains experienced by the novelist. For this, we will first demonstrate that The Country is an autofictional novel. Then, through intertextual practice, we will highlight the cosmopolitanism of the autofictional "I". In doing so, our reading will be analytical and detailed and based on a multidisciplinary approach.Este artículo trata del "yo" autoficcional como mediador indiscutible de los meandros del "yo" de la autora. Tarataremos de demostrar que el "yo", signo de narcisismo, no lo es en la novela autoficcional, particularmente en '"el País ",una novela escrita por Marie Darrieussecq, y que es, al contrario, cosmopolita ya que no refleja solamente a la escritora de la novela, sino a todas las personas que han superado las mismas dificultades vividas por ella misma. Para ello, vamos a demostrar que " el País " es unanovela autoficcional. Luego, a través de la práctica intertextual, pondremos en relieve el cosmopolitismo del "yo" autoficcional. Así, nuestra lectura será analítica, detallada y basada en un enfoque multidisciplinario.Cet article traite du « je » autofictionnel en tant que médiateur incontestable des méandres du Moi de l’auteur. En effet, il sera question de démontrer que le « je » signe de narcissisme, ne l’est pas dans le roman autofictionnel et plus particulièrement dans Le Pays, roman écrit par Marie Darrieussecq et qu’il est, au contraire, cosmopolite car il ne renvoie pas seulement à l’auteure du roman mais plutôt à toutes les personnes ayant surmonté les mêmes douleurs vécues par la romancière. Pour cela, nous allons tout abord démontrer que Le Pays est un roman autofictionnel. Ensuite, par le truchement de la pratique intertextuelle, nous mettrons en relief le cosmopolitisme du « je » autofictionnel. Ce faisant, notre lecture sera analytique et fouillée et basée sur une approche pluridisciplinaire
LA RÉÉCRITURE POUR DÉVELOPPER UNE POSTURE D’AUTEUR CHEZ LES ÉLÈVES
No full textNous présentons les résultats d’une recherche exploratoire à visée descriptive dans laquelle un dispositif didactique visant à amener les élèves à adopter une posture d’auteur à l’aide de la réécriture, en contexte d’écriture littéraire, fut testé auprès de raccrocheurs. Si l’analyse de contenu des entrevues menées auprès des sept participants relève la présence d’un projet d’auteur, signe que l’élève adopte une posture d’auteur, elle permet de nuancer cette présence. Certains participants ont un projet d’auteur assumé et conscient, d’autres ont un projet sans le développer, d’autres encore ont ce que nous nommons un « balbutiement de projet d’auteur ». Enfin, l’entrevue constitue un outil qui gagne à faire partie intégrante de la réécriture pour cerner le projet d’auteur des élèves.We present the results of a descriptive and exploratory research in which a teaching approach aimed at getting students to adopt an author’s posture, with the help of rewriting exercises in a literary writing context, was tested with former drop-outs. A content analysis of the interviews with the seven participants enabled the authors to reveal whether or not there was the presence of an author project, a sign that the student adopted an author’s posture, and if so, to bring nuance to the latter. Some participants adopted a project of assumed and conscious author, some adopted a project without developing it, while others had what we call a “stammering of an author’s project.” Finally, the interview is a valuable rewriting tool to help identify students’ author projects
Poverty, Human Development and Financial Services
No full texthuman development, poverty, empowerment
Nurses’ ethical challenges when providing care in nursing homes during the COVID-19 pandemic
No full textBackground: Older, frail patients with multimorbidity are at an especially high risk for disease severity anddeath from COVID-19. The social restrictions proved challenging for the residents, their relatives, and thecare staff. While these restrictions clearly impacted daily life in Norwegian nursing homes, knowledge abouthow the pandemic influenced nursing practice is sparse. Aim: The aim of the study was to illuminate ethicaldifficult situations experienced by Norwegian nurses working in nursing homes during the COVID-19 pandemic. Research design and participants: The research design involved semistructured individual interviews conducted with 15 nurses working in 8 nursing homes in 3 health regions in Norway, within both urban andrural areas. Ethical considerations: Oral and written information about the study was provided before the participantsgave their written consent. The transcribed interviews were de-identified. The study was approved by the Norwegian Centre for Research Data. Findings: Four ethical difficult situations were identified: (a) turning the nursing home into a prison; (b) usingmedication to maintain peace and order; (c) being left alone with the responsibility; and (d) s. impact ondecision-making. Conclusions: The nurses’ethical challenges were intertwined with external factors, such as national andlocal guidelines, and the nurses’own internalized factors, which were connected to their subjective pro-fessionality. This duality inflicted emotional distress and gave nurses few opportunities to perform nursing in aprofessionally sound and safe manner. Keywords: COVID-19, nursing home, nursing, ethical challenges. © The Author(s) 2022, Article Reuse Guidelines: https://doi.org/10.1177/09697330221105631Nurses’ ethical challenges when providing care in nursing homes during the COVID-19 pandemicpublishedVersio
Plant disease detection model for edge computing devices
No full textIn this paper, we address the question of achieving high accuracy in deep learning models for agricultural applications through edge computing devices while considering the associated resource constraints. Traditional and state-of-the-art models have demonstrated good accuracy, but their practicality as end-user available solutions remains uncertain due to current resource limitations. One agricultural application for deep learning models is the detection and classification of plant diseases through image-based crop monitoring. We used the publicly available PlantVillage dataset containing images of healthy and diseased leaves for 14 crop species and 6 groups of diseases as example data. The MobileNetV3-small model succeeds in classifying the leaves with a test accuracy of around 99.50%. Post-training optimization using quantization reduced the number of model parameters from approximately 1.5 million to 0.93 million while maintaining the accuracy of 99.50%. The final model is in ONNX format, enabling deployment across various platforms, including mobile devices. These findings offer a cost-effective solution for deploying accurate deep-learning models in agricultural applications.In this paper, we address the question of achieving high accuracy in deep learning models for agricultural applications through edge computing devices while considering the associated resource constraints. Traditional and state-of-the-art models have demonstrated good accuracy, but their practicality as end-user available solutions remains uncertain due to current resource limitations. One agricultural application for deep learning models is the detection and classification of plant diseases through image-based crop monitoring. We used the publicly available PlantVillage dataset containing images of healthy and diseased leaves for 14 crop species and 6 groups of diseases as example data. The MobileNetV3-small model succeeds in classifying the leaves with a test accuracy of around 99.50%. Post-training optimization using quantization reduced the number of model parameters from approximately 1.5 million to 0.93 million while maintaining the accuracy of 99.50%. The final model is in ONNX format, enabling deployment across various platforms, including mobile devices. These findings offer a cost-effective solution for deploying accurate deep-learning models in agricultural applications.</p
Tina Modotti d’Ángel De la Calle : un imaginaire (auto)(bio)graphique
No full textInternational audienceThe object of the present study is Ángel De la Calle’s Tina Modotti (2011). This graphic biography tells the story of the eponymous Italian photographer and communist activist (1896-1942).On a narrative level, the biographical line is coupled with a secondary line, alternately autobiographical and autofictional, where the author projects himself into a drawn fictional double to evoke the genesis of his work. I will attempt to examine how both versions of the author coexist with the biographical material and to what extent the biography serves, in this specific context, as a stage for the biographer.To do so, I will begin by analyzing the mechanisms of the biographical level since, despite the use of the first person singular, efforts are made to keep the narrative as objective as possible. I will also discuss the role of graphic imagination in transmitting documentary information. I will then focus on the second narrative line which, at times, drifts onto the universe of fiction. Finally, studying those two aspects will allow to perceive the significance of the author’s esthetic choices because his graphic imagination is fundamentally serving the biographical relationship and its identifying dynamic.L’article a pour objet la biographie dessinée Tina Modotti, d’Ángel De la Calle (2011), qui retrace les vingt dernières années du parcours de la photographe italienne et militante communiste éponyme (1896-1942).Au plan narratif, la ligne biographique se double d’une ligne secondaire, alternativement autobiographique et autofictionnelle, au sein de laquelle l’auteur se projette dans un double de papier, pour revenir sur la genèse de l’œuvre. On s’attachera à cerner la manière dont l’imaginaire et la personne du dessinateur travaillent et trouent la matière biographique, et on se demandera dans quelle mesure la biographie devient ici scène du biographe.Pour ce faire, on reviendra sur le fonctionnement du niveau biographique, où malgré le recours à la première personne le récit s’efforce à l’objectivité. On s’intéressera au rôle de l’imaginaire graphique dans le développement d’une forme de médiation documentaire. La deuxième ligne narrative, qui signe par instants une véritable entrée en régime de fiction, sera au cœur de la seconde partie de l’analyse. Après avoir étudié ces deux aspects de l’œuvre, on percevra mieux la portée des choix esthétiques de l’auteur, car l’imaginaire graphique est en réalité, plus fondamentalement, au service de la relation biographique et de sa dynamique identificatoire
