11 research outputs found
Prognostic value of residual ischaemia assessed by exercise electrocardiography and dobutamine stress echocardiography in low-risk patients following acute myocardial infarction
No full textRisk stratification after uncomplicated myocardial infarction is major clinical problem. In particular, the prognostic value of residual inducible ischaemia is still controversial. We compared the relative prognostic value of exercise ECG and dobutamine stress echocardiography performed in the early post-infarction period
Akademos (N°35)
No full textEditorial 6.- El libro: factor de identidad latinoamericana/caribeña Andrés Fábregas Puig 7.- El problema de una hermenéutica teológica David E. López 13.- La escritura y la literatura como elementos de la formación docente continua en Educación Artística Writing and reading literature as elements of teacher education in art education Mario Zetino 25 .- La Partesana y Los Negritos de Yucuaiquín Prof. José Cándido Gómez Guzmán 45.- El Salvador: Déficit fiscal, Covid-19 y Crecimiento Mauricio González Orellana 59.Órgano de difusión de la Red Docencia-Investigació
Prevalence and prognostic value of elevated urinary albumin excretion in patients with chronic heart failure: data from the GISSI-Heart Failure trial.
No full textGlobal secondary prevention strategies to limit event recurrence after myocardial infarction: results of the GOSPEL study, a multicenter, randomized controlled trial from the Italian Cardiac Rehabilitation Network
No full textPrognostic impact of diabetes and prediabetes on survival outcomes in patients with chronic heart failure: A post-hoc analysis of the GISSI-HF (Gruppo Italiano per lo Studio della Sopravvivenza nella Insufficienza Cardiaca-Heart Failure) trial
No full textBackground-The independent prognostic impact of diabetes mellitus (DM) and prediabetes mellitus (pre-DM) on survival outcomes in patients with chronic heart failure has been investigated in observational registries and randomized, clinical trials, but the results have been often inconclusive or conflicting. We examined the independent prognostic impact of DM and pre-DM on survival outcomes in the GISSI-HF (Gruppo Italiano per lo Studio della Sopravvivenza nella Insufficienza Cardiaca-Heart Failure) trial. Methods and Results-We assessed the risk of all-cause death and the composite of all-cause death or cardiovascular hospitalization over a median follow-up period of 3.9 years among the 6935 chronic heart failure participants of the GISSI-HF trial, who were stratified by presence of DM (n=2852), pre-DM (n=2013), and non-DM (n=2070) at baseline. Compared with non-DM patients, those with DM had remarkably higher incidence rates of all-cause death (34.5% versus 24.6%) and the composite end point (63.6% versus 54.7%). Conversely, both event rates were similar between non-DM patients and those with pre-DM. Cox regression analysis showed that DM, but not pre-DM, was associated with an increased risk of all-cause death (adjusted hazard ratio, 1.43; 95% CI, 1.28-1.60) and of the composite end point (adjusted hazard ratio, 1.23; 95% CI, 1.13-1.32), independently of established risk factors. In the DM subgroup, higher hemoglobin A1c was also independently associated with increased risk of both study outcomes (all-cause death: adjusted hazard ratio, 1.21; 95% CI, 1.02-1.43; and composite end point: adjusted hazard ratio, 1.14; 95% CI, 1.01-1.29, respectively). Conclusions-Presence of DM was independently associated with poor long-term survival outcomes in patients with chronic heart failure
Prognostic impact of diabetes and prediabetes on survival outcomes in patients with chronic heart failure: a post-hoc analysis of the GISSI-HF (Gruppo Italiano per lo Studio della Sopravvivenza nella Insufficienza Cardiaca-Heart Failure) trial
No full textBackground-The independent prognostic impact of diabetes mellitus (DM) and prediabetes mellitus (pre-DM) on survival outcomes in patients with chronic heart failure has been investigated in observational registries and randomized, clinical trials, but the results have been often inconclusive or conflicting. We examined the independent prognostic impact of DM and pre-DM on survival outcomes in the GISSI-HF (Gruppo Italiano per lo Studio della Sopravvivenza nella Insufficienza Cardiaca-Heart Failure) trial.Methods and Results-We assessed the risk of all-cause death and the composite of all-cause death or cardiovascular hospitalization over a median follow-up period of 3.9 years among the 6935 chronic heart failure participants of the GISSI-HF trial, who were stratified by presence of DM (n= 2852), pre-DM (n= 2013), and non-DM (n= 2070) at baseline. Compared with non-DM patients, those with DM had remarkably higher incidence rates of all-cause death (34.5% versus 24.6%) and the composite end point (63.6% versus 54.7%). Conversely, both event rates were similar between non-DM patients and those with pre-DM. Cox regression analysis showed that DM, but not pre-DM, was associated with an increased risk of all-cause death (adjusted hazard ratio, 1.43; 95% CI, 1.28-1.60) and of the composite end point (adjusted hazard ratio, 1.23; 95% CI, 1.13-1.32), independently of established risk factors. In the DM subgroup, higher hemoglobin A1c was also independently associated with increased risk of both study outcomes (all-cause death: adjusted hazard ratio, 1.21; 95% CI, 1.02-1.43; and composite end point: adjusted hazard ratio, 1.14; 95% CI, 1.01-1.29, respectively).Conclusions-Presence of DM was independently associated with poor long-term survival outcomes in patients with chronic heart failure
Effect of rosuvastatin in patients with chronic heart failure (the GISSI-HF trial) : a randomised, double-blind, placebo-controlled trial
No full textBackground: Large observational studies, small prospective studies and post-hoc analyses of randomised clinical trials have suggested that statins could be beneficial in patients with chronic heart failure. However, previous studies have been methodologically weak. We investigated the efficacy and safety of the statin rosuvastatin in patients with heart failure. Methods: We undertook a randomised, double-blind, placebo-controlled trial in 326 cardiology and 31 internal medicine centres in Italy. We enrolled patients aged 18 years or older with chronic heart failure of New York Heart Association class II-IV, irrespective of cause and left ventricular ejection fraction, and randomly assigned them to rosuvastatin 10 mg daily (n=2285) or placebo (n=2289) by a concealed, computerised telephone randomisation system. Patients were followed up for a median of 3·9 years (IQR 3·0-4·4). Primary endpoints were time to death, and time to death or admission to hospital for cardiovascular reasons. Analysis was by intention to treat. This study is registered with ClinicalTrials.gov, number NCT00336336. Findings: We analysed all randomised patients. 657 (29%) patients died from any cause in the rosuvastatin group and 644 (28%) in the placebo group (adjusted hazard ratio [HR] 1·00 [95·5% CI 0·898-1·122], p=0·943). 1305 (57%) patients in the rosuvastatin group and 1283 (56%) in the placebo group died or were admitted to hospital for cardiovascular reasons (adjusted HR 1·01 [99% CI 0·908-1·112], p=0·903). In both groups, gastrointestinal disorders were the most frequent adverse reaction (34 [1%] rosuvastatin group vs 44 [2%] placebo group). Interpretation: Rosuvastatin 10 mg daily did not affect clinical outcomes in patients with chronic heart failure of any cause, in whom the drug was safe. Funding: Società Prodotti Antibiotici (SPA; Italy), Pfizer, Sigma Tau, and AstraZeneca
How do cardiologists select patients for dual antiplatelet therapy continuation beyond 1 year after a myocardial infarction? Insights from the EYESHOT Post-MI Study
No full textBackground: Current guidelines suggest to consider dual antiplatelet therapy (DAPT) continuation for longer than 12 months in selected patients with myocardial infarction (MI). Hypothesis: We sought to assess the criteria used by cardiologists in daily practice to select patients with a history of MI eligible for DAPT continuation beyond 1 year. Methods: We analyzed data from the EYESHOT Post-MI, a prospective, observational, nationwide study aimed to evaluate the management of patients presenting to cardiologists 1 to 3 years from the last MI event. Results: Out of the 1633 post-MI patients enrolled in the study between March and December 2017, 557 (34.1%) were on DAPT at the time of enrolment, and 450 (27.6%) were prescribed DAPT after cardiologist assessment. At multivariate analyses, a percutaneous coronary intervention (PCI) with multiple stents and the presence of peripheral artery disease (PAD) resulted as independent predictors of DAPT continuation, while atrial fibrillation was the only independent predictor of DAPT interruption for patients both at the second and the third year from MI at enrolment and the time of discharge/end of the visit. Conclusions: Risk scores recommended by current guidelines for guiding decisions on DAPT duration are underused and misused in clinical practice. A PCI with multiple stents and a history of PAD resulted as the clinical variables more frequently associated with DAPT continuation beyond 1 year from the index MI
Proceedings of the International Conference on New Interfaces for Musical Expression
No full textEditors: Alexander Refsum Jensenius, Anders Tveit, Rolf Inge Godøy, Dan Overholt
Table of Contents
-Tellef Kvifte: Keynote Lecture 1: Musical Instrument User Interfaces: the Digital Background of the Analog Revolution - page 1
-David Rokeby: Keynote Lecture 2: Adventures in Phy-gital Space - page 2
-Sergi Jordà: Keynote Lecture 3: Digital Lutherie and Multithreaded Musical Performance: Artistic, Scientific and Commercial Perspectives - page 3
Paper session A — Monday 30 May 11:00–12:30
-Dan Overholt: The Overtone Fiddle: an Actuated Acoustic Instrument - page 4
-Colby Leider, Matthew Montag, Stefan Sullivan and Scott Dickey: A Low-Cost, Low-Latency Multi-Touch Table with Haptic Feedback for Musical Applications - page 8
-Greg Shear and Matthew Wright: The Electromagnetically Sustained Rhodes Piano - page 14
-Laurel Pardue, Christine Southworth, Andrew Boch, Matt Boch and Alex Rigopulos: Gamelan Elektrika: An Electronic Balinese Gamelan - page 18
-Jeong-Seob Lee and Woon Seung Yeo: Sonicstrument: A Musical Interface with Stereotypical Acoustic Transducers - page 24
Poster session B— Monday 30 May 13:30–14:30
-Scott Smallwood: Solar Sound Arts: Creating Instruments and Devices Powered by Photovoltaic Technologies - page 28
-Niklas Klügel, Marc René Frieß and Georg Groh: An Approach to Collaborative Music Composition - page 32
-Nicolas Gold and Roger Dannenberg: A Reference Architecture and Score Representation for Popular Music Human-Computer Music Performance Systems - page 36
-Mark Bokowiec: V’OCT (Ritual): An Interactive Vocal Work for Bodycoder System and 8 Channel Spatialization - page 40
-Florent Berthaut, Haruhiro Katayose, Hironori Wakama, Naoyuki Totani and Yuichi Sato: First Person Shooters as Collaborative Multiprocess Instruments - page 44
-Tilo Hähnel and Axel Berndt: Studying Interdependencies in Music Performance: An Interactive Tool - page 48
-Sinan Bokesoy and Patrick Adler: 1city 1001vibrations: development of a interactive sound installation with robotic instrument performance - page 52
-Tim Murray-Browne, Di Mainstone, Nick Bryan-Kinns and Mark D. Plumbley:The medium is the message: Composing instruments and performing mappings - page 56
-Seunghun Kim, Luke Keunhyung Kim, Songhee Jeong and Woon Seung Yeo: Clothesline as a Metaphor for a Musical Interface - page 60
-Pietro Polotti and Maurizio Goina: EGGS in action - page 64
-Berit Janssen: A Reverberation Instrument Based on Perceptual Mapping - page 68
-Lauren Hayes: Vibrotactile Feedback-Assisted Performance - page 72
-Daichi Ando: Improving User-Interface of Interactive EC for Composition-Aid by means of Shopping Basket Procedure - page 76
-Ryan McGee, Yuan-Yi Fan and Reza Ali: BioRhythm: a Biologically-inspired Audio-Visual Installation - page 80
-Jon Pigott: Vibration, Volts and Sonic Art: A practice and theory of electromechanical sound - page 84
-George Sioros and Carlos Guedes: Automatic Rhythmic Performance in Max/MSP: the kin.rhythmicator - page 88
-Andre Goncalves: Towards a Voltage-Controlled Computer — Control and Interaction Beyond an Embedded System - page 92
-Tae Hun Kim, Satoru Fukayama, Takuya Nishimoto and Shigeki Sagayama: Polyhymnia: An automatic piano performance system with statistical modeling of polyphonic expression and musical symbol interpretation - page 96
-Juan Pablo Carrascal and Sergi Jorda: Multitouch Interface for Audio Mixing - page 100
-Nate Derbinsky and Georg Essl: Cognitive Architecture in Mobile Music Interactions - page 104
-Benjamin D. Smith and Guy E. Garnett: The Self-Supervising Machine - page 108
-Aaron Albin, Sertan Senturk, Akito Van Troyer, Brian Blosser, Oliver Jan and Gil Weinberg: Beatscape, a mixed virtual-physical environment for musical ensembles - page 112
-Marco Fabiani, Gaël Dubus and Roberto Bresin: MoodifierLive: Interactive and collaborative expressive music performance on mobile devices - page 116
-Benjamin Schroeder, Marc Ainger and Richard Parent: A Physically Based Sound Space for Procedural Agents - page 120
-Francisco Garcia, Leny Vinceslas, Esteban Maestre and Josep Tubau Acquisition and study of blowing pressure profiles in recorder playing - page 124
-Anders Friberg and Anna Källblad:Experiences from video-controlled sound installations - page 128
-Nicolas d’Alessandro, Roberto Calderon and Stefanie Müller: ROOM#81 —Agent-Based Instrument for Experiencing Architectural and Vocal Cues - page 132
Demo session C — Monday 30 May 13:30–14:30
-Yasuo Kuhara and Daiki Kobayashi: Kinetic Particles Synthesizer Using Multi-Touch Screen Interface of Mobile Devices - page 136
-Christopher Carlson, Eli Marschner and Hunter Mccurry: The Sound Flinger: A Haptic Spatializer - page 138
-Ravi Kondapalli and Benzhen Sung: Daft Datum – an Interface for Producing Music Through Foot-Based Interaction - page 140
-Charles Martin and Chi-Hsia Lai: Strike on Stage: a percussion and media performance - page 142
Paper session D — Monday 30 May 14:30–15:30
-Baptiste Caramiaux, Patrick Susini, Tommaso Bianco, Frédéric Bevilacqua, Olivier Houix, Norbert Schnell and Nicolas Misdariis: Gestural Embodiment of Environmental Sounds: an Experimental Study - page 144
-Sebastian Mealla, Aleksander Valjamae, Mathieu Bosi and Sergi Jorda: Listening to Your Brain: Implicit Interaction in Collaborative Music Performances - page 149
-Dan Newton and Mark Marshall: Examining How Musicians Create Augmented Musical Instruments - page 155
Paper session E — Monday 30 May 16:00–17:00
-Zachary Seldess and Toshiro Yamada: Tahakum: A Multi-Purpose Audio Control Framework - page 161
-Dawen Liang, Guangyu Xia and Roger Dannenberg: A Framework for Coordination and Synchronization of Media - page 167
-Edgar Berdahl and Wendy Ju: Satellite CCRMA: A Musical Interaction and Sound Synthesis Platform - page 173
Paper session F — Tuesday 31 May 09:00–10:50
-Nicholas J. Bryan and Ge Wang: Two Turntables and a Mobile Phone - page 179
-Nick Kruge and Ge Wang: MadPad: A Crowdsourcing System for Audiovisual Sampling - page 185
-Patrick O’Keefe and Georg Essl: The Visual in Mobile Music Performance - page 191
-Ge Wang, Jieun Oh and Tom Lieber: Designing for the iPad: Magic Fiddle - page 197
-Benjamin Knapp and Brennon Bortz: MobileMuse: Integral Music Control Goes Mobile - page 203
-Stephen Beck, Chris Branton, Sharath Maddineni, Brygg Ullmer and Shantenu Jha: Tangible Performance Management of Grid-based Laptop Orchestras - page 207
Poster session G— Tuesday 31 May 13:30–14:30
-Smilen Dimitrov and Stefania Serafin: Audio Arduino—an ALSA (Advanced Linux Sound Architecture) audio driver for FTDI-based Arduinos - page 211
-Seunghun Kim and Woon Seung Yeo: Musical control of a pipe based on acoustic resonance - page 217
-Anne-Marie Hansen, Hans Jørgen Andersen and Pirkko Raudaskoski: Play Fluency in Music Improvisation Games for Novices - page 220
-Izzi Ramkissoon: The Bass Sleeve: A Real-time Multimedia Gestural Controller for Augmented Electric Bass Performance - page 224
-Ajay Kapur, Michael Darling, James Murphy, Jordan Hochenbaum, Dimitri Diakopoulos and Trimpin: The KarmetiK NotomotoN: A New Breed of Musical Robot for Teaching and Performance - page 228
-Adrian Barenca Aliaga and Giuseppe Torre: The Manipuller: Strings Manipulation and Multi-Dimensional Force Sensing - page 232
-Alain Crevoisier and Cécile Picard-Limpens: Mapping Objects with the Surface Editor - page 236
-Jordan Hochenbaum and Ajay Kapur: Adding Z-Depth and Pressure Expressivity to Tangible Tabletop Surfaces - page 240
-Andrew Milne, Anna Xambó, Robin Laney, David B. Sharp, Anthony Prechtl and Simon Holland: Hex Player—A Virtual Musical Controller - page 244
-Carl Haakon Waadeland: Rhythm Performance from a Spectral Point of View - page 248
-Josep M Comajuncosas, Enric Guaus, Alex Barrachina and John O’Connell: Nuvolet : 3D gesture-driven collaborative audio mosaicing - page 252
-Erwin Schoonderwaldt and Alexander Refsum Jensenius: Effective and expressive movements in a French-Canadian fiddler’s performance - page 256
-Daniel Bisig, Jan Schacher and Martin Neukom: Flowspace – A Hybrid Ecosystem - page 260
-Marc Sosnick and William Hsu: Implementing a Finite Difference-Based Real-time Sound Synthesizer using GPUs - page 264
-Axel Tidemann: An Artificial Intelligence Architecture for Musical Expressiveness that Learns by Imitation - page 268
-Luke Dahl, Jorge Herrera and Carr Wilkerson: TweetDreams: Making music with the audience and the world using real-time Twitter data - page 272
-Lawrence Fyfe, Adam Tindale and Sheelagh Carpendale: JunctionBox: A Toolkit for Creating Multi-touch Sound Control Interfaces - page 276
-Andrew Johnston: Beyond Evaluation: Linking Practice and Theory in New Musical Interface Design - page 280
-Phillip Popp and Matthew Wright: Intuitive Real-Time Control of Spectral Model Synthesis - page 284
-Pablo Molina, Martin Haro and Sergi Jordà: BeatJockey: A new tool for enhancing DJ skills - page 288
-Jan Schacher and Angela Stoecklin: Traces – Body, Motion and Sound - page 292
-Grace Leslie and Tim Mullen: MoodMixer: EEG-based Collaborative Sonification - page 296
-Ståle A. Skogstad, Kristian Nymoen, Yago de Quay and Alexander Refsum Jensenius: OSC Implementation and Evaluation of the Xsens MVN suit - page 300
-Lonce Wyse, Norikazu Mitani and Suranga Nanayakkara: The effect of visualizing audio targets in a musical listening and performance task - page 304
-Freed Adrian, John Maccallum and Andrew Schmeder: Composability for Musical Gesture Signal Processing using new OSC-based Object and Functional Programming Extensions to Max/MSP - page 308
-Kristian Nymoen, Ståle A. Skogstad and Alexander Refsum Jensenius: SoundSaber —A Motion Capture Instrument - page 312
-Øyvind Brandtsegg, Sigurd Saue and Thom Johansen: A modulation matrix for complex parameter sets - page 316
Demo session H— Tuesday 31 May 13:30–14:30
-Yu-Chung Tseng, Che-Wei Liu, Tzu-Heng Chi and Hui-Yu Wang: Sound Low Fun- page 320
-Edgar Berdahl and Chris Chafe: Autonomous New Media Artefacts (AutoNMA) - page 322
-Min-Joon Yoo, Jin-Wook Beak and In-Kwon Lee: Creating Musical Expression using Kinect - page 324
-Staas de Jong: Making grains tangible: microtouch for microsound - page 326
Baptiste Caramiaux, Frederic Bevilacqua and Norbert Schnell: Sound Selection by Gestures - page 329
Paper session I — Tuesday 31 May 14:30–15:30
-Hernán KerlleÃevich, Manuel Eguia and Pablo Riera: An Open Source Interface based on Biological Neural Networks for Interactive Music Performance - page 331
-Nicholas Gillian, R. Benjamin Knapp and Sile O’Modhrain: Recognition Of Multivariate Temporal Musical Gestures Using N-Dimensional Dynamic Time Warping - page 337
-Nicholas Gillian, R. Benjamin Knapp and Sile O’Modhrain: A Machine Learning Toolbox For Musician Computer Interaction - page 343
Paper session J — Tuesday 31 May 16:00–17:00
-Elena Jessop, Peter Torpey and Benjamin Bloomberg: Music and Technology in Death and the Powers - page 349
-Victor Zappi, Dario Mazzanti, Andrea Brogni and Darwin Caldwell: Design and Evaluation of a Hybrid Reality Performance - page 355
-Jérémie Garcia, Theophanis Tsandilas, Carlos Agon and Wendy Mackay: InkSplorer : Exploring Musical Ideas on Paper and Computer - page 361
Paper session K — Wednesday 1 June 09:00–10:30
-Pedro Lopes, Alfredo Ferreira and Joao Madeiras Pereira: Battle of the DJs: an HCI perspective of Traditional, Virtual, Hybrid and Multitouch DJing - page 367
-Adnan Marquez-Borbon, Michael Gurevich, A. Cavan Fyans and Paul Stapleton: Designing Digital Musical Interactions in Experimental Contexts - page 373
-Jonathan Reus: Crackle: A mobile multitouch topology for exploratory sound interaction - page 377
-Samuel Aaron, Alan F. Blackwell, Richard Hoadley and Tim Regan: A principled approach to developing new languages for live coding - page 381
-Jamie Bullock, Daniel Beattie and Jerome Turner: Integra Live: a new graphical user interface for live electronic music - page 387
Paper session L — Wednesday 1 June 11:00–12:30
-Jung-Sim Roh, Yotam Mann, Adrian Freed and David Wessel: Robust and Reliable Fabric, Piezoresistive Multitouch Sensing Surfaces for Musical Controllers - page 393
-Mark Marshall and Marcelo Wanderley: Examining the Effects of Embedded Vibrotactile Feedback on the Feel of a Digital Musical Instrument - page 399
-Dimitri Diakopoulos and Ajay Kapur: HIDUINO: A firmware for building driverless USB-MIDI devices using the Arduino microcontroller - page 405
-Emmanuel Flety and Côme Maestracci: Latency improvement in sensor wireless transmission using IEEE 802.15.4 - page 409
-Jeff Snyder: The Snyderphonics Manta, a Novel USB Touch Controller - page 413
Poster session M — Wednesday 1 June 13:30–14:30
-William Hsu: On Movement, Structure and Abstraction in Generative Audiovisual Improvisation - page 417
-Claudia Robles Angel: Creating Interactive Multimedia Works with Bio-data - page 421
-Paula Ustarroz: TresnaNet: musical generation based on network protocols - page 425
-Matti Luhtala, Tiina Kymäläinen and Johan Plomp: Designing a Music Performance Space for Persons with Intellectual Learning Disabilities - page 429
-Tom Ahola, Teemu Ahmaniemi, Koray Tahiroglu, Fabio Belloni and Ville Ranki: Raja —A Multidisciplinary Artistic Performance - page 433
-Emmanuelle Gallin and Marc Sirguy: Eobody3: A ready-to-use pre-mapped & multi-protocol sensor interface- page 437
-Rasmus Bååth, Thomas Strandberg and Christian Balkenius: Eye Tapping: How to Beat Out an Accurate Rhythm using Eye Movements - page 441
-Eric Rosenbaum: MelodyMorph: A Reconfigurable Musical Instrument - page 445
-Karmen Franinovic: Flo)(ps: Between Habitual and Explorative Action-Sound Relationships - page 448
-Margaret Schedel, Rebecca Fiebrink and Phoenix Perry: Wekinating 000000Swan: Using Machine Learning to Create and Control Complex Artistic Systems - page 453
-Carles F. Julià, Daniel Gallardo and Sergi Jordà: MTCF: A framework for designing and coding musical tabletop applications directly in Pure Data - page 457
-David Pirrò and Gerhard Eckel: Physical modelling enabling enaction: an example - page 461
-Thomas Mitchell and Imogen Heap: SoundGrasp: A Gestural Interface for the Performance of Live Music - page 465
-Tim Mullen, Richard Warp and Adam Jansch: Minding the (Transatlantic) Gap: An Internet-Enabled Acoustic Brain-Computer Music Interface - page 469
-Stefano Papetti, Marco Civolani and Federico Fontana: Rhythm’n’Shoes: a wearable foot tapping interface with audio-tactile feedback - page 473
-Cumhur Erkut, Antti Jylhä and Reha Di¸sçio˘glu: A structured design and evaluation model with application to rhythmic interaction displays - page 477
-Marco Marchini, Panos Papiotis, Alfonso Perez and Esteban Maestre: A Hair Ribbon Deflection Model for Low-Intrusiveness Measurement of Bow Force in Violin Performance - page 481
-Jonathan Forsyth, Aron Glennon and Juan Bello: Random Access Remixing on the iPad - page 487
-Erika Donald, Ben Duinker and Eliot Britton: Designing the EP trio: Instrument identities, control and performance practice in an electronic chamber music ensemble - page 491
-Cavan Fyans and Michael Gurevich: Perceptions of Skill in Performances with Acoustic and Electronic Instruments - page 495
-Hiroki Nishino: Cognitive Issues in Computer Music Programming - page 499
-Roland Lamb and Andrew Robertson: Seaboard: a new piano keyboard-related interface combining discrete and continuous control - page 503
-Gilbert Beyer and Max Meier: Music Interfaces for Novice Users: Composing Music on a Public Display with Hand Gestures - page 507
-Birgitta Cappelen and Anders-Petter Andersson: Expanding the role of the instrument - page 511
-Todor Todoroff: Wireless Digital/Analog Sensors for Music and Dance Performances - page 515
-Trond Engum: Real-time control and creative convolution— exchanging techniques between distinct genres - page 519
-Andreas Bergsland: The Six Fantasies Machine – an instrument modelling phrases from Paul Lansky’s Six Fantasies - page 523
Demo session N — Wednesday 1 June 13:30–14:30
-Jan Trützschler von Falkenstein: Gliss: An Intuitive Sequencer for the iPhone and iPad - page 527
-Jiffer Harriman, Locky Casey, Linden Melvin and Mike Repper: Quadrofeelia — A New Instrument for Sliding into Notes - page 529
-Johnty Wang, Nicolas D’Alessandro, Sidney Fels and Bob Pritchard: SQUEEZY: Extending a Multi-touch Screen with Force Sensing Objects for Controlling Articulatory Synthesis - page 531
-Souhwan Choe and Kyogu Lee: SWAF: Towards a Web Application Framework for Composition and Documentation of Soundscape - page 533
-Norbert Schnell, Frederic Bevilacqua, Nicolas Rasamimana, Julien Blois, Fabrice Guedy and Emmanuel Flety: Playing the "MO" —Gestural Control and Re-Embodiment of Recorded Sound and Music - page 535
-Bruno Zamborlin, Marco Liuni and Giorgio Partesana: (LAND)MOVES - page 537
-Bill Verplank and Francesco Georg: Can Haptics make New Music? —Fader and Plank Demos - page 53
Regular Wine Consumption in Chronic Heart Failure: Impact on Outcomes, Quality of Life, and Circulating Biomarkers
No full textBackground-Moderate, regular alcohol consumption is generally associated with a lower risk of cardiovascular events but data in patients with chronic heart failure are scarce. We evaluated the relations between wine consumption, health status, circulating biomarkers, and clinical outcomes in a large Italian population of patients with chronic heart failure enrolled in a multicenter clinical trial. Methods and Results-A brief questionnaire on dietary habits was administered at baseline to 6973 patients enrolled in the Gruppo Italiano per lo Studio della Sopravvivenza nell'Insufficienza Cardiaca-Heart Failure (GISSI-HF) trial. The relations between wine consumption, fatal and nonfatal clinical end points, quality of life, symptoms of depression, and circulating biomarkers of cardiac function and inflammation (in subsets of patients) were evaluated with simple and multivariable-adjusted statistical models. Almost 56% of the patients reported drinking at least 1 glass of wine per day. After adjustment, clinical outcomes were not significantly different in the predefined 4 groups of wine consumption. However, patients with more frequent wine consumption had a significantly better perception of health status (Kansas City Cardiomyopathy Questionnaire score, adjusted P<0.0001), less frequent symptoms of depression (Geriatric Depression Scale, adjusted P=0.01), and lower plasma levels of biomarkers of vascular inflammation (osteoprotegerin and C-terminal proendothelin-1, adjusted P<0.0001, and pentraxin-3, P=0.01) after adjusting for possible confounders. Conclusions-We show for the first time in a large cohort of patients with chronic heart failure that moderate wine consumption is associated with a better perceived and objective health status, lower prevalence of depression, and less vascular inflammation, but does not translate into more favorable clinical 4-year outcomes. Clinical Trial Registration-URL: http://www.clinicaltrials.gov. Unique identifier: NCT0033633
