1,721,481 research outputs found
Comparison of treatment effect sizes associated with surrogate and final patient relevant outcomes in randomised controlled trials: meta-epidemiological study
Get PDFObjective To quantify and compare the treatment effect and risk of bias of trials reporting biomarkers or intermediate outcomes (surrogate outcomes) versus trials using final patient relevant primary outcomes. Design Meta-epidemiological study. Data sources All randomised clinical trials published in 2005 and 2006 in six high impact medical journals: Annals of Internal Medicine, BMJ, Journal of the American Medical Association, Lancet, New England Journal of Medicine, and PLoS Medicine. Study selection Two independent reviewers selected trials. Data extraction Trial characteristics, risk of bias, and outcomes were recorded according to a predefined form. Two reviewers independently checked data extraction. The ratio of odds ratios was used to quantify the degree of difference in treatment effects between the trials using surrogate outcomes and those using patient relevant outcomes, also adjusted for trial characteristics. A ratio of odds ratios >1.0 implies that trials with surrogate outcomes report larger intervention effects than trials with patient relevant outcomes. Results 84 trials using surrogate outcomes and 101 using patient relevant outcomes were considered for analyses. Study characteristics of trials using surrogate outcomes and those using patient relevant outcomes were well balanced, except for median sample size (371 v 741) and single centre status (23% v 9%). Their risk of bias did not differ. Primary analysis showed trials reporting surrogate endpoints to have larger treatment effects (odds ratio 0.51, 95% confidence interval 0.42 to 0.60) than trials reporting patient relevant outcomes (0.76, 0.70 to 0.82), with an unadjusted ratio of odds ratios of 1.47 (1.07 to 2.01) and adjusted ratio of odds ratios of 1.46 (1.05 to 2.04). This result was consistent across sensitivity and secondary analyses. Conclusions Trials reporting surrogate primary outcomes are more likely to report larger treatment effects than trials reporting final patient relevant primary outcomes. This finding was not explained by differences in the risk of bias or characteristics of the two groups of trials
The Participatory Condition in the Digital Age
No full text"Structured along four axes investigating the relations between participation and politics, surveillance, openness, and aesthetics, The Participatory Condition in the Digital Age comprises fifteen essays that explore the promises, possibilities, and failures of contemporary participatory media practices. This book represents the most comprehensive and transdisciplinary endeavor to date to examine the nature, place, and value of participation in the digital age." -- Publisher's website
A feminist framework for biofeedback music
Get PDFDans cette thèse, je présente un cadre féministe pour la musique biofeedback qui est le produit de méthodes de recherche-création fondées sur la lecture rapprochée (« close reading ») des récits historiques de la musique biofeedback (Ohrvik, 2024), réalisée par la création itérative (Sayre, 2023) d'œuvres musicales ainsi que par le développement continu de mon instrument de biofeedback open-source et accessible: le BioSynth. À travers une analyse féministe de l'histoire de la musique biofeedback, je m'appuie sur les travaux de musicologues féministes et de théoriciens des sciences et des technologies pour comprendre comment la musique biofeedback est à la fois une manifestation de relations de pouvoir genrées et une manifestation de dynamiques genrées spécifiques aux corps, aux technologies, aux partitions et aux algorithmes du biofeedback. Pour remettre en question ces tendances, je propose un appareil de biofeedback élargi qui comprend : 1) le matériel et l’électronique (« hardware »); 2) le logiciel (« software »); et une catégorie de techniques de performance et d'induction que j'appelle 3) le wetware. Grâce à ce concept de wetware, j'articule des méthodes de performance incarnées telles que le mouvement, la respiration ou l'imagination en tant que méthodes stratégiques pour manipuler le corps dans l'appareil de biofeedback, des méthodes au même niveau technique et matériel que celles utilisées dans hardware et software. L'existence du wetware en tant que troisième catégorie de l'appareil de biofeedback crée une opportunité d'articuler les données biologiques au-delà des appels à la nature, et vers une appréhension technique du soi conscient. À travers des œuvres musicales telles que To the Farther (musique sur bande stéréo, 2019), Presence (performance biofeedback et ASMR en réseau coécrite avec Jen Kutler, 2020), We as Waves (musique sur bande stéréo et vocaliste, 2020-2021), Affect Flow (performance pour vocaliste, musique sur bande et ensemble de biofeedback, 2022) et In Bloom (performance pour vocaliste, musique sur bande et instrumentation flexible, 2023), j'utilise des techniques de performance inspirées du travail des femmes (« pink collar » et travailleuses du sexe), de la science clinique, de l'hypnose, de la méditation et du phénomène ASMR émergent des médias sociaux pour explorer les limites de l'authenticité émotionnelle. Le cadre féministe qui en résulte pour la musique biofeedback englobe le jeu, la performance et l'expérience phénoménologique co-construite au sein d’un appareil technologique pratique et frugal. En dénaturalisant l'émotion, je mets l'accent sur l'affect en tant que pratique technologique, résistant et confondant la division entre la nature et la culture, l'esprit et le corps, le.la contrôleur.euse et le.la contrôlé.e.In this thesis I describe a feminist framework for biofeedback music developed through research-creation methods grounded in close readings of historical narratives (Ohrvik, 2024) and enacted through iterative design practices (Sayre, 2023). Central to this work is the creation of the BioSynth, an open-source, low-cost biofeedback instrument of my own design. Drawing on feminist musicology and science and technology studies, I argue that historical narratives of biofeedback music—through an apparatus of devices, algorithms, scores, and bodies—often reproduce normative, gendered flows of power that ascribe special status to scientific instruments, quantitative data, rationality, control, and white-collar labor. To challenge these dynamics, I propose an expanded biofeedback apparatus that includes: 1) hardware, 2) software, and a third category I call wetware. Wetware includes performance and induction techniques such as but not limited to movement, breath, and imagination. Such wetware constitutes an equally technical and material layer to the biofeedback apparatus, enabling performers to modulate physiological data in ways that are conceptually and musically meaningful. Wetware affirms the biological signals of the performer not as passive outputs, but as shaped by cultural, performative, and affective practices and histories. Emphasizing wetware as an essential component of biofeedback music allows the composer and performer to reclaim biofeedback as a site of creative agency and feminist subversion. Through this feminist framework for biofeedback music, one might place additional value on performance, play, embodiment, and co-constructed phenomenological experience in biofeedback work. By de-naturalizing emotion through performance techniques, this feminist framework resists simple, naturalistic interpretations of bodily data, challenging binary divisions between nature and culture, mind and body, and controller and controlled. This this framework is developed and demonstrated through musical works such as To the Farther (2019), Presence (2020, with composer Jen Kutler), We as Waves (2020–2021, with text by Jena McLean), Affect Flow (2022, with text by Andrew Wenaus), and In Bloom (2023). Through these works the author explores the limits of emotional authenticity through techniques inspired by pink-collar and sex work, clinical science, hypnosis, meditation, and ASMR. In doing so, the author highlights care, control, and presence both as sincere gestures, and ironic manipulation
Going Beyond Counting First Authors in Author Co-citation Analysis
Get PDFThe present study examines one of the fundamental aspects of author co-citation analysis (ACA) - the way co-citation
counts are defined. Co-citation counting provides the data on which all subsequent statistical analyses and mappings
are based, and we compare ACA results based on two different types of co-citation counting - the traditional type that
only counts the first one among a cited work's authors on the one hand and a non-traditional type that takes into
account the first 5 authors of a cited work on the other hand. Results indicate that the picture produced through this non-traditional author co-citation counting contains more coherent author groups and is therefore considerably clearer. However, this picture represents fewer specialties in the research field being studied than that produced through the traditional first-author co-citation counting when the same number of top-ranked authors is selected and analyzed. Reasons for these effects are discussed
Variations on the Author
Get PDF“Variations on the Author” discusses two of Eduardo Coutinho’s recent films (Um Dia na Vida, from 2010, and Últimas Conversas, posthumously released in 2015) and their contribution to the general question of documentary authorship. The director’s filmography is characterized by a consistent yet self-effacing form of authorial self-inscription: Coutinho often features as an interviewer that rather than express opinions propels discourses; an interviewer that is good at listening. This mode of self-inscription characterizes him as an author who is not expressive but who is nonetheless markedly present on the screen. In Um Dia na Vida, however, Coutinho is completely absent form the image, while Últimas Conversas, on the contrary, includes a confessional prologue that moves the director from the margins to the center of his films. This article examines the ways in which these works stand out in the filmography of a director who offers new insights into the notion of cinematic authorship
Appropriate Similarity Measures for Author Cocitation Analysis
Get PDFWe provide a number of new insights into the methodological discussion about author cocitation analysis. We first argue that the use of the Pearson correlation for measuring the similarity between authors’ cocitation profiles is not very satisfactory. We then discuss what kind of similarity measures may be used as an alternative to the Pearson correlation. We consider three similarity measures in particular. One is the well-known cosine. The other two similarity measures have not been used before in the bibliometric literature. Finally, we show by means of an example that our findings have a high practical relevance.information science;Pearson correlation;cosine;similarity measure;author cocitation analysis
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