The heartbeat of multimodal creativity: A pilot heart rate study on objectivity and subjectivity in audio description

Audio description scripts represent a text type structured into several parts helping the speaker produce their recording. The heterogeneous composition and formatting of these parts makes it difficult to describe the linguistic features of audio description (AD) scripts in one go. Hence, it seems useful to implement them into a corpus tool enabling the analysis of the specificities of each AD section. In this paper, the AD scripts of 69 episodes from a German television show serve as a sample to explore a method for dealing with variation when preparing AD scripts for corpus processing. In our article, we offer a short overview of existing research on AD script corpora and on variation, and we present our dataset and the tools we used to prepare and explore the data. We then outline the features of the analysed AD scripts and the treatments applied. In the last section of the article, we discuss our results. Our analysis leads us to conclude that modifying original data for the sake of corpus implementation (e.g. changing formatting features) is a weighty step which may have unforeseen consequences: formal variation in AD scripts conveys more meaning than expected. Lay summary Audio description (AD) is a cultural technique helping blind people to enjoy going to the movies despite their disability. An additional soundtrack provides them with the information necessary to understand the essential action of the film. The scripts of such soundtracks are mostly written by authors specialising in audiovisual translation. We were interested in the formatting features of such texts, called AD scripts, e.g. the use of bold print or of words entirely written in capital letters. We conducted the study reported in this article because we wanted to know which sorts of variation can be identified in AD scripts. We also wanted to understand to which extent some of the varying features should be modified to improve text quality. That is why we collected the AD scripts of 69 episodes of a German TV show (we got the rights to use them for our research). These texts were written by 13 AD authors over a period of 6 years. The broadcaster is the only stable parameter. With the help of text statistics tools, we found out that these AD scripts vary a lot from one author to another and even over time in the scripts written by one and the same author. We modified our texts in order to unify some of their formatting features. However, we understood that reducing variation in AD scripts is not in any case a good option: the voice talents responsible for recording these scripts need clear and sufficient information to know how to proceed. In addition, AD script writing is a creative activity which should not be locked into strict rules.

Background: Heart rate metrics including the average heart rate, maximum heart rate, and minimum heart rate reflect the physiological condition of the heart. Clinically, determining the impact of ventricular and atrial ectopic beats on those three metrics is important because they indicate how hard the heart is working.
 Objective: To investigate the changes in heart rates of ventricular and atrial ectopic patients.
 Patients and Methods: In this study, data from 90 persons (30 with ventricular ectopic beats, 30 with atrial ectopic beats, and 30 healthy people) were gathered and analyzed to see what changes in heart rate metrics may occur in patients with ectopic beats.
 Results: According to our results, the three heart rate metrics in almost all three groups are statistically insignificant (p-value > 0.05). The average heart rate was significantly higher (p<0.05) in ventricular ectopic patients than in atrial ectopic patients. The effect of age and gender on heart rate metrics were statistically assessed.
 Conclusion: Despite the fact that no significant differences were found in all groups, there were certain differences that require further examination. One of the long-term objectives is to expand this study to incorporate electrocardiography (ECG) analysis in order to complete the comparison between the three groups.

The effect of an attending versus neutral observer on peg transfer and intracorporeal knot-tying laparoscopic tasks

Audio description (AD) is now major technique for making films, theater performances, operas, and other events accessible to people who are blind or have low (Holland, 2009; Matamala & Orero, 2007; Orero, 2007). The provision of AD services is regulated in some countries, for example, in United States by Twenty-first Century Communications and Video Accessibility Act of 2010 and in European Union by Directive 2007/65/EC. Using gaps between dialogues, AD provides spectators who are visually impaired with information on who does what, where, and how (see Vercauteren, 2007). Traditionally, who, what, where, and how of AD have largely depended on what audio describers deem to be most important. Following various AD guidelines, audio describers are supposed to describe what they see--and no more (see American Council of Blind, 2009; Rai, Greening, & Leen, 2010). What you see is what you say (WYSI-WYS) is an injunction reiterated in many AD courses (see Snyder, 2008). As consequence, AD relies heavily on skills of particular audio describer and his or her ability to translate visual images into words adequately. However, as Udo and Fels (2009, p. 179) noted, conventional AD focuses on description of what is seen--the set, actors' movements and lighting--rather than on what is meant to be seen--the director's vision. AUTEUR DESCRIPTION In this report, I follow suggestion that film director's creative should be incorporated into AD. I present new type of AD for auteur and artistic films: auteur description, which incorporates director's creative in AD script through use of screenplay (or other available materials, such as interviews and reviews) and thus gives audio describer artistic license to depart from dictate of objectivism. The main function of auteur description is to immerse spectators who are blind or have low in story world created by film's director. The technique of auteur description was invented with artistic films in mind. In an auteur film, is director who is seen as film's major creative force. As Bordwell (1979, p. 59) noted, the author becomes formal component, overriding intelligence organizing film for our comprehension. The director of an auteur film leaves recognizable imprint on all his or her films. Bordwell argued that a small industry is devoted to informing viewers of such authorial marks. International film festivals, reviews and essays in press, published scripts, film series, career retrospectives, and film education all introduce viewers to authorial (p. 59). This report examines how such authorial codes can be rendered in auteur description by incorporating fragments of published script. Auteur description differs from conventional AD in way who, what, where, and how of film are described. Departing from notion of objective description, eagerly embraces vivid and emotional language. Going beyond WYSIWYS principle also means that script can include additional information on characters and their emotions, actions, and settings that are not necessarily visible on screen, but are important from point of view of director and, as such, are included in screenplay. This technique is presented using example of auteur description for Spanish film Volver (2006), directed by Pedro Almodovar, which had AD for Polish viewers. The idea of incorporating director's in AD script is not new. It was previously explored by Fels, Udo, Ting, Diamond, and Diamond (2005) and Udo and Fels (2009), who stated that it is important to respect intentions and decisions made by creative team to create production that is true to director's initial vision (Udo & Fels, 2009, p. 182). Although is much easier for audio describers to cooperate directly with directors from same country, as was case with Udo and Fels (2009), is much more difficult with foreign films, especially those by world-famous directors. …

Objectivity is a constant recommendation in audio description (AD) guidelines. However, some scholars have pointed to the advantages of a more subjective, creative, or narrative rendition. In this paper, we seek to determine to what extent subjectivity and objectivity coexist in Spanish filmic AD. In order to fulfil our aim, we operationalised objectivity by means of multimodal analysis based on Chaume’s (2004) classification of meaning codes. To operationalise objectivity through multimodality, we employed a qualitative content analysis and examined whether visual and acoustic information was rendered objectively or subjectively in a corpus of four Spanish AD scripts from Netflix. Our results show, firstly, that objectivity and subjectivity interact in the mobility, iconographic, and editing codes. Moreover, dissimilarities arise in the way these meaning codes are described in Spanish: movement is mainly described objectively, whereas iconography and editing are rendered either subjectively or objectively. In conclusion, we can state that neither is objectivity systematically applied in our AD scripts, nor is a purely narrative AD to be found, but rather a mixture of both coexists. Furthermore, this coexistence seems unequal, since different tendencies can be identified in the way that movement, editing, and iconography are described. Lay summary Audio description is an oral narration aimed at blind people that provides information about what is going on in an audiovisual product. The traditional view has been to inform objectively about the audio description contents, but some scholars support more subjective or creative alternatives. This papers seeks to observe whether audio description actually contains both subjective and objective elements. In order to find these elements, we used multimodality, a kind of analysis that shows how visual and acoustic information interact to create meaning. In this analysis we exposed instances of objective and subjective elements in a group of Spanish audio descriptions from Netflix. Our results show that there are objective and subjective elements when informing about movement, symbols, or spatio-temporal changes. However, these elements are not balanced, since movement is mainly described objectively, whereas symbols and spatio-temporal changes are described either subjectively or objectively. In conclusion, we can state that current audio description seems to be the result of a mixture of subjective and objective elements.

Aim: We aim to compare the effects of renal sympathetic denervation (RSD) to β-blocker use in heart rate (HR), blood pressure (BP) and echocardiographic parameters in hypertensive patients with permanent atrial fibrillation (PAF). Methods and results: Twenty hypertensive patients with PAF and elevated HR were submitted to β-blocker use (n=10) or underwent RSD (n=10) and completed 6 months of follow-up. The enrolled patients had 24-hour-Holter monitoring, 24-hour ABPM and echocardiogram at baseline and at 1st and 6th months of follow-up. Our results showed that in 20 controlled hypertensive patients with PAF there was decrease in maximum, average and minimum HR measured by 24-hour-Holter monitoring during the 6 months of follow-up, both for the group using bisoprolol (n=10) and the group that underwent RSD (n=10). However, we could observe that at the 6th month post RSD the decrease in HR was more intense in average HR (Δ=-12 ± 2 bpm, P<0.0001) and maximum HR (Δ=-21 ± 6 bpm, P=0.0050) in this group than β-blocker group. Furthermore, there was no significant change in mean 24-hour ABPM, and there was a reduction in left atrial diameter (Δ=-2.7 ± 1.2 mm, P=0.0391) in RSD group compared to β-blocker group at the 6th month of follow-up. Conclusions: RSD appears to be safe in the treatment of PAF, as well as, improves some cardiac parameters assessed by echocardiogram. Average and maximum HR, besides LAD appear to be modifiable by the RSD in comparison to β-blocker, mainly at 6th month of follow-up.

ABSTRACTThe present experiment examined 11 male adolescents for relationships between the autonomic measures of heart rate (HR) and skin conductance (SC) and three rates of finger tapping, a) subject resting, b) DRL.5 sec, and c) FR5, as a measure of behavioral arousal. At each level of behavioral arousal, minimum, mean, and maximum HR were analyzed. Mean and maximum HR increased only at high arousal, while minimum HR increased with each increase in behavioral arousal. SC was higher during tapping than resting, but was uninfluenced by rate of tapping. The potential value of the maximum and minimum HR and SC measures as tools for inferring the role of parasympathetic versus sympathetic mechanisms in autonomic arousal was discussed. This paradigm provides a simple, nonaversive method for examining autonomic and behavioral arousal.

Syncope most frequent etiopathogenic mechanism in children is Vasovagal, which is produced by decreased cerebral blood flow, and stimulation of the mechanoreceptors of the left ventricle in the context of...

Thirty-six subjects (age 50 ± 10 years, range 24-65), free of cardiac disease, underwent 24-hour ambulatory electrocardiography (AECG) and maximum exercise stress testing at baseline and 7 ± 1 years later. At follow-up, weight, cholesterol, blood pressure, premature atrial complexes, premature ventricular complexes, and the percentage of subjects with premature ventricular complexes increased. No subject had repetitive forms or more than 1,000 premature ventricular complexes/24 h. Exercise tolerance, submaximum and maximum exercise heart rate, and minimum and average maximum heart rate on AECG decreased. The differences between hourly average maximum and minimum heart rates and between maximum exercise heart rate and maximum heart rate recorded on AECG decreased. These changes with age are not due to subclinical heart disease.

The regular cardiac response to immersion of the face in cold water is reduction in heart rate (HR). The highly individualized and unpredictable course of the cardiodepressive response prompted us to investigate the relationship between the cardiac response to face immersion and the resting HR. The research was conducted with 65 healthy volunteers (37 women and 28 men) with an average age of 21.13 years (20-27 years) and a BMI of 21.49 kg/m2 (16.60-28.98). The face-immersion test consisted of stopping breathing after maximum inhaling and voluntarily immersing the face in cold water (8-10 °C) for as long as possible. Measurements included determination of minimum, average, and maximum HR at rest and minimum and maximum HR during the cold-water face-immersion test. The results indicate a strong relationship between the cardiodepressive reaction of the immersion of the face and the minimum HR before the test, as well as a relationship between the maximum HR during the test and the maximum HR at rest. The results also indicate a strong influence of neurogenic HR regulation on the described relationships. The parameters of the basal HR can, therefore, be used as prognostic indicators of the course of the cardiac response of the immersion test.

Video gaming has become a widely popular form of entertainment globally. However, visually impaired individuals frequently encounter challenges when trying to access most games. Audio description (AD) provides a solution by converting visual elements into spoken words, thus making content accessible to those with vision loss. While recent studies suggest translating audio description scripts for films and TV as a cost-effective strategy across languages and cultures, audio descriptions for video games remain relatively underexplored. This paper presents the findings of the TransAD4Games project, which examined whether translating audio descriptions from English is more time and cost-efficient than creating audio descriptions from scratch in Spanish, and also explored the differences between the two versions. Focusing on the game Before I Forget (3-Fold Games, 2020), audio descriptions were translated into Spanish by a professional translator, while another describer generated audio descriptions in Spanish from the ground up. Interviews with both the translator and the describer gathered their insights on the process and the challenges encountered. A subsequent comparison of the two versions highlighted the differences. After outlining the current state of audio description in video games and providing a brief review of existing scholarly discussions on the translation of audio description scripts, the research design and principal findings are shared. The study indicates that translating audio descriptions is faster and more cost-effective than creating it from scratch in Spanish, although the originally crafted Spanish audio descriptions offer greater detail. Future research involving a larger corpus would be essential to validate the findings of this study.

Twenty-four-hour ambulatory electrocardiograms were recorded in two age groups of 10 normal cats each: group 1 (1 to 4 years) and group 2 (8 to 14 years), with equal numbers of males and females in each group. Average heart rates over the 24-hour recording period ranged from 114 to 202 beats/minute (bpm). The mean 24-hour average rate did not differ between group 1 and group 2 (157.6 vs. 156.3+/-5.3 bpm, respectively); however, females (both groups combined) had higher average heart rates than males (166.8 vs. 147.1+/-5.3 bpm, respectively). Females also had a higher mean minimum heart rate than males (116.9 vs. 96.5+/-4.2 bpm, respectively); but there were no gender or age group differences in maximum heart rate. Results of hourly analyses of average, minimum, and maximum heart rates were similar. Mean heart rates rose from mid-afternoon to about 9:00 PM and were lowest just after midnight. Although regular sinus rhythm predominated, periods of sinus arrhythmia were evident in most cats, especially in early morning hours. Supraventricular extrasystoles were uncommon. Isolated ventricular extrasystoles occurred more frequently in group 2 cats; multiform configuration was observed in both groups. Repetitive ventricular extrasystoles, which usually consisted of occasional couplets, occurred more frequently in group 2 cats. One older cat had 2 short runs of ventricular tachycardia. Another older cat appeared to have a recurrent accelerated idioventricular rhythm.

Twenty‐four‐hour ambulatory electrocardiograms were recorded in two age groups of 10 normal cats each: group 1 (1 to 4 years) and group 2 (8 to 14 years), with equal numbers of males and females in each group. Average heart rates over the 24‐hour recording period ranged from 114 to 202 beats/minute (bpm). The mean 24‐hour average rate did not differ between group 1 and group 2 (157.6 vs. 156.3 6 5.3 bpm, respectively); however, females (both groups combined) had higher average heart rates than males (166.8 vs. 147.1 6 5.3 bpm, respectively). Females also had a higher mean minimum heart rate than males (116.9 vs. 96.5 6 4.2 bpm, respectively); but there were no gender or age group differences in maximum heart rate. Results of hourly analyses of average, minimum, and maximum heart rates were similar. Mean heart rates rose from mid‐afternoon to about 9:00PM and were lowest just after midnight. Although regular sinus rhythm predominated, periods of sinus arrhythmia were evident in most cats, especially in early morning hours. Supraventricular extrasystoles were uncommon. Isolated ventricular extrasystoles occurred more frequently in group 2 cats; multiform configuration was observed in both groups. Repetitive ventricular extrasystoles, which usually consisted of occasional couplets, occurred more frequently in group 2 cats. One older cat had 2 short runs of ventricular tachycardia. Another older cat appeared to have a recurrent accelerated idioventricular rhythm.

Introduction Jet lag is associated with transmeridian travel across at least two time zones, associated with sleep disturbance as well as daytime dysfunction. The presence of jet lag has been hypothesized to be associated with adverse cardiovascular outcomes; however, objective data are not available. Jet lag can have many negative effects on physical and mental health, mental and physiological performance, and sleep. The objective of this study is to understand the impact of simulated jet lag on heart rate. Methods Following a baseline circadian rhythm assessment, participants were placed on a 16 hour wake – 8 hour sleep schedule in which the wake-sleep and light-dark schedule was delayed by 8 hours for 3 days (analogous to traveling 8 time zones west). Participants were randomized to one of 3 treatments administered each of the 3 days of the shifted schedule: (A) placebo control, (B) bright light, and (C) bright light + exercise + melatonin. Participants wore an Extended Wear Holter Monitor for the duration of the 6.5 day laboratory stay. Minimum, average and maximum heart rates as well as heart rate variability were evaluated for each phase in the laboratory. Results 15 of the 22 patients enrolled wore the Holter monitor and completed the study (86.6% men, mean age 28.4 ± 9.56)— 5 were in the placebo arm, 7 in bright light, 3 in the bright light + exercise + melatonin group. In the placebo group, the average heart rate in beats per minute (± SD) increased in the first ultrashort period when compared to baseline (70 (6) vs. 66 (8), p =0.022). In the bright light group, the average heart rate (± SD) decreased during the shifted schedule when compared to baseline (70 (14) vs. 74 (4), p =0.015). No other significant changes were noted. Conclusion The initial induction of jet lag seems to have detrimental effects on heart rate, however the body adjusts thereafter and bright light may be helpful to reduce the impact of jet lag on heart rate. Support (if any) Department of Defense, Philips, American Academy of Sleep Medicine Foundation, National Institutes of Health, The University of Arizona.

BackgroundPrevious literature about the effect of heart rate on poststroke outcomes is limited. We attempted to elucidate (1) whether heart rate during the acute period of ischemic stroke predicts subsequent major clinical events, (2) which heart rate parameter is best for prediction, and (3) what is the estimated heart rate cutoff point for the primary outcome.Methods and ResultsEight thousand thirty‐one patients with acute ischemic stroke who were hospitalized within 48 hours of onset were analyzed retrospectively. Heart rates between the 4th and 7th day after onset were collected and heart rate parameters including mean, time‐weighted average, maximum, and minimum heart rate were evaluated. The primary outcome was the composite of recurrent stroke, myocardial infarction, and mortality up to 1 year after stroke onset. All heart rate parameters were associated with the primary outcome (P’s<0.001). Maximum heart rate had the highest predictive power. The estimated cutoff point for the primary outcome was 81 beats per minute for mean heart rate and 100 beats per minute for maximum heart rate. Patients with heart rates above these cutoff points had a higher risk of the primary outcome (adjusted hazard ratio, 1.80 [95% CI, 1.57–2.06] for maximum heart rate and 1.65 [95% CI, 1.45–1.89] for mean heart rate). The associations were replicated in a separate validation dataset (N=10 000).ConclusionsThese findings suggest that heart rate during the acute period of ischemic stroke is a predictor of major clinical events, and optimal heart rate control might be a target for preventing subsequent cardiovascular events.