Dead Room Research Articles

Effect of nimodipine on rat spinal cord injury.

We evaluated the potentially protective effect of nimodipine on rat spinal cord injury. Sprague-Dawley rats received spinal cord injury, and were separated into nimodipine (N = 12) and saline groups (N = 12). Within 1 h of the injury, rats were treated intraperitoneally with nimodipine (1.0 mg/kg) or an equal amount of saline. Treatment was performed 3 times a day for 1 week. Operation BBB score and track experiment were used to measure the physical function of the hind legs 1 and 2 weeks after injury. Two weeks after the injury, malondialdehyde (MDA) content and spinal cord myeloperoxidase (MPO) activity of the injured part were determined, and the glial scar and dead room were studied using the immune tissue chemical test. ED1 was used to observe active gitter cell and macrophages. The physical function of the nimodipine group improved significantly (P < 0.01). Two weeks after injury, spinal cord MDA content in the spinal cord in the nimodipine group (nmol/g, 25.6 ± 9.7 vs 68.5 ± 16.7) and MPO activity (U/g, 252.2 ± 63.9 vs 382.8 ± 108.2) decreased significantly (P < 0.01); nimodipine whole dead space (mm2, 4.45 ± 1.28 vs 6.16 ± 2.65) and ED1 antibody immunity colored positive room (mm2, 1.87 ± 0.42 vs 2.86 ± 1.01) reduced significantly (P < 0.01). Nimodipine treatment could reduce oxidative injury after spinal cord injury, reduce the whole dead space and inflammation, and repair spinal cord injury.

Poetry, Texas: REVIEW 2

Poetry, Texas is a lyrical work in which an ensemble of voices, snatches of actuality and compelling narration is woven into a meditation on a fading way of life and beauty within the ordinary. It's a piece in which style and substance figure as enamoured equals engaged in a delightful dance. Malinovski's journey into the heart of the Texan town of Poetry is the central narrative frame of this work. An ensemble cast of fourteen characters including a cowboy called Rooster, Don Strictland, the undeclared mayor of Poetry, schoolchildren, various religious leaders and the local historian gives voice to the community. The sonic frame of Poetry, Texas articulates two distinct aural planes that both extend and enhance the thematic dynamic he develops between the literal and literary meaning of 'poetry’. Malinovski’s physical journey and the town community are both represented by earthy unrehearsed location recordings. The recordings position the listener as an observer rather than the one spoken to. The material feels experiential and ‘of the moment’; it is steeped in a diegetic sense of a lived environment and continuous timeframe. In contrast, Malinovski’s narration is controlled, scripted and recorded in a dead room with a warm, close microphone. A strong reliance on this form of authorial first-person narration can easily become heavy-handed and narratively swamp and overpower other voices and sounds. Of course the mitigating quality here is the poetic inclination of Malinovski's narration – the degree to which his thoughts, ideas and arguments provide a permeable and playful series of observations, connections and resonant sound-word ideas for listeners to engage with. Like a flip card with a picture of a bird on one side and a cage on the other that is animated through movement, Malinovski manages to capture and express something about Poetry that is intangible, provocative, playful and beautiful with a delightfully light touch. Kyla Brettle is Lecturer in the Media Program at RMIT University, Melbourne and an independent radio documentary maker. Her work explores the theory and practice of observational radio and the rich affordances of audio in non-fiction storytelling. Her features have been broadcast internationally and she has won Best New Artist at the Third Coast International Audio Festival. She is completing a PhD examining online and participatory audio documentary production. Poetry, Texas received a special commendation from the judges of the Prix Europa 2012.

A scale value for the balance inside a historical opera house

In the framework of opera house acoustics, the term "balance" refers to the acoustical competition between the singer on the stage and the orchestra in the pit. The mechanism allowing the operatic singers to be heard over the orchestra has to do with their skill in enhancing the vocal emission by a peculiar use of the formant frequencies. This vital factor is sensed by the listeners and, apart from the obvious sound power ratio of the stage and the pit sources, is the main cue that helps to formulate a subjective impression of the balance. To achieve its objective qualification, two calibrated sound sources can be placed on the stage and in the pit, respectively, and their sound level difference is measured at the listeners' seats. The scope of this work is to investigate the relationship between the subjective impression and the objective indicator of the balance and to develop a scale value for the parameter in the case of a historical opera house. For this scope a set of acoustical data from the Teatro Comunale in Ferrara will be used to create synthetic sound fields with controlled conditions of the balance between the stage and the pit. This methodology employs an anechoic piece for soprano (with piano accompaniment) and is implemented in a dead room equipped with an acoustical rendering system. The sound fields are used to investigate the appropriate balance values by means of listening tests. The results of the scaling exercise show that a suitable range of values can be extracted and that the sound from the stage and the pit is perceived as balanced when the loudness difference between the two is comprised within -2.0 dBA and +2.3 dBA.

The evaluation of binaural playback systems for virtual sound fields

By means of virtual acoustics technologies the impulse response in a location of a real enclosure can be used to create a virtual room. Also in this virtual space, typically implemented in a dead room, an impulse response can be measured. From both “real” and respective “virtual” impulse response a group of room-acoustical parameters can be calculated. The match of the two groups of indicators mostly depends on the layout of the playback system and on the implemented processing. In this paper a procedure of virtual measurement in a dead room is developed and some typical layouts of playback systems employing two loudspeakers are compared. Based on the consistency of the room-acoustical indicators derived from “real” and “virtual” impulse responses can be investigated. It is shown how the performance depends on the angular separation of loudspeakers and the efficiency of the cross-talk is also tested and discussed. Finally, a set-up which is suitable for psychoacoustics tests is indicated.

Extradural neural axis compartment.

The lengthy, continuous, slender extradural neural axis compartment (EDNAC), which extends from the coccyx to the orbit, has been not so much discovered as recognized. Through this compartment run arteries, myelinated and unmyelinated nerves, and valveless veins. Adipose tissue is abundant in the orbital and spinal segments, possibly due to movement requirements, although it is very sparse in the skull base segment, the last segment to be recognized as a continuation of the EDNAC, which connects Breschet's veins to the orbit. The lateral sellar compartment (in older terminology, the cavernous sinus) is an enlarged segment of this EDNAC along the skull base connecting the orbit with the extradural space through the superior orbital fissure and down the dorsum to Breschet's veins of the basilar process of the occipital bone. Understanding the continuity of the EDNAC should help the student understand any segment, particularly the skull base. As Batson noted, "Living anatomy is slowly editing and replacing the anatomy of the dead room."

Sitting in the Dead Room: The Production of Radio Drama

That’s a excerpt from “Radio Napalm: Notes from the Dead Room”, a half-hour drama recently recorded for CBC Stereo’s “Studio ’92”. In it, playwright and performer David Craig tackles radio’s mixed messages through his persona, Napalm the Buffoon, a two-foot-high, legless grotesque who has appeared on a number of stages in Canada. Napalm alternately cajoles and rants, using shock tactics to make his audience sit up and listen. In this radio appearance, the “master of aliases” takes on a multitude of characters, from a stiff-upper-lip radio announcer to a Caribbean butler, and manipulates sound effects and ambiences. But most of the time he talks at us, first flattering, then insulting, questioning our assumptions about the ways we listen, the information we hear and believe, and the feelings we have about it all. It’s not an intellectual exercise: at one point he tells us that 1,500 children have died of malnutrition since the show began. Napalm tries to prod us into feeling our own pain.

An inexpensive anechoic chamber

A chamber having reasonable dead room qualities has been constructed. It does not display the acoustic properties of a commercial anechoic chamber but is fully adequate as a teaching aid.

Making with Words: A Practical Approach to Creativity

something that can be defined and compartmentalized, in a way that would appeal to W. B. Yeats' too unmythical Critics. So is the idea that composition consists of an exercise something akin to polishing furniture, and rearranging it, organizing an abstraction that has little to do with anything except itself into a dead room of words. There is, too, a tendency for the courses that are at present developing to concentrate on literature almost to the exclusion of anything else, and to confine writing to imitation and criticism, or the type of semi-sociological essay that deals endlessly with depersonalized drugs or racial problems. The HallDennis Report' placed English under the category Communications, and this has tended to lead teachers into regarding the subject as a vehicle for communicating the factual or the results of ratiocination, rather than any thing that could be called creative or inspired. Part of the reason for this may be that whereas teachers of art or music are assumed to

3108 東洋大学建築学科に新設された音響実験室の音響特性について(環境工学)

3108 東洋大学建築学科に新設された音響実験室の音響特性について(環境工学)

Sound Pressure Spectra of a Muted Cornet

Acoustic spectra of a cornet have been measured with the instrument equipped with several mutes of types used mainly in dance orchestras. Data are presented showing the sound pressure levels of the first 10–15 partials of the instrument when fitted with each of the mutes. The instrument was blown naturally by a cornetist, with an attempt to obtain a normal characteristic tone for each mute. The sound spectrum of the muted instrument is compared to that of the open or unmuted instrument. The mutes tend to exhibit the same formants for several different notes, indicating resonance phenomena in the acoustic networks. The measurements were made by playing the instrument in a dead room, and recording the sound on tape, with a condenser microphone and a magnetic tape recorder of professional quality. The sounds were then analyzed by playback through a heterodyne wave analyzer. Two of the mutes, the Harmon and the Solotone, are equipped with cylindrical aluminum tubes, open at both ends. The formants for these mutes display families of resonance peaks corresponding to the calculated open pipe frequencies. These resonances are also observed when the mutes are driven with an electroacoustic transducer. All of the mutes themselves act as Helmholtz resonators at 200 to 300 cps, which is, however, in the frequency range of considerably reduced output when fitted to the instrument.

Sound Pressure Spectra of a Muted Cornet

The acoustic spectra of a cornet have been measured with the instrument equipped with several mutes of the type used in dance orchestra work. Data will be presented showing the sound pressure levels of the first ten to fifteen overtones of the instrument when fitted with each of the mutes. The instrument was blown naturally by a cornetist, with an attempt to obtain a normal characteristic tone for each mute. The sound spectrum of the muted instrument will be compared to that of the open or unmuted instrument. The mutes tend to exhibit the same formant or frequency response for several different notes, indicating resonance phenomena in the acoustic networks. The measurements have been made by playing the instrument in a dead room and recording the sound on tape with a high quality condenser microphone and magnetic tape recorder. The sounds were then analyzed by playback through a heterodyne type wave analyzer.

Free Field Calibration of Transducers to 100 KC in Air

The feasibility of conducting reciprocity calibrations up to 100 kc in air, using W.E. 640 AA condenser microphones is pointed out, and the results of such calibrations will be presented. Curves of microphone sensitivity and the output of the unit when used as a sound source will be given for both a normal 640 AA unit and one whose diaphragm has been stretched to give increased high frequency response. In addition, curves for other transducers tested in this laboratory will be presented. All the calibrations were carried out in a small—6′×6′×6′—dead room.

A Cavity Pressure Method for Measuring the Gain of Hearing Aids

A cavity pressure method for measuring the gain of hearing aids has been developed. It has the advantage of requiring no dead room, allowing a compact set-up. The method has been investigated as to its validity and the degree to which diffraction effects are avoided. Comparisons with free field data are made. The applicability of results obtained by this method to the specification of gain characteristics for hearing aids is discussed.

The Propagation of an Acoustic Wave Along a Boundary—Experimental

In a paper delivered at the Spring meeting of the Acoustical Society of America and soon to be published in the Journal of this Society the acoustic field produced by a point source of sound located at the boundary of separation of two media was derived. The approximate solution indicates that when one of the media is absorbing and the other medium is air, the field at the boundary decreases more rapidly than as the inverse square of the distance. Also there is a reduced phase velocity. Experiments were performed in a 2-meter cubical dead room to check these and other predictions. The results are in considerable agreement with theory.

A Cavity-Pressure Method for Measuring the Gain of Hearing Aids

A cavity-pressure method for measuring the gain of hearing aids has been developed. It has the advantage of requiring no dead room, allowing a compact set-up. The method has been investigated as to its validity and the degree to which diffraction effects are avoided. Comparisons with free-field data are made. The applicability of results obtained by this method to the specification of gain characteristics for hearing aids will be discussed.

PUERPERAL SEPSIS—LAPAROTOMY.Read by invitation before the Kansas City Academy of Medicine.

For ages the cause of Puerperal Fever (which is a symptom—not a disease) was supposed to exist in the atmosphere of the lying-in hospital or chamber; it was believed that the fever was an infectious, contagious disease —that it was not necessary for actual contact to take place. The many opportunities both on the operating table and in the dead room for studying its pathology have cleared the mystery. As a result of the recognition of its septic character within the last few years, the puerperal woman has been looked upon as a wounded woman and has been treated as such; so it is now a rare occurrence for a woman to have a bad getting up after confinement because practitioners recognize the principles of aseptic surgery and apply them intelligently to the treatment of the lying-in woman. With clean hands and surgically clean instruments used by a clean physician