Graphic Scores Research Articles

Predicting Global Functional Outcomes Among Post-traumatic Epilepsy Patients After Moderate-to-Severe Traumatic Brain Injury: Development of a Prognostic Model.

ObjectiveThe development of post-traumatic epilepsy (PTE) following traumatic brain injury (TBI) is associated with unfavorable functional outcomes, and the global function of PTE patients might change dynamically overtime. Predicting the long-term functional outcomes of patients with PTE may help to develop accurate rehabilitation programs and improve their quality of life. Based on this, the objective of this study is to use clinical data to derive and validate a model for predicting the functional outcomes of patients with PTE after moderate-to-severe TBI.MethodsThis study retrospectively analyzed 721 patients with PTE after moderate-to-severe TBI in the Epilepsy Centre, Beijing Tiantan Hospital, from January 2013 to December 2018. All patients had favorable global function as indicated by the Glasgow Outcome Scale-Extended (GOSE) at the time of their first late post-traumatic seizure (PTS) onset, and the 5-year global function after the first late PTS onset was chosen as the principal outcome of interest. To identify possible predictors for the global functional outcomes, univariate and multivariate logistic regression techniques were used. A prognostic model was established using these identified predictors, the internal validation with the bootstrapping method was performed, and the model was then visualized as a graphical score chart.ResultsThe 5-year global functional outcome of 98 (13.59%) patients was unfavorable, and the temporal lobe lesion was found as the strongest predictor of unfavorable outcomes. The final prognostic model also included the following other predictors: gender, age at TBI, multiple injuries, the severity of TBI, and latency of PTE. Discrimination was satisfactory with C-statistic of 0.754 (0.707 – 0.800), the goodness-of-fit test indicated good calibration (P = 0.137), and the C-statistic was 0.726 for internal validation. A graphical score chart was also constructed to provide the probability of an unfavorable 5-year global functional outcomes more readily.ConclusionsClearer treatment strategies are essential to help ameliorate the global functional outcomes of patients with PTE. Our proposed prognostic model has significant potential to be used in the clinic for predicting global functional outcomes among patients with PTE after moderate-to-severe TBI.

Ragnar Kjartansson and the Art of Pleasure

Ragnar Kjartansson and the Art of Pleasure

Validation of a New Graphic Facial Nerve Grading System: FAME Scale.

Background and Objective:Most of the existing qualitative facial nerve grading systems are very subjective while the quantitative grading systems are more complex, require longer data input time and specific software. There is a need for having a scoring system with graphic criteria to improve the subjectivity, reliability and convenience. We aimed to develop and validate such a reliable graphic scale for use in Bell's palsy.Methods:Face videos of patients with unilateral facial paralysis were recorded using smartphones and analyzed for six items including five voluntary facial movements apart from complications of facial palsy (synkinesis, hyperkinesis, and contracture). 15 videos were used for pilot study, 75 for the development of scale and 110 for its validation. Each video was rated on two separate occasions by 3 independent raters, a score of 0-4 was assigned to each item using the graphic scoring criteria, and a composite score was obtained (range 0–24). Five disease severity categories: normal (score 0), mild (score 1–6), moderate (score 7-12), severe (score: 13–18) and profound facial weakness (score: 19-24).Results:The proposed scale and its component items had high inter-rater and intra-rater reliability (Kappa >0.7). Good correlation (Pearson co-efficient >0.7) was seen among the voluntary movements. The proposed scale is a valid tool to score motor deficits and complications of facial palsy.Conclusions:The proposed scale is a valid and reliable graphic scale to describe facial motor dysfunction and its secondary defects.

The “Time-Makam Analysis Model” as a graphic notation: A playful tool for collaborative improvised music

This study seeks to explore the creative performing processes that arise from the use of graphic scores. To achieve this, it uses the Time-Makam Analysis Model to demonstrate how this type of notation can produce “playful” creative processes that are open to evaluation from an ethnomusicological perspective. The study presents a practical, experimental, and multidisciplinary approach to graphic notation, it discusses the individual and collective relationships that performers have with a score of this type, and examines the spontaneous decision-making processes involved. The study is also intended to support performers’ collective creative decision-making, their playful thinking, and their improvisational skills. First, the introduction gives an overview of the concept of notation and provides a historical perspective for contemporary graphic scores. This is followed by an examination of the Time-Makam Analysis Model and its association with graphic notation, and a psychological discussion of creative, playful thinking processes. The final section contains field notes from two performances in which the author of this study took part: an online recording by the SAVT improvisation trio (Elif Canfeza Gündüz classical kemenche, Merve Salgar tanbur, and Zeynep Ayşe Hatipoğlu violoncello) and a real time collaboration with Ülkü Çağlayan (body movement and violoncello).

Rectal diclofenac; an effective modality for pain relief after vaginal birth

<p><strong>Background and Objective:</strong> Vaginal delivery (VD) is the safest delivery option for the mother and is associated with quick recovery and minimal maternal morbidity and mortality. However, one of the commonest fears among women about VD is pain. This study aims to assess the effectiveness of diclofenac suppositories (per rectum) compared to the intramuscular diclofenac for the pain relief in females after VD.<br /><strong>Methods: </strong>This prospective comparative was study conducted at the Emergency Section (labor room) of Obstetrics & Gynecology Department in one of the tertiary care teaching hospitals of Lahore, Pakistan. A total of 182 female patients undergoing VD were selected and further divided into group A and group B. Group A was administered rectal analgesia in the form of rectal suppositories (100 mg) immediately after perineal tear (first and second degree only) repair and repeated after 6 hours. While group B received one injection of intramuscular diclofenac, immediately after perineal tear repair. The pain score was measured on a graphical score using Graphic Rating Scale, immediately at rest, during movement, and during urination. The pain score was reassessed after 6 hours with the same parameters and compared between both groups.<br /><strong>Results:</strong> The overall pain score was significantly lower immediately (p = 0.004) and 6 hours (p = 0.002) after VD in group A at rest, during movement, and during urination as compared to group B.<br /><strong>Conclusion:</strong> The use of rectal diclofenac suppositories is a simpler and more effective and acceptable method of reducing the pain experienced by the women following perineal trauma after vaginal childbirth.</p>

Creative rotation in conceptual art: Marcel Duchamp – composer, John Cage – artist

The subject of this study is the intersection points of music and fine art, demonstrated by the example of the creative interaction of the conceptual artist Marcel Duchamp and composer John Cage. The possibility of reformatting creativity from the visual to the sound field is considered as a role rotation, within which Duchamp appears as a composer, and Cage as an artist. An attempt is made to explain the motivation for such a choice. What is the meaning of this, and what do people mean when they choose this or that image for themselves, and create this or that image for themselves. How important it is to change the artistic image and creative image for the master. The methodology of the research consists in a comparative analysis of these concepts using already known works on this topic and personal observations of the author. In conceptualism, an idea is valued above the process of its materialization in a work of art, and therefore, the technique of execution is not a decisive factor. In such a creative paradigm, the artist's tools themselves become not so essential, which can be paints, a brush or other means of visual representation of the concept, as well as sheet music or a graphic score. The means of artistic expression - sounds or visual elements – also turn out to be equivalent. All of them focus around the concept - the dominant point of any kind of creativity. This conclusion becomes the key for the conducted research in this article.

The practice of speleology: What is its relationship with spatial abilities?

Given the evidence of motor and exploring activities being related to spatial abilities on different scales, the present study considers the case of speleology, a peculiar underground exploratory activity. The relation of this practice with spatial abilities was examined. The study compares a group of expert speleologists (18), a group with a reduced amount of experience in speleology (19 novice speleologists), and a group with a similar amount of practice but in the outdoors (19 experts mountaineers). Group differences will be investigated in terms of (i) small-scale spatial task performance (rotation-based and spatial working memory); (ii) large-scale environment learning (reproduced using verbal descriptions) asking participants to learn a path through a cave or up a mountain (in a counterbalanced order) and then to test their recall with true/false spatial questions and graphical representation tasks; and (iii) self-reports of wayfinding attitudes. The results of linear models showed that, after controlling for age, gender, years of education, and vocabulary scores, expert speleologists had greater mental rotation and perspective-taking abilities and less spatial anxiety than expert mountaineers, and the former performed the true/false questions better than the latter. It should be noted that participants who reported having guiding/path-finding experiences had greater accuracy in graphical representation performance and higher scores in attitude towards orientation. Overall, expertise in speleology is related to spatial abilities on different scales and might have a distinctive role in comparison with other motor practices, pointing to the potential value of examining speleology in the spatial cognition framework.Supplementary InformationThe online version contains supplementary material available at 10.1007/s10339-022-01075-4.

SCORING THE JOURNEY: LISTENING TO CLAUDIA MOLITOR'S SONORAMA

AbstractSonorama is a 2015 sonic artwork by Claudia Molitor, consisting of a number of audio files designed for listening on a train journey between London St Pancras and Margate, and a graphic score based on the composer's own ‘reading’ of this journey. This article analyses the relationship between the sonic and the spatial in the work, exploring how Molitor's site-specific composition interacts with its environment on multiple scales. By drawing on the strategy of ‘situated listening’ developed by Gascia Ouzounian, as well as urbanist language introduced by Richard Sennett, this article seeks to elucidate the relationship between a number of ‘nested’ spaces, present across varying realisations, and the political agenda that energises the work. Written in the midst of summer 2015's European refugee crisis, the work brings into sharp focus themes of British exceptionalism, immigration and inclusion.

A Mathematical, Graphical and Visual Approach to Granular Synthesis Composition

We show a method for Granular Synthesis Composition based on a mathematical modeling for the musical gesture. Each gesture is drawn as a curve generated from a particular mathematical model (or function) and coded as a MATLAB script. The gestures can be deterministic through defining mathematical time functions, hand free drawn, or even randomly generated. This parametric information of gestures is interpreted through OSC messages by a granular synthesizer (Granular Streamer). The musical composition is then realized with the models (scripts) written in MATLAB and exported to a graphical score (Granular Score). The method is amenable to allow statistical analysis of the granular sound streams and the final music composition. We also offer a way to create granular streams based on correlated pair of grains parameters.

Collaborative Musical Creativity between Students and Adults: The Sonorous Paella

Abstract While creativity is a key element of contemporary curriculum frameworks around the world, it is still insufficiently fostered in formal education settings. This study analyzes a project for collaborative musical creativity, entitled The Sonorous Paella. Participants (N = 12) were eight Year 4 secondary students, two professional musicians, an artist-in-residence, and a music teacher. Drawing on a graphic musical score, the participants worked together for 1.5 months to produce a group composition and performance. They were provided with various sound producers (instruments, everyday objects, technological devices) and were encouraged to flexibly utilize the physical space to maximize collaborative participation. Field notes and pictures taken during working sessions and rehearsals, audio recordings from the final concert, and individual interviews with all participants were qualitatively analyzed. In response to the three study objectives, we conclude that: (1) the design of this collaborative project was consistent with current research-based creativity discourses; (2) drawing on the quality and originality of the final concert, the project fostered the musical creativity of the group; and (3) participants’ perceptions of and opinions about their creativity learning processes were unanimously positive. Our final aim is to inspire music teachers in designing curriculum units that foster collaborative musical creativity.

Changes in Brain Responses to Music and Non-music Sounds Following Creativity Training Within the "Different Hearing" Program.

The “Different Hearing” program (DHP) is an educational activity aimed at stimulating musical creativity of children and adults by group composing in the classroom, alternative to the mainstream model of music education in Czechia. Composing in the classroom in the DHP context does not use traditional musical instruments or notation, instead, the participants use their bodies, sounds originating from common objects as well as environmental sounds as the “elements” for music composition by the participants’ team, with the teacher initiating and then participating and coordinating the creative process, which ends with writing down a graphical score and then performing the composition in front of an audience. The DHP methodology works with a wide definition of musical composition. We hypothesized that the DHP short-term (2 days) intense workshop would induce changes in subjective appreciation of different classes of music and sound (including typical samples of music composed in the DHP course), as well as plastic changes of the brain systems engaged in creative thinking and music perception, in their response to diverse auditory stimuli. In our study, 22 healthy university students participated in the workshop over 2 days and underwent fMRI examinations before and after the workshop, meanwhile 24 students were also scanned twice as a control group. During fMRI, each subject was listening to musical and non-musical sound samples, indicating their esthetic impression with a button press after each sample. As a result, participants’ favorable feelings toward non-musical sound samples were significantly increased only in the active group. fMRI data analyzed using ANOVA with post hoc ROI analysis showed significant group-by-time interaction (opposing trends in the two groups) in the bilateral posterior cingulate cortex/precuneus, which are functional hubs of the default mode network (DMN) and in parts of the executive, motor, and auditory networks. The findings suggest that DHP training modified the behavioral and brain response to diverse sound samples, differentially changing the engagement of functional networks known to be related to creative thinking, namely, increasing DMN activation and decreasing activation of the executive network.

Atmospheric etudes: no 1, troposphere

As a fourth-year music composition major at MacEwan University, Mari Alice Conrad was interested in exploring the concept of vulnerability. She was particularly inspired by her recent vulnerable experiences returning to school as a mature student and sought to understand these existential experiences in more depth. This curiosity led Conrad to design a research-creation project in her Ethnomusicology course that utilized her skills in composing a musical work that explored vulnerability on three distinct levels: personal vulnerability, societal vulnerability, and global vulnerability. 
 The first level, personal vulnerability, plunged into Conrad's personal experiences as a mature student who, by age and life experience, had been socially segregated to a minority group, and how she was processing those experiences. The second level, sociological vulnerability, specifically focused on addressing societal traditions of classical music and notational conventions for the piano. Conrad sought to displace the customary approach she had developed with the instrument since childhood and considered ways to make the piano (an inanimate object) and its notated music vulnerable. The third level was a more global, ecological, or environmental vulnerability of the weather systems found in the troposphere, the first layer of the atmosphere. Conrad wanted to understand why this layer was extremely volatile and susceptible to multiple variables and how humans interacted with the vulnerability of this force. This third level was also an area that she could universally connect with her audience (hence the title of the composition) and acted as a bridge to explore the other two levels of vulnerability in her work. 
 Throughout the research-creation process, Conrad was able to explore the three levels of vulnerability in tremendous depth, express her interactions and discoveries of these three levels, and further disseminate her findings through notating a graphic score, recording the composition, and crafting an audiovisual representation. The final result of the research-creation composition project (music score and video) brilliantly weaves together concepts of vulnerability in a compelling and meaningful way and shares insight into how these ideas influence and encapsulate Conrad's budding artistic practice.

Family Rank: a graphical domain knowledge informed feature ranking algorithm.

When designing prediction models built with many features and relatively small sample sizes, feature selection methods often overfit training data, leading to selection of irrelevant features. One way to potentially mitigate overfitting is to incorporate domain knowledge during feature selection. Here, a feature ranking algorithm called 'Family Rank' is presented in which features are ranked based on a combination of graphical domain knowledge and feature scores computed from empirical data. A simulated dataset is used to demonstrate a scenario in which family rank outperforms other state-of-the-art graph based ranking algorithms, decreasing the sample size needed to detect true predictors by 2- to 3-fold. An example from oncology is then used to explore a real-world application of family rank. An implementation of Family Rank is freely available at https://cran.r-project.org/package=FamilyRank. Supplementary data are available at Bioinformatics online.

Live Electronics im/in the SWR Experimentalstudio ed. by Dániel Péter Biró et al.

Reviewed by: Live Electronics im/in the SWR Experimentalstudio ed. by Dániel Péter Biró et al. Jennifer Iverson Live Electronics im/in the SWR Experimentalstudio. Edited by Dániel Péter Biró, Jonathan Goldman, Detlef Heusinger, and Constanze Stratz. Hofheim am Taunus, Germany: Wolke, 2019. [390 p. ISBN 9783955930851 (paperback), €34.] Illustrations, charts, music. This dual-language volume, with essays in German and English, focuses on the works, composers, and technologies in use at the Südwestrundfunk (SWR; Southwest Broadcasting) studio from the 1970s to the present day. The editors’ introductions to the volume, which admirably situate readers historically, aesthetically, and technically, are translated into both languages. The subsequent nineteen essays are offered in the preferred language of the writer, with about 60 percent of the volume’s chapters in German and about 40 percent in English. The SWR studio often flies under the radar of scholars. Established in 1971, it followed the first wave (ca. 1950–60) of more famous postwar studios such as the GRM in Paris, the WDR in Cologne, the RAI in Milan, Columbia-Princeton in New York, the CLAEM in Buenos Aires, and the NHK in Japan. Like many of these earlier studios, it consolidated the institutional resources of government-funded radio. SWR studio was situated in the Southwest German Radio station in Freiburg im Breisgau, where the studio benefited from broadcast technology innovations as well as the connections to impresarios such as Heinrich Strobel and Otto Tomek. Some of the famous works composed at this studio include Karlheinz Stockhausen’s Mantra (1970), Pierre Boulez’s explosante-fixe (1971), Luigi Nono’s Prometeo (1984), and Chaya Czernowin’s Shu Hai mitamen behatalat kidon (1998/2007). Though there has been relatively less scholarly attention on the SWR studio and its works, its specialty in producing live electronic music makes it an important site. This volume, correspondingly, is an important contribution that fills an existing gap in the literature. “Live electronic music” refers to works that use both a live performer and electronic sounds, either prere-corded fixed media or live-generated sounds. In many live-electronic scenarios, the performer improvises with electronic sounds in a live-action fashion, for instance tuning ring modulators, manipulating feedback, or live coding on stage. Given the SWR studio’s expertise in live electronics, the studio has been a pioneering site for hardware and software innovation, has maintained a knowledgeable staff of engineers and technicians, and has played host to several international visiting composers. Many of the essays focus on the technical capabilities and constraints of the studio’s machines at a given time. The technological focus is particularly welcome given that so many live electronic works intimately exploit particular technological affordances. Essays by Stefan Jena, Detlef Heusinger, and Reinhold Braig explain the function [End Page 57] of historical technologies in use, with particular emphasis on mixing, spatialization, and diffusion. Understanding the studio’s technological premises is crucial to understanding the compositional and aesthetic premises of these early works. Some authors focus on composer-specific analyses, often close readings of a single piece. These include contributions by Jürg Stenzl on Luigi Nono, Björn Gottstein on Brian Ferneyhough, Lydia Jeschke on Marc Andre, Daniel Ender on Georg Friedrich Haas, and Thomas Hummel on Emmanuel Nunes. Reading these composer-specific studies together with the technology essays provides a clearer understanding of how composers collaborated with machines and engineers in the studio to develop, revise, and realize their ideas. Sketch study is particularly important in Rudolf Frisius’s analysis of Karl-heinz Stockhausen’s Cosmic Pulses. The colored graphic scores and technology maps are enticing traces of a complex musico-engineering process. I especially enjoyed Martin Iddon’s philosophical, interpretive discussion of Chaya Czernowin’s acoustic and electronic music. Extending far beyond an analysis of a single piece, Iddon places Czernowin in a techno-feminist lineage. In this capacious essay, we have a chance to contemplate how her sound-worlds interface with the provocations of psychoanalysis and modernity broadly construed. The essays do not stop with historical figures and outdated technologies. The SWR studio continues to exist, to evolve, and to host composers, a point well reflected in the volume...

THE DEVELOPMENT OF SCIENCE TEACHING BOOK BASED ON IMAGE OF THE PROCESS FOR LEARNING IN JUNIOR HIGH SCHOOL

The purpose of this study was to test the validity, effectiveness and practicality of a process image-based science textbook for learning science in junior high schools. This study used a Research & Development (R & D) modified from 4-D by Thiagarajan (et al. 1974) which consists of Define, Design, Develop, and Dessemination. The stages of this research procedure: Define Stage, Design Stage, Development Stage (Develop) Table 4.1 shows that each component of the assessment gets almost the same score from the four validators. The mean score for content feasibility was 3.46, the mean graphical score was 3.58, the language mean was 3.38, and the mean presentation was 3.45. The mean score obtained shows that based on the validators assessment of the science textbook based on the process of the wave vibration material is very valid and suitable for use in learning in junior high school..Natural science textbooks based on images of the process of wave vibration material which are practically known are based on data from trial I and trial II. Data were collected through observation, response questionnaires, and interviews with students. The implementation of learning and user responses are indicators of practicality. The results of the learning implementation analysis showed an increase in the percentage of learning implementation at each meeting. At the first meeting, the percentage of learning implementation was 79.24%, because students were not used to analyzing the process image of the wave vibration material. At the next meeting students became accustomed to using textbooks based on the process of wave vibration material so that the percentage of learning implementation increased. Consecutively the percentage of the implementation of learning is the second meeting of 81.34%, and the third is 83.34%, and the average result of the implementation of learning is 83.18%.The effectiveness of textbooks based on images of the process of wave vibration material is known based on the increased understanding of the concept of wave vibration which is measured based on the pretest and posttest values, and is analyzed through normalized gain. The N-gain index with the criteria medium to high and classical learning completeness are indicators of effectiveness. Classical mastery of learning is achieved when 85% of students meet the specified minimum completeness criteria (KKM). Based on the results of the pretest and posttest, it was found that the N-gain value was 0.599 which was in the medium criteria, and the number of classical completeness was also complete, namely 85.71%.

Abstract 13134: A Novel Device for Detecting Anaerobic Threshold Using Sweat Lactate Acid During Exercise

Background: Continuous monitoring of lactate acid (LA) levels during exercise has not been possible. We aimed to visualize real-time changes in LA levels in sweat during exercise and to investigate the relationship between the lactate threshold in sweat (sLT) and LT in blood (bLT) and the ventilatory threshold (VT). Methods: Twenty-three healthy subjects (age: median; 20 [interquartile range; 20, 21] years old) and 22 consecutive patients (age: 65 [57, 73] years old) with cardiovascular diseases (CVDs) underwent exercise tests with a RAMP protocol ergometer, simultaneously monitoring changes in the LA values in sweat using a wearable lactate sensor. The sLT was identified as the first significant increase in LA above baseline based on the graphical plots and change finder scores calculated by the Change Finder algorithm using the time-series data of the LA values during exercise. We applied the Bland-Altman method to verify similarities for each threshold. Results: During exercise, the dynamic changes in LA values in sweat were successfully visualized in real-time with a sharp continuous increase up to volitional exhaustion and a gradual decrease in the recovery period. In healthy subjects, the work rate (WR) at the sLT (WR-sLT) was substantially correlated with the WR at the bLT (r=0.90). The Bland-Altman plot described a strong agreement (the mean difference: -3.0 watt). Among 22 patients, there were 8 patients whose LA values in sweat were not measured due to a non-response in the sensor. In the remaining 13 cases, except for a patient in whom the VT could not be detected, the sLT was well correlated with bLT and VT (r=0.81 and 0.65, respectively); the mean differences were -8.3 and 3.4, and there was no bias between the mean values. Finally, the logistic regression analysis revealed that a non-response in the sensor was associated with NYHA 3/4 and low peak VO2 (Odds ratio [OR] 0.01 [95% confidence interval (CI); 0.00-0.13], OR 1.45 [95% CI; 1.09-2.20], respectively) Conclusions: Our wearable device enabled a continuous and real-time LA measurement in sweat during incremental exercise in a subset of patients with CVDs as well as healthy subjects. This can provide additional information for detecting the VT.

Anomalous Forms in Computer Music

Anomalous Forms in Computer Music

Mapping Sound

Each playthrough of Ed Key and David Kanaga's Proteus (2013) presents players with a new, randomly generated island to explore. This unstructured exploration is accompanied by a procedurally generated ambient soundtrack that incorporates both harmonic textures and melodic motives, and abstract musical representations of environmental sounds. In the absence of clearly defined goals—except to progress through four distinct “seasons” of the game—the player's relationship to the soundtrack becomes a core gameplay element, and a playthrough of Proteus becomes, among other things, a kind of improvised performance art. Viewed from this perspective, Proteus's combination of free exploration and chance strongly evokes ideas from mid-twentieth-century musical modernism, including the graphic scores of Cardew and Cage and the “mobile form” works of Stockhausen and Ligeti. Proteus further complicates analysis by concealing the mechanisms that produce particular musical fragments and by eliding the roles of listener and player/performer. This article examines the tensions inherent in the complementary actions of playing/performing Proteus and listening to/analyzing it, and argues that the game challenges the distinctions between creator, performer, and observer by vividly embodying the most deeply ingrained metaphors of music analysis.

Experiencing Choreographed 4D Visuals in a VR Dance Installation

The architecture of the VR installation comprises of four buildings inspired by the Cardew graphic score. Each dancer’s process can be visited on four different levels in their respective buildings...

Pengembangan Multimedia Interaktif Macromedia Flash Berbasis K-13 Sebagai Inovasi Pembelajaran Tematik Untuk Siswa Sekolah Dasar

Currently at the elementary school level has used Curriculum 2013 (K-13) which emphasizes thematic learning by studying various fields of science simultaneously in a series of themes. But the problem is there is no learning material which is packaged in the form of interactive multimedia that is able to link K-13 thematic learning in elementary school.
 The aim of this research is to produce interactive multimedia products based on K-13 as a thematic learning innovation in valid primary schools.
 The type of this research is a research and development (R&D) by adapting the ADDIE development model. It is said to adapt because this research process stops at the development stage in terms of product validity. Product validity based on graphic design experts score 87 with valid criteria. Meanwhile, according to Sciences experts this product got a score of 86 with valid criteria, for Mathematic experts it got a score of 86, Indonesian material experts got a score of 90, and Civics material received a score of 89 with valid information. In the expert assessment of Sports education received a score of 93 with a very valid category. From the multimedia linguistic point of view, the evaluation is very valid and appropriate to cognitive development level of children with a validity value of 92. Thus the conclusion of this study is that interactive K-13 based multimedia products are said to be valid and feasible to use.