Objectives: To assess the subjective and objective performance of the new fine structure processing strategy (FSP) compared to the previous generation coding strategies CIS+ and HDCIS. Methods: Forty-six adults with a minimum of 6 months of cochlear implant experience were included. CIS+, HDCIS and FSP were compared in speech perception tests in noise, pitch scaling and questionnaires. The randomized tests were performed acutely (interval 1) and again after 3 months of FSP experience (interval 3). The subjective evaluation included questionnaire 1 at intervals 1 and 3, and questionnaire 2 at interval 2, 1 month after interval 1. Results: Comparison between FSP and CIS+ showed that FSP performed at least as well as CIS+ in all speech perception tests, and outperformed CIS+ in vowel and monosyllabic word discrimination. Comparison between FSP and HDCIS showed that both performed equally well in all speech perception tests. Pitch scaling showed that FSP performed at least as well as HDCIS. With FSP, sound quality was at least as good and often better than with HDCIS. Conclusions: Results indicate that FSP performs better than CIS+ in vowel and monosyllabic word understanding. Subjective evaluation demonstrates strong user preferences for FSP when listening to speech and music. / Dieser Beitrag ist mit Zustimmung des Rechteinhabers aufgrund einer (DFG-geförderten) Allianz- bzw. Nationallizenz frei zugänglich.

This thesis aims to study the commercial mechanism of Ravenna in the Late Antiquity from the point of view of the amount, type and provenance of the imported stone artefacts (fragments of architectural decoration, revetments slabs, opus sectile, sarcophagi), based on the study of archaeological material from the site of the basilica and the monastery of San Severo in Classe (Ravenna). Ravenna represented an important administrative and cultural center in the 5th and 6th century, connecting western and eastern artistic influences and focusing herself on trade and production. Determination of the stone artefacts from the San Severo locality was principally based on the archaeometric methods and on the combination of archaeologic and geologic approach as well. Specific archaeometric methods (macroscopic, geochemical and mineralogical-petrographic analyses) together with a quantitative evaluation were applied. Many scientific works, dedicated till this time to the art history of late antique Ravenna and dealing also the argument of ravennate "marbles" presumed the prevailing provenance from Proconnesos and usual commercial relations between Ravenna and Constantinople as well. Constantinople played a role of a mediator of oriental localities and Ravenna. The hypothesis concerning the provenance of the...

Objectives: To assess the subjective and objective performance of the new fine structure processing strategy (FSP) compared to the previous generation coding strategies CIS+ and HDCIS. Methods: Forty-six adults with a minimum of 6 months of cochlear implant experience were included. CIS+, HDCIS and FSP were compared in speech perception tests in noise, pitch scaling and questionnaires. The randomized tests were performed acutely (interval 1) and again after 3 months of FSP experience (interval 3). The subjective evaluation included questionnaire 1 at intervals 1 and 3, and questionnaire 2 at interval 2, 1 month after interval 1. Results: Comparison between FSP and CIS+ showed that FSP performed at least as well as CIS+ in all speech perception tests, and outperformed CIS+ in vowel and monosyllabic word discrimination. Comparison between FSP and HDCIS showed that both performed equally well in all speech perception tests. Pitch scaling showed that FSP performed at least as well as HDCIS. With FSP, sound quality was at least as good and often better than with HDCIS. Conclusions: Results indicate that FSP performs better than CIS+ in vowel and monosyllabic word understanding. Subjective evaluation demonstrates strong user preferences for FSP when listening to speech and music. / Dieser Beitrag ist mit Zustimmung des Rechteinhabers aufgrund einer (DFG-geförderten) Allianz- bzw. Nationallizenz frei zugänglich.

No description available.

The internal unity of the themes in a sonata-allegro movement and the external unity of the movements in a sonata cycle are crucial elements of Beethoven's compositional aesthetic. Numerous theorists have explored these aspects in Beethoven's sonatas, symphonies, quartets, and concertos. Similar research into the independent variation sets for piano, excluding Opus 120, has been largely neglected as the result of three misconceptions: that the variation sets, many of which were based on popular melodies of Beethoven's time, are not as worthy of study as his other works; that the type of hidden internal relationships which pervade the sonata cycle are not relevant to the variation set since all variations are, by definition, related to the theme; and that variations were composed "additively," that is, one after another, without any particular regard for their order or relationship to one another. The purpose of this study is to refute all three of these incorrect assumptions. Beethoven was concerned with the order of variations and their relationship to one another, and he was able to transcend the additive tendency in a number of ways. Some of his methods included registral connection, registral expansion, rhythmic acceleration, textural expansion, dynamics, articulation, and motivic similarities. Chapter I contains a discussion of the role of the variation set in Beethoven's overall output. The teachers, composers, and works which may have influenced him are also discussed as well as his training in variation composition. Finally, those factors which Beethoven employed to unify his sets are listed and explained. Chapters II-V are devoted to detailed analyses of four striking variation sets: Opus 34, Opus 35, WoO 80, and Opus 120. Chapter VI presents a summary of the findings. It suggests that each of the sets investigated has a unique form and that each variation has a distinct place and purpose.

Purpose Conventional arm-prosthesis are expensive to make and therefore limit the availability for users on the geographical locations there the user pays for it. This study compares the hand function of a 3D-printed prosthesis with lower production cost with a traditional prosthesis. Method A test person performed two different tests of hand function (Box and Block test and Nine-hole peg test) with a myoelectric trans radial prosthetic arm and a body powered 3D printed trans radial prosthetic arm. The test person also answered two parts of the orthotics and prosthetics users’ survey (OPUS) considering both prosthetic arms. Result The 3D-printed prosthesis performed worse than the traditional prosthesis in the two tests of hand function and generally worse in the questionnaire about the function of the prosthesis. Though it got higher values in comfort and affordability. Conclusion There was a significant difference in function between the 3D-printed prosthesis and the myoelectric prosthesis but the printed prosthesis could perform many activities in daily living. Whether the 3D-printed prosthetic device is priceworthy or not is hard to measure because of different criteria, therefore a conclusion is hard to reach.

Die Folien skizzieren einen Projektantrag, der (2008 und überarbeitet 2009) bei der Deutschen Forschungsgemeinschaft DFG eingereicht wurde. Absicht der beiden Antragssteller, des Instituts der Gesellschaft zur Förderung der Angewandten Informationsforschung (IAI, http://www.iai.uni-sb.de/iaide/index.htm) und der Saarländischen Universitäts- und Landesbibliothek (SULB, http://www.sulb.uni-saarland.de), war es, die am IAI entwickelte Software AUTINDEX zur halbautomatischen Verschlagwortung in Open-Access-Repositories einzubinden. Da Autoren große Mühe mit der Verschlagwortung ihrer Dokumente nach der Schlagwortnormdatei (SWD) haben, sollten sie, ganz im Sinne des "Easy Submission"-Postulats, beim Enspielen der Dokumente unterstützt werden. Mit Hilfe einer linguistisch intelligenten Software sollten automatisch Schlagwörter aus der SWD zu einem eingereichten Dokument erzeugt und dem Autoren angeboten werden. Dieser hätte anschließend entschieden, welche der angebotenen Schlagwörter er dem Dokument zuweisen möchte. Der typische Workflow beim Einspielen von Dokumenten verlangt vom Autor das Ausfüllen eines Metadatenformulars, idealerweise inklusive der Beschreibung mit SWD-Schlagworten. Da die SWD den Autoren nicht vertraut ist, vergeben diese meist unexakte, zu grobe oder falsche Schlagworte - oder solche, die in der SWD nicht existieren. Daher wird ein aufwändiges Nachbearbeiten seitens des Serverbetreibers nötig, der zwar über Expertise in der SWD-Nutzung verfügt, allerdings das Dokument nicht so exakt beschreiben kann wie es dem Autoren möglich wäre. Für ein exaktes Retrieval wäre es sinnvoll, wenn die Wissenschaftler selbst eine exakte Verschlagwortung vornähmen. Die im mittlerweile leider abgelehnten Antrag geplante prototypische, offene und nachnutzbare Einbindung einer Software zur automatischen Vergabe von SWD-Schlagworten hätte eine erhebliche Erleichterung des Veröffentlichungs- und Bearbeitungsprozesses einerseits und eine Verbesserung der Metadatenqualität andererseits gesichert.

La presente tesis tiene como fin realizar un estudio de un escrito dejado sin culminar por Kant, constituyendo su último intento de escribir una obra. Ha pasado a denominársele Opus postumum. De estos pliegos, pertenecientes al llamado Nachlass1 , publicados de un modo completo entre los años 1936-38 en la edición de las obras completas de Kant, preparada por la “Academia de las ciencias” de Berlín, tomos XXI y XXII, voy a concentrarme en un aspecto particular: me dedicaré a estudiar de estos legajos particularmente su idea de sistema, un tema al cual Kant le dedicó mucha atención, en especial en los últimos legajos.

Trotz der bahnbrechenden Analyse von Heinrich Schenker, der beeindruckenden Untersuchung der Skizzen durch William Drabkin und der jüngsten analytischen Übersichten von William Kinderman ist der Variationssatz von Beethovens Klaviersonate Nr. 32 in c-Moll, Opus 111, nach wie vor nur teilweise verstanden. Eine erneute Untersuchung dieses Werks im Hinblick auf klangliche Effekte, die auf dem Originalinstrument, für das es komponiert wurde, hörbar sind, legt eine insgesamt dreiteilige dramatische Aufteilung nahe, die der Form eines Auferstehungsdramas entspricht, in dem ein Thema lebt, stirbt und in der Apotheose wiederkehrt. Diese Schlussfolgerung stützt sich auf Tonaufnahmen, die auf Beethovens originalem Broadwood-Fortepiano in Budapest und ähnlichen Instrumenten in Bonn und Kalifornien gemacht wurden. Recherchen in Beethovens Manuskripten und Skizzen stützen die in diesem Aufsatz dargelegten Schlussfolgerungen. / Despite Heinrich Schenker’s groundbreaking analysis, William Drabkin’s impressive examination of the sketches and recent analytical overviews by William Kinderman, the variation movement of Beethoven’s Piano Sonata No. 32 in c minor, Opus 111 remains only partially understood. A re-examination of this work in terms of timbral effects audible on the original instrument for which it was composed suggests an overall three-part dramatic division corresponding to the form of a resurrection drama where a theme lives, dies and returns in apotheosis. This conclusion is based upon sound recordings made on Beethoven’s original Broadwood fortepiano located in Budapest and similar instruments in Bonn and California. Research into Beethoven‘s manuscripts and sketches support the conclusions presented in this paper.

This thesis asks how the curatorial framing of medieval objects - the processes of selection, classification, display and interpretation - affect how medieval objects are made legible within the museum. It investigates how different collectors and curators have deployed medieval objects over a period of two hundred and fifty years of museological practice. Throughout this history, medieval objects have been appropriated within a range of museological narratives that have positioned them variously as objects of curiosity, utility, scientific analysis, nationalistic interest and as sites of scholarly and popular attention. My purpose is to inquire how the epistemological re-positioning of objects is articulated through their presentation within the framework of the collection, museum or temporary exhibition and to question how the mechanics of display facilitate particular readings of medieval objects. I then consider how certain curatorial approaches may produce unintended effects that render the medieval object illegible or problematic in unexpected ways. I also acknowledge that unforeseen exhibitionary outcomes may not be solely due to the effects of curatorial intervention but may be wrought by the agency of objects themselves. This thesis therefore examines medieval objects as active participants that play a crucial role in influencing the communication of curatorial objectives and in affecting how they may be apprehended through exhibitionary practice. The thesis examines sixteen chronologically presented case studies, beginning in the mid eighteenth century and concluding in the early twenty-first century, that represent important or influential episodes in the history of the display of medieval art. It traces a selective history of the various ways medieval objects have been culturally positioned at particular points in time to reveal how curatorial techniques have worked to reinforce or undermine the perception of medieval objects as carriers of specific meanings. Through the examination of historical approaches to the display of medieval objects I reveal how familiar tropes of display, such as the use of specific lighting techniques and stained glass have characterized the museological staging of medieval objects and how these have endured into the twenty-first century. Drawing on performance theory, material culture theory and sensory theory I identify how the biographical histories, material characteristics and sensory properties of medieval objects have been re-activated or suppressed by curators to encourage audiences to engage with them in specific ways. This theoretical approach reveals a previously unacknowledged sensory cultural history of engagement with the medieval object and highlights how historical approaches that have privileged embodied engagement with objects continue to inform contemporary museological practice. I also draw on Actor-Network theory to illuminate how medieval objects may be understood as active agents within the chain of correspondences that links people, objects and exhibitions at particular points throughout this history. In this way I delineate an exhibitionary landscape through which we can understand medieval objects as multi-authored and polysemic entities but principally as the products of exhibitionary practice.