The effects of self-recording bites and weight on subsequent weigh t was assessed utilizing a single-subject design. Subjects were exposed to a similar sequence of conditions which included: (1) weekly weigh-ins, ( 2) self-recording daily weights, (3) a control for observation, (4) self-recording bites, and finally (5) a reversal condition in which subjects stopped recording bites but continued recording weights and meeting for weekly weigh-ins. No significant weight reductions occurred in conjunction with weekly weigh-ins, self recording daily weights, or the control for observation. Five of the six subjects lost more than 2 pounds while recording bites along with monitoring daily weights and weekly weigh-ins. During reversal, 5 of the 6 subjects maintained the weight loss over the 2 to 4 week condition. variables related to the interaction between self-recording bites and eating were suggested as a possible explanation for the results.

Thesis. 1977. B.S.--Massachusetts Institute of Technology. Dept. of Interdisciplinary Science. / MICROFICHE COPY AVAILABLE IN ARCHIVES AND SCIENCE. / Includes bibliographical references. / by Mark P. Abbate. / B.S.

This thesis is divided into two general sections. The first deals with the theory of digital magnetic recording and surveys the more common techniques used in digital magnetic tape recording. A new recording format is described which leads to a greater data rate at normal recording densities. The design and implementation of a recording system using this technique is described. The second section outlines the design of a portable digital recording system compatible with the peripheral unit described in section 1. The application of this system to the acquisition of data from a radioisotope scanner used in nuclear medicine is described and some basic results obtained from the system are demonstrated. Fundamental work towards image enhancement is outlined. / Thesis / Master of Engineering (ME)

The exchange of topology information is a potential attack target in mobile ad-hoc networks. To provide an intrinsic security mechanism, it is possible to validate topology advertisements in the control plane against records of the path taken by transmission in the data plane. In this work, different path recording mechanisms are discussed. Their performance - in terms of packet overhead and reconstruction complexity - is analyzed and evaluated.

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This thesis is an attempt to make use of as much technical knowledge as seems pertinent to a musician attempting to reproduce music with the utmost of realism and faithfulness to the original sound. The experiments and research that have gone into this thesis cover the years between 1940 and 1955, a period involving a world war and its many technical advancements, including the now commercially practical wire and tape recorders and the first laboratory development of a completely electronic recorder which has no moving parts and uses a film recording that can be reproduced as easily as a large photograph. In confronting such rapid technological development, the writer is convinced that the only lasting benefits this thesis might possess are toward furthering the education and conception of the musician and the technician in some of the physical, technical, musical, and psychological, problems which must be faced before reproduced music can be truly satisfying to the critical listener. The fact is that electronic technicians and engineers know too little about music and the musician knows too little about the science of electronics. It is this writer's opinion that each must study the other's field. The individuals who can achieve a fusion of the science of music reproduction and the art of music will approach the problems of dealing with musical sound with technical facility and musical sensitivity. [It is hoped that through this thesis the reader will be stimulated to pursue the subject still further.] The possibilities in the future are fascinating to consider, and there seem to be unlimited opportunities open to the enterprising individual in radio, television, the film industries, and the home.

The use of audio recording and playback as a way of consuming music has become as widely accepted as the use of a concert stage. Many professional classical ensembles task themselves with producing recordings regularly. At the same time, it is becoming more necessary for performing musicians to have the skills and understanding of recording technology to create their own content and evaluate their playing and the playing of others. While many publications provide detailed knowledge and assistance for recording violins, guitars, and voices, little attention has been given to the bassoon. The historical context for how the bassoon has developed within the realm of recorded music remains unexplored. Additionally, the acoustic characteristics of the bassoon are oftentimes generalized with the qualities of other woodwind instruments, and the techniques employed by audio engineers and recording studios are not analyzed in the context of the instrument’s unique properties. The purpose of this paper is to provide bassoonists and audio engineers with a more comprehensive understanding of how the bassoon performance behaves in the recorded environment. Information regarding historical background, instrumental acoustics, and recording techniques will be compiled and uniquely centered around the experience of recording the bassoon. In addition, observational analysis of recorded performances will verify hypotheses made by the compiled research and demonstrate how recordings may be analyzed through the lens of this newly acquired information. The result of this research is a collection of unique instances, from both the past and present, of interaction between bassoon performance and the recorded medium which have otherwise been unappreciated. / Music Performance

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