BACKGROUND: There is conflicting evidence on the benefits of foods rich in vitamin E (alpha-tocopherol), n-3 polyunsaturated fatty acids (PUFA), and their pharmacological substitutes. We investigated the effects of these substances as supplements in patients who had myocardial infarction. METHODS: From October, 1993, to September, 1995, 11,324 patients surviving recent (< or = 3 months) myocardial infarction were randomly assigned supplements of n-3 PUFA (1 g daily, n=2836), vitamin E (300 mg daily, n=2830), both (n=2830), or none (control, n=2828) for 3.5 years. The primary combined efficacy endpoint was death, non-fatal myocardial infarction, and stroke. Intention-to-treat analyses were done according to a factorial design (two-way) and by treatment group (four-way). FINDINGS: Treatment with n-3 PUFA, but not vitamin E, significantly lowered the risk of the primary endpoint (relative-risk decrease 10% [95% CI 1-18] by two-way analysis, 15% [2-26] by four-way analysis). Benefit was attributable to a decrease in the risk of death (14% [3-24] two-way, 20% [6-33] four-way) and cardiovascular death (17% [3-29] two-way, 30% [13-44] four-way). The effect of the combined treatment was similar to that for n-3 PUFA for the primary endpoint (14% [1-26]) and for fatal events (20% [5-33]). INTERPRETATION: Dietary supplementation with n-3 PUFA led to a clinically important and statistically significant benefit. Vitamin E had no benefit. Its effects on fatal cardiovascular events require further exploration.
In an unblinded trial of intravenous streptokinase (SK) in early acute myocardial infarction, 11 806 patients in one hundred and seventy-six coronary care units were enrolled over 17 months. Patients admitted within 12 h after the onset of symptoms and with no contraindications to SK were randomised to receive SK in addition to usual treatment and complete data were obtained in 11 712. At 21 days overall hospital mortality was 10.7% in SK recipients versus 13% in controls, an 18% reduction (p = 0.0002, relative risk 0.81). The extent of the beneficial effect appears to be a function of time from onset of pain to SK infusion (relative risks 0.74, 0.80, 0.87, and 1.19 for the 0-3, 3-6, 6-9, and 9-12 h subgroups). SK seems to be a safe drug for routine administration in acute myocardial infarction.
In 1993, Rensselaer introduced the first Studio Physics course. Two years later, the Force Concept Inventory (FCI) was used to measure the conceptual learning gain 〈g〉 in the course. This was found to be a disappointing 0.22, indicating that Studio Physics was no more effective at teaching basic Newtonian concepts than a traditional course. Our study verified that result, 〈gFCI,98〉=0.18±0.12 (s.d.), and thereby provides a baseline measurement of conceptual learning gains in Studio Physics I for engineers. These low gains are especially disturbing because the studio classroom appears to be interactive and instructors strive to incorporate modern pedagogies. The goal of our investigation was to determine if incorporation of research-based activities into Studio Physics would have a significant effect on conceptual learning gains. To measure gains, we utilized the Force Concept Inventory and the Force and Motion Conceptual Evaluation (FMCE). In the process of pursuing this goal, we verified the effectiveness of Interactive Lecture Demonstrations [〈gFCI〉=0.35±0.06 (s.d.) and 〈gFMCE〉=0.45±0.03 (s.d.)] and Cooperative Group Problem Solving (〈gFCI〉=0.36 and 〈gFMCE〉=0.36), and examined the feasibility of using these techniques in the studio classroom. Further, we have assessed conceptual learning in the standard Studio Physics course [〈gFCI,98〉=0.18±0.12 (s.d.) and 〈gFMCE,98〉=0.21±0.05 (s.d.)]. In this paper, we will clarify the issues noted above. We will also discuss difficulties in implementing these techniques for first time users and implications for the future directions of the Studio Physics courses at Rensselaer.
Consider the vast array of things around you, from the building you are in, the lights illuminating the interior, the computational devices mediating your life, the music in the background, even the crockery, furniture and glassware you are in the presence of. Common to all these objects is that their concrete, visual and technological forms were invariably conceived, modelled, finished and tested in sites characterised as studios. Remarkably, the studio remains a peculiar lacuna in our understanding of how cultural artefacts are brought into being and how ‘creativity’ operates as a located practice. Studio Studies is an agenda setting volume that presents a set of empirical case studies that explore and examine the studio as a key setting for aesthetic and material production. As such, Studio Studies responds to three contemporary concerns in social and cultural thought: first, how to account for the situated nature of creative and cultural production; second, the challenge of reimagining creativity as a socio-materially distributed practice rather than the cognitive privilege of the individual; and finally, to unravel the parallels, contrasts and interconnections between studios and other sites of cultural-aesthetic and technoscientific production, notably laboratories. By enquiring into the operations, topologies and displacements that shape and format studios, this volume aims to demarcate a novel and important object of analysis for empirical social and cultural research as well to develop new conceptual repertoires to unpack the multiple ways studio processes shape our everyday lives.
PROBLEM: Engaging communities in research increases its relevance and may speed the translation of discoveries into improved health outcomes. Many researchers lack training to effectively engage stakeholders, whereas academic institutions lack infrastructure to support community engagement. APPROACH: In 2009, the Meharry-Vanderbilt Community-Engaged Research Core began testing new approaches for community engagement, which led to the development of the Community Engagement Studio (CE Studio). This structured program facilitates project-specific input from community and patient stakeholders to enhance research design, implementation, and dissemination. Developers used a team approach to recruit and train stakeholders, prepare researchers to engage with stakeholders, and facilitate an in-person meeting with both. OUTCOMES: The research core has implemented 28 CE Studios that engaged 152 community stakeholders. Participating researchers, representing a broad range of faculty ranks and disciplines, reported that input from stakeholders was valuable and that the CE Studio helped determine project feasibility and enhanced research design and implementation. Stakeholders found the CE Studio to be an acceptable method of engagement and reported a better understanding of research in general. A tool kit was developed to replicate this model and to disseminate this approach. NEXT STEPS: The research core will collect data to better understand the impact of CE Studios on research proposal submissions, funding, research outcomes, patient and stakeholder engagement in projects, and dissemination of results. They will also collect data to determine whether CE Studios increase patient-centered approaches in research and whether stakeholders who participate have more trust and willingness to participate in research.
In recent years, various forces within and outside the music industry - record producers, hardware and software suppliers, and Internet service providers - have created techniques and tools that allow recording studios in remote locations to be networked in ever more complex and intimate ways. The effort behind the creation of the ‘network studio’ is, in part, the result of an overall progression in the historical development of the tools, architectures and practices of the contemporary recording studio. Studios do not exist in a musical or cultural vacuum, however: traditionally, music scenes, session musicians, and local aesthetics and practices have played an important role in the development of specific approaches to recording and have had an influence on the resulting sounds. But the rise of the network studio raises fundamental questions about such relationships and about the role of space and place in sound recording and, in this regard, can be considered as an expression of larger tendencies described within various theories of globalization. This paper addresses how the emergence of the network studio, with its emphasis on standardized technologies and practices and its reliance on the virtual space of network communications, may have an impact upon and/or work alongside conventional recording studio practices
Product innovation is the key revenue driver in the motion picture industry. Because major studios typically launch fewer than 20 movies per year, the financial performance of a single release can have a major effect on the studio's profitability. In this paper we study how single movie releases impact the investor valuation of the studio. We analyze the change in postlaunch stock price and predict the direction and magnitude of excess returns based on the revenue expectation built up for a movie release. That expectation is set, in part, by media support; i.e., highly advertised movies are expected to draw larger audiences than others. By using an event-study methodology, we isolate the impact of a movie launch on studio stock price and track the determinants of that change. We examine a comprehensive data set comprising over 300 movies released by the largest studios. Our results indicate a clear interaction between the marketing support received by a movie and the direction and magnitude of its excess stock return post launch. Movies with above average prelaunch advertising have lower postlaunch stock returns than films with below average advertising. Our findings also suggest that movies that are hits at the box office may result in a lowering of stock price if they had high media support because of high performance expectations built up prior to launch. Thus prelaunch advertising plays a dual role of informing consumers about a movie's arrival as well as helping investors form expectations about the studio's profit performance.
The studio-based method of teaching has been used for almost 100 years to teach product and architecture design. With ever increasing pressure on HCI to teach competence in designing interactive objects, new ways of teaching need to be explored. This article begins with a review of the studio-based teaching concept and how it has been used in architecture, science/engineering, and computer science education. We then present and discuss the evaluation of an HCI design studio course which we created and taught in spring 2002 in the Computer and Information Science Department of the University of Oregon. This course was based on our observations and study of studio courses in the School of Architecture. Finally, we review general issues about studio teaching including the promises and challenges that it presents to widespread acceptance in the computer science curriculum.
While the demand for college graduates with computing skills continues to rise, such skills no longer equate to mere programming skills. Modern day computing jobs demand design, communication, and collaborative work skills as well. Since traditional instructional methods in computing education tend to focus on programming skills, we believe that a fundamental rethinking of computing education is in order. We are exploring a new "studio-based" pedagogy that actively engages undergraduate students in collaborative, design-oriented learning. Adapted from architectural education, the studio-based instructional model emphasizes learning activities in which students (a) construct personalized solutions to assigned computing problems, and (b) present solutions to their instructors and peers for feedback and discussion within the context of "design crits." We describe and motivate the studio-based approach, review previous efforts to apply it to computer science education, and propose an agenda for multi-institutional research into the design and impact of studio-based instructional models. We invite educators to participate in a community of research and practice to advance studio-based learning in computing education.
TABLE OF CONTENTS INTRODUCTION PART I :The Rise of the Studio System, 1895 1930 Introduction to Part 1 -- The Making of a Studio System 1 - Adolph Zukor & Paramount 2 - Loew's/MGM 3 - Fox 4 - Warner Bros. 5 - RKO 6 - Universal, Columbia, & UA 7 - the Hays Office & the Academy PART II The Theatrical Era, 1930s, 1940s & 1950s Preface to Part 2 -- Studio Monopoly Power 8 - Paramount 9 - Loew's/MGM 10 - Twentieth Century Fox 11 - Warner Bros 12 - RKO & Disney 13: Universal, Columbia, & UA 14: Republic & Monogram 15: The Hays & Johnston Offices 16 - The Rise of Unions PART III The Rise of a New Studio System, 1960s-1980s Preface to Part 3 -- The New Studio System 17 - Universal & MCA 18 - Paramount & Gulf + Western 19 - Warner Communications 20 - Twentieth Century Fox 21 - Disney 22 - Columbia & Coca-Cola 23 - Failures 24 - Valenti & MPAA 25 - Unions & Agents CODA The Media Conglomerate System
Quantum physics once shocked scientists by revealing that particles can behave like waves—and now, that strange behavior has been pushed even further。 For the first time, researchers have observed wave-like interference in positronium, an exotic “atom” made of an electron and its antimatter partner, a positron。 This breakthrough not only strengthen
A surprising breakthrough in physics could reshape the future of computing by tapping into a strange, previously untapped property of matter。 Scientists have shown that tiny atomic vibrations—called chiral phonons—can directly transfer motion to electrons, allowing them to carry information without magnets, batteries, or even electricity。 This open
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A 150-year-old rule in geometry has been proven wrong。 Mathematicians found two different doughnut-shaped surfaces that look identical when measured locally but are actually different overall。 For decades, researchers suspected this might be possible but couldn’t prove it—until now
Astronomers have long been puzzled by a cosmic mystery: planets orbiting two stars—like Star Wars’ Tatooine—are surprisingly rare, even though they should be common。 New research suggests the culprit is none other than Einstein’s theory of general relativity
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Calling AI things like “smart” or saying it “knows” something might sound harmless, but it can quietly mislead people about what AI actually does。 A new study shows that news writers are more careful than expected, rarely using strongly human-like language。 When they do, it often falls on a spectrum—sometimes describing simple requirements, other t