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Background In much of preclinical medical education, the basics of science are still taught with little practical clinical application. I have been developing the use of a virtual patient simulator, SimMan, in large preclinical pharmacology lectures (>200 students). Use of SimMan allows students to apply their recently learned knowledge to simulated ‘real-life’ scenarios. Currently, simulation is primarily used in small group settings in clinical undergraduate and postgraduate training. 1 Colleagues in other institutions have used lecture theatre based simulations, with a few students controlling the scenario and the remainder observing. I aimed to develop pharmacy based simulations in a way that required the participation of the full lecture theatre. Methodology To enable the entire class to engage in clinical decision making, I employed split screen and interactive voting technologies. One screen projected SimMan’s vital signs; the other was linked to a Turning Point interactive quiz. At key clinical points throughout the scenarios, which included an acute asthma attack and anaphylaxis, students had to vote individually on the most appropriate course of action (e.g. which drug to use). The option with the most votes was applied to SimMan, and the students observed the physiological effects this had in real time. Outcomes Initial evaluation of this innovation has been overwhelmingly positive. Students noted that it demonstrates the effects of drugs in a more patient centred manner and enables them to see how the content of the course applies in clinical practice. Potential impact Engagement of students from the very first years of their medical education with realistic clinical scenarios will contextualise the importance of basic pharmacological principles. The more frequently students are guided through the clinical decision making processes surrounding the application of drugs the more likely they are to provide a higher quality of care when they encounter real patients. Reference Issenberg SB, McGaghie WC, Petrusa ER, Lee Gordon D, Scalese RJ. Features and uses of high-fidelity medical simulations that lead to effective learning: a BEME systematic review. Med Teach. 2005;27(1):10–28

This study investigates the use of face-to-face and computer-mediated peer review in an English as a Foreign Language (EFL) writing course to examine how different interaction modes affect comment categories, students’ revisions, and their perceptions of peer feedback. The participants were an intact class of 13 students at a Taiwanese university. The computer-mediated peer review involved OnlineMeeting, software specifically designed for peer review activities and featuring a split screen protocol, document sharing, and chat room functions. The results of chi-square tests show that overall students offered more revision-oriented comments than non-revision-oriented ones among different writing tasks in either mode. Also, peer review mode affected some types of peer comments to a certain extent. There were significantly more global alteration comments and fewer local alteration comments in face-to-face than computer-mediated mode. While the participants liked comments via Word’s annotation features over handwritten comments, they felt face-to-face discussions to be more effective than online chat via OnlineMeeting due to the affordance of face-to-face talk (e.g., immediacy and paralinguistic features), that cannot be easily replaced by electronic chat. Pedagogical implications regarding the balanced use of computer-mediated and non-computer-mediated writing activities are discussed, along with suggestions for future research.

Compared to televised debates using a single-screen format, such debates using a split screen presenting both debaters simultaneously show viewers the nonverbal reactions of each debater's opponent. The authors examined how appropriate or inappropriate such nonverbal behaviors are perceived to be. Students watched one of four versions of a televised debate. One version used a single-screen format, showing only the speaker, whereas the other three versions used a split-screen format in which the speaker's opponent displayed constant, occasional, or no nonverbal disagreement with the speaker. Students then rated the debaters' appropriateness. Analysis indicated that the opponent was perceived to be less appropriate when he displayed any background disagreement compared to when he did not. The students perceived the speaker as most appropriate when his opponent displayed constant nonverbal disagreement.

The cinema is inherently linked to a notion of space and time. Cameras, even digital, work on a 24 frames per second; scenarios describe for each scene when and where the action takes place… The editing is one of the tools who permit to represent the impression we have of space-time.

Many tasks performed in multiscale visual spaces require the user to have several foci. Using bimanual interaction, multitouch devices can facilitate the simultaneous definition and exploration of several foci. However, multitouch is rarely used for multifocus navigation, and may limit the interaction to a sequential definition of areas of interest. We introduce two novel navigation techniques that combine multiple foci and bimanual touch, and therefore enable the isochronic definition of areas of interest, leading to simultaneous multifocus navigation. SpaceFold folds the visual space in the third dimension, allowing users to bring objects closer to each other. Our technique enables a direct, bimanual manipulation of a folded space and therefore provides high flexibility. PhysicLenses uses multiple magnification lenses to compare objects. Using a physics model, PhysicLenses introduces a general solution for the arrangement of multiple lenses within the viewport. We conducted a controlled experiment with 24 participants to compare the techniques with split screen. The results show that SpaceFold significantly outperformed all other techniques, whereas PhysicLenses was just as fast as split screen.

Compared to televised debates using a single‐screen presentation, those using a split screen presenting both debaters simultaneously show viewers the nonverbal reactions of a debater's opponent. This study examined the effect of such reactions on viewers’ ratings of both the speaker's and the nonverbal communicator's veracity. Students watched one of four versions of a televised debate. One version used a single‐screen presentation, showing only the speaker, while the other three versions used a split‐screen presentation in which the speaker's opponent displayed constant, occasional, or no nonverbal disbelief regarding the content of the speaker's message. After watching the videos, students rated the veracity of the debaters’ communication. Analysis indicated that when the nonspeaking debater showed constant signs of disbelief, his communication was perceived as deceptive, while his opponent's communication was perceived as truthful. Moderate signs of disbelief lowered truthfulness ratings for both debaters’ communication. These results and their implications are discussed.

Mike Figgis’ film Timecode recounts 93 minutes in the life of a group of people living in Los Angeles (Timecode, 2000). The duration of the movie and of the events it relates coincide: the story is captured in one long take without intervals or cuts. Most surprising is the possibility of following more than one situation simultaneously: it was shot with four different digital cameras, and all four takes are presented contemporaneously, on one screen divided into four sections. Sometimes the plotlines of the various characters intersect with one another more or less haphazardly, and when this happens the camera that has been following one of the characters may shift to another character and follow him or her instead. At other points the plotlines converge, and we discover retrospectively the correlations. More often, however, the events proceed in parallel, without intersecting, but also without excluding the possibility of eventually crossing paths. We watch the stories in the four adjacent sections of the split screen, jumping from one to another, attempting to establish connections, selecting what seems to be the central point, at the mercy of the flow of images.

Przyglądając się fenomenowi podzielonego ekranu (split screen), autor najpierw opisuje historię jego analogowej wersji w kinie niemym, kiedy narzędzie to było czasami stosowane w scenach rozmów telefonicznych bądź snów albo w celu rozszerzenia czasoprzestrzeni o wewnętrzne sceny/ekrany. Następnie Syska skupia się na kinie postklasycznym i przedstawia analizę różnych form podzielonego ekranu w "Grand Prix" (1966) Johna Frankenheimera, "Sprawie Thomasa Crowna" (1968) Normana Jewisona czy w "Dusicielu z Bostonu" (1968) Richarda Fleischera. Ten specjalny rodzaj podzielenia ekranu można pojmować jako konsekwencję pojawienia się dynamicznej narracji, jako efekt wpływu technologii telewizyjnych oraz eksperymentów z obszaru media-artu. W trzeciej części eseju autor zastanawia się nad współczesnymi, cyfrowymi wersjami split screenu, rozpoczynając od "Ksiąg Prospera" (1991) Petera Greenawaya, a kończąc na "127 godzinach" (2011) Danny’ego Boyle’a i "Przypadkach Tracey" (2007) Bruce’a McDonalda. Głównym celem artykułu jest analiza podzielonego ekranu, który wydaje się odpowiedzią na ewolucję nowoczesnych sposobów komunikacji, a ponadto wiąże się ze zjawiskiem multiplikacji w procesie przekazywania informacji oraz z regresem spójnego i kompletnego w warstwie fabularnej i zasoprzestrzennej systemu komunikacji z odbiorcą. Split screen może być postrzegany jako naturalna forma opisu doświadczeń wizualnych w naszych czasach - jako ekwiwalent podzielonej kompozycji w okienkach aplikacji komputerowych, wiadomościach TV czy na bilbordach oraz multiplikacji we współczesnym systemie komunikacyjnym. The article examines the phenomenon of split screen. Firstly Syska describes the history of analogue split screen in silent cinema when this tool was sometimes used in scenes with phone conversations, dreams and intra-diegetic film screenings. Later, the author focuses on the post-classical cinema and presents the analysis of the various forms of split screen in "Grand Prix", "The Thomas Crown Affair" or "The Boston Strangler". This special kind of screen division is observed as a consequence of dynamic narration, influence of TV-style, and experiments in media art. The third part of the essay is concentrated on contemporary, digital split screen - beginning with "Prospero’s Books" and concluding with "127 Hours" and "The Tracey Fragments". The main purpose of the article is to analyze the split screen as a response to evolution of modern ways of communication, the phenomenon of multiplication in process of information delivery and the regress of single, integrated subject in narrative methods. Split screen can be perceived as the natural form of the description of visual experiences in our time - as an equivalent of the divided composition in computer window applications, TV news, billboard system and multiplicity in contemporary communication system.

the Divine Proportion has a dominant position in the picture composition; however, the picture perfect dichotomy screen out by its reasoning can not solve the massive distribution. In traditional quickly composition, due to the impact of 4:3 TV format, people are accustomed to the screen is divided into nine cells, because they are used by equipment manufacturers to provide the average split-screen "Wellshaped" dividing line; With the prevalence of 16:9 highdefinition TV and panoramic photography, photography cameraman shooting 16:9, this average segmentation approaches have failed to provide the composition with the help of. If you are still using the Divine Proportion different screen geometry segmentation, we can draw a dividing line position proportion that is consistent with the Divine Proportion in line with the physiological visual center of gravity of the human eye: 28:44:28; The new segmentation photography cameraman will provide a more convenient and quick reference picture composition. Keywordsdivine Proportion; rule of Thirds; location the visual center of gravity; the dividing line of the screen; position and scale I. THE DOMINANCE OF DIVINE PROPORTION IMAGE

This is a chapter about my body. It is a chapter about my body at rest, and my body at play. My body is insistently present when I sit, almost motionlessly, viewing, re-viewing, scrutinising and attending to frame-by-frame, fraction-of-a-second encounters with a film by Chantal Akerman. My body is also there when I observe, participate, hesitate, meander, wonder, shift and perambulate through an exhibition, also by Chantal Akerman. The static and moving body that is mine is the place from which my attentive regard for these films and moving image installations emerges and is made tangible in the visual, emotional and spatial environments of viewing.

Falling under the curious, wooden gaze of the turn-of-the-century Yoruban sculpture strategically displayed in the front lobby of Berlin’s Ethnological Museum several years ago produces a rather uncanny sensation for the museum’s visitors. After all, museums are generally thought of as places for people to look at objects rather than for objects to look at, and appear to take notes on, people. Peering curiously from its glass display cabinet at the slightly self-conscious passerby, the sculpture, labeled Writing European (Figure 1), represents a moment at which the European observer has been observed; the ethnographer rendered ethnographically interesting. While mirroring the inquisitive looking enacted by the typical museum-goer – a kind of ethnographic observer, twice removed – this effigy of the ethnographer simultaneously encourages us to reflect on the practices of observing, writing, and collecting that shaped the nineteenth-century ethnological museum, the objects that entered its walls, and the discipline they helped to authorize. As you approach the cabinet, in order to gain a closer view, it occurs to you that you look not into a mirror but rather into a “split screen of the self and its doubling”: your reflection in the glass and the sculpture that returns your gaze.1

Bien que son existence soit presque aussi vieille que le cinéma, l‘écran fragmenté (que les académiciens et autres professionnels du cinéma de langue anglaise désignent communément sous l‘appellation « split screen ») n‘a jamais fait l‘objet d‘analyses véritablement approfondies. Quand il est mentionné dans les livres d‘histoire, l‘écran fragmenté est rapidement esquivé. Pourtant, ses apparitions sont nombreuses. Ce mémoire de maîtrise cherche à corriger nombre d‘idées préétablies en exposant l‘histoire de cette manifestation visuelle, en commençant des débuts (le « cinéma des premiers temps ») jusqu‘à l‘arrivée du « cinéma numérique » du nouveau millénaire., Despite the fact its existence is almost as old as cinema itself, the fragmented screen (commonly known as « split screen » in the academic and professional world of the seventh art) has never been the object of serious and exhaustive analysis. When mentioned in history books, the fragmented screen is quickly eluded. And yet its appearances are numerous. This Master thesis aims at rectifying a number of pre-established ideas by exposing the history behind this visual manifestation, from early cinema to the arrival of digital films.

pMeasurements of water wave shapes with stereogrammetry methods require the identification of key features from a minimum of two viewpoints to determine surface topography. A technique that produces a matrix of laser beams from a single source through the use of a holographic lenslet array is described. The beams were used to produce a matrix of highlights on the water wave surface./ppStereogrammetry techniques were then employed to calculate the surface shape from the matrix of imposed highlight features. A laboratory demonstration of the technique is presented, and a discussion of its extension to field conditions is given. A split-screen viewing system was devised to permit the highlights from different angles to be viewed simultaneously with a single camera./p

This video is composed of two channels: the first depicts Tokyo and Saigon in small vignettes on a split screen while the second channel is another split screen image of a man and a woman in separate rooms each singing karaoke in a choreographed interplay of Japanese and Vietnamese/English. The tightly framed images of the cities provide the architectonics of an emergent Asian urbanism produced through shared histories of modern warfare and occupations often obscured by intense expansions and modulations of capitalist spatiality. This series of exterior images contrasts with the close view of the two singers solitary in their separate rooms, performing songs that bring the present-tense into sharp and melancholic proximity with histories rendered through pop narratives and the intimate technology of the karaoke machine.

This is the third in a series of experiments designed to investigate how best to scale robot controls and displays for dismounted Soldiers who need smaller and lighter devices. This study investigates the impact of three types of navigation map displays on navigation performance, using Soldiers from the Officer Candidate School (OCS) at Fort Benning, GA. After training to use the TALON Robot system, each Soldier completed navigation exercises using three navigation display configurations: a 6.5 in. split screen display with a driving display on top and a map display on bottom, allowing simultaneous or near simultaneous viewing; a 3.5 in. display in which the Soldier could toggle between the driving and map displays; and a multimodal 3.5 in. display using a tactile belt that transmitted directional information to the Soldier concurrently with the driving camera display (Soldiers could also toggle to the map display to determine TALON's specific location). The terrain, targets, and hazards were counterbalanced to control for the effect of learning. Display configuration and usability for robotic driving were evaluated based on objective performance data, data collector observations, and Soldier questionnaires. Findings indicated that Soldiers navigated equally effectively using the multimodal 3.5 in. and 6.5 in. split screen displays. Their performance with both the multimodal and split screen displays was better than with the 3.5 in. display that required toggling between the driving and map displays.

One of the challenges in designing an interactive cinematic experience is to offer interactive choices, which does not distract the user from immersion into the story. The interactive film Lost Cause focuses on the life of the main character explored through the perspectives of three characters. The correlated design of interface, interactions and narrative structure in Lost Cause uses different techniques to support an immersive yet engaging interactive story experience. One technique is to build an interface which encourages smooth viewer oscillation between the content of the story and interactivity of the interface. Another technique is challenged-based immersion created through viewer's navigation to discover the story. A user study was conducted to analyze how well interactions in Lost Cause affect viewer understanding and immersion into the story. The results from this study suggest the overall design is versatile and provides various degrees of viewer immersion.

Creative evolutionary systems are often concerned with producing images of high artistic quality. A key challenge to such a system is to be human-competitive by producing the same quality. Then, mimicking existing human artists could be seen as a canonical benchmark, not unlike the Turing test for intelligence. This chapter discusses two applications aimed at evolving images in the styles of two well-known Dutch painters: Mondriaan and Escher. For both cases we have an evaluation criterion based on “style-fidelity” as perceived and judged by the users. In other words, here we have a target style, which makes the (subjective) selection less free than in applications solely aiming at nice images. Technically, the Mondriaan evolver is less difficult, given that his most popular style “simply” uses horizontal and vertical lines, and primary colours to fill the resulting rectangles. The Escher evolver project is more challenging. First, because Escher’s style is less simple to capture. Second, the system is tested in vivo, in a real museum, posing requirements on the interface. We describe how to meet the style challenge based on the mathematical system behind Escher’s tiling. Designing a suitable representation and the corresponding variation operators based on this system specifies an appropriate search space guaranteeing the Escher style to some extent and leaving enough freedom for the selection. As for the second objective, we describe two versions that differ in the way the images are presented to, respectively evaluated by the visitors. The experiences gained during a six-month exhibition period in the City Museum in The Hague, The Netherlands, are discussed from the visitors’ perspective as well as from the algorithmic point of view and are illustrated with some “evolved Escher’s”.

In this paper, we describe our approach to the TRECVID 2007 BBC Rushes Summarization task. Our processing is composed of several steps. First the video is segmented into shots. Then, one-second video segments are clustered into similarity classes. The most important non-redundant shots are selected such that they maximize the coverage of those similarity classes. Then shots are dynamically accelerated according to their motion activity to maximize the content per time unit. Finally they are optimally grouped by sets of four to be presented using split-screen display. The summaries produced have been evaluated in the TRECVID campaign. We present a first attempt at automating the evaluation process.

The purpose of this chapter is to offer an alternative understanding of media—policy relations or the ‘CNN effect’ to that which has dominated existing political science approaches. In doing so, we show how our alternative ethnomethodological approach can shed more light on the original matter of concern. Hence, before we analyse media events, we must take a step back into sociological method. Through our ethnomethodological analysis of one case study — Fox News’ coverage of Hurricane Katrina — we examine how the television coverage was achieved. We explore the televisual construction of the event. It becomes clear how messy the coverage is, and therefore how any attempt to map out causal relations between ontologically discrete units, ‘media coverage’ and ‘policy decisions’, is problematic. In addition, we suggest that this messy, chaotic coverage creates uncertainty about what was happening and that terror was amplified by Fox News offering representations of connections between Hurricane Katrina and terrorism, economic insecurity, and health hazards.

In examining the television interaction order and the relationship between on-screen interactions and the off-screen perceptions of security of audiences and policymakers, the role of drama and documentary is particularly interesting. Woven into the schedules alongside news, these formats present renderings of many of the security salient events constituting news in recent years. Entertainment, as a cultural genre, is not antithetical to politics,1 despite Postman’s (1986) concern that we are Amusing Ourselves to Death (or to political stupidity). Elizabeth van Zoonen (2005) argues that entertainment can provide a context for viewers to contemplate their role as citizens and their political engagement; that entertainment can thereby make citizenship pleasurable (cf. Livingstone, 2005). Our audience analysis reveals the manner in which television viewers understand ‘actual’ events through analogy to television fictions. Some interviewees suggested they enjoyed being provoked to think ‘deeper’ about events by documentaries such as Panorama and the films of Michael Moore. If, as we argue in Chapter 8, citizens’ perspectives emerge from the interaction of their political, media, and experiential discursive realities, then drama and documentary are a part of anyone’s media discursive reality. This chapter features a comparative analysis, examining how drama and documentary remediate (critically or uncritically) actual security events present in news.

TV series are almost as old as the medium television itself and have often been held to be particularly conservative in content and simple in form. Recent years have, however, seen an emergence of formally innovative US productions, which toy with the conventions of the genre and recycle some of the more creative storytelling devices in cinematic history. 24 (2001-), created by Joel Surnow and Robert Cochran for the Fox Entertainment Group, is an example of this development. One of the many novel narrative devices is the time structure: in this espionage thriller about a US federal agent who tries to prevent a terrorist assassination attempt, ‘events occur in real time’, as the show’s leitmotif has it. The 24 one-hour episodes are supposed to add up to one very long day in the life of the characters. An analysis of 24 from the point of view of narratology, as it is pursued in this chapter, has to draw on the categories developed by film narratology while also taking into consideration the specific constraints of TV productions. Particular attention will be paid to those features of 24 that exploit media-specific possibilities of representation. Regarding the narrative devices employed in 24, we focus on the correlated workings of seriality and time structure, and narrating agencies and split screens.

Umberto Eco identifies as postmodern the need to acknowledge the repetition of past utterances, of familiar plots: I think of the postmodern attitude as that of a man who loves a very cultivated woman and knows that he cannot say to her, ‘I love you madly’, because he knows that she knows (and that she knows he knows) that these words have already been written by Barbara Cartland. Still, there is a solution. He can say ‘As Barbara Cartland would put it, I love you madly’. At this point, having avoided false innocence, having said clearly that it is no longer possible to speak innocently, he will nevertheless have said what he wanted to say to the woman: that he loves her, but he loves her in an age of lost innocence. (1985: 67)

Item does not contain fulltext A review of previous studies on children's comprehension of visual formal features did not warrant predictions about children's understanding of the formal features as used in three items from Sesamstraat, the Dutch version of Sesame Street. Therefore, a study was designed in which 45 children in the age range of 4-6 years watched the items and were interviewed. In the first item, a split screen was used to visualize simultaneity of actions. The second item used a subjective camera to suggest the construction of a home video by one of the characters. Version 1 of this item did not show the character while making home video, whereas Version 2 did show the character while filming. The third item contained a dissolve (Version 1) or a cut (Version 2) to indicate the end of a dream. A general conclusion was that although older children (mean age=5.9 years) understood the visual formal features better than younger children (mean age=4.4 years), the extent to which children in both age groups understood the visual formal features appeared to vary between items and versions. Most children in both age groups understood the split screen in the first item. The younger age group did not understand the subjective camera if the making of the home video was not shown. Both the younger and the older age group understood the version with the cut better than the original version with the dissolve. In the discussion, the question was addressed what the findings of this study and previous studies teach us about children's understanding of visual formal features in general.

Split Screen is a “flip book” with two stories under one cover. Attack of the Soul-Sucking Brain Zombies is told from the point of view of Russel Middlebrook, a gay high school student who is strug...

Compared to televised debates using a single-screen format, those using a split screen presenting both debaters simultaneously show viewers the nonverbal reactions of a debater's opponent. This study examined the effect of such nonverbal reactions on viewers' ratings of the nonverbal communicator's credibility. Students watched one of four versions of a televised debate. One version used a single-screen format, showing only the speaker, while the other three versions used a split-screen format in which the speaker's opponent displayed constant, occasional, or no nonverbal disagreement with the speaker. After watching the videos, students rated the opponent's credibility using the Source Credibility Scale of McCroskey, et al. Analysis indicated that nonverbal disagreement by the nonspeaking debater, especially when constant, lowered his ratings of competence, composure, and sociability, while constant disagreement decreased his ratings of character while increasing his ratings of extroversion. These results and their implications are discussed.

This package, which comes on three floppy disks with associated documentation, provides a large bank of resource material for teachers to use in preparing students for the NEAB examination syllabus (Years 10 and 11). The version tested covered the requirements of syllabuses 1201 - Co-ordinated Science (Physics) and 1181 - Single Physics. Topics applicable only to Higher level and/or Single Physics extra topics are clearly identified. A separate version is available covering syllabus 1206 - Modular science (Physics). The core of the material consists of 66 worksheets grouped according to six broad topics (electricity, forces, waves, space, power and radioactivity), ready for printing and distributing to students as classroom activity or homework. An individual worksheet is a self-contained item, which students can work through at their own pace but should be able to complete in about half an hour. The presentation is clear, although the fact that each sheet has been designed to print neatly within a single A4 portrait format page makes the layout slightly cramped on occasion. Diagrams are simple but bold and attractive. There is a great variety of material presented, with plenty of examples based on real life situations and applications. Eventually a student's completed worksheets will build into a useful portfolio of material, which is likely to appear more accessible for revision purposes than a textbook. Virtually all the sheets begin with simple sentence completion exercises, designed to give even weaker students an encouraging start. Thereafter, there are a wide variety of exercise types, to give students experience of the range of question formats they might face in the exam. These include graph plotting and interpretation, calculations and data analysis, labelling or completion of diagrams and explaining devices or situations; in the case of this last category of question, a list of salient facts is provided in the form of short notes. An excellent feature is the clear distinction that is made between formulae that will be given in the exam - which students simply have to be able to use - and those they are required to recall; although the latter are provided on the worksheets, enabling students to tackle the exercises without recourse to other texts, they are always accompanied by warning statements that these equations do eventually have to be memorized. Revision sheets with information and rubrics presented exactly as they would be in the exam allow a check that the essential equations have indeed been learned. Answer sheets are also provided. These follow a `template' style, which is labour-saving for the teacher, and for convenience mark schemes allocate a total of 20 marks to each sheet. Answers are given for all questions, with full working shown for many of the numerical ones, although this is somewhat spare in places and often non-existent for the formats that require students to complete a table of values. The authors suggest that the answer sheets could equally well be distributed to students so they can mark their own work and obtain `constructive feedback'. However, some of the answers are not very user-friendly, and points such as the importance of showing the working, attaching units to physical quantities, etc, tend to be emphasized through the mark scheme rather than through model answers. Further explanations from the teacher would certainly be necessary to supplement the answer sheets for students with areas of real weakness. The templates also include a useful set of pro-forma sheets for recording performance by topic, both for a class and as personal scores for each student - a genuine aid for the teacher in identifying areas on which particular students need to concentrate. The package itself is extremely easy to navigate. A split screen layout allows the user to interact with the contents lists and a couple of mouse clicks bring up any individual sheet for preview. An interactive index allows searches to be made by keyword, a facility that was greatly appreciated by this reviewer as some of the groupings within the contents list were not immediately helpful to someone unfamiliar with this particular syllabus. (For example, worksheets on thermal energy and convection appear in the `Power' folder.) The index is very comprehensive: for instance, the term `critical' retrieves critical overload current, critical breakdown, chain reaction going critical and critical angle. As a backup for teachers this package has a great deal to offer, and although it is designed to fit one specific syllabus it could be used flexibly in many classes for tests or revision, or simply as a source of ideas and questions. It provides a good variety of material and will certainly help to reduce preparation and marking times for overloaded teachers. The answer sheets are probably too minimalist for the package to be used extensively by students as learning tool without supporting feedback from a teacher, but then the package is clearly designed for classroom use. Any school physics department would find it an excellent addition to their resource.

Compared to televised debates using a single-screen format, those using a split screen, i.e., those showing both debaters simultaneously, provide viewers greater access to the nonverbal reactions of a debater's opponent. This study examined the effect of such nonverbal reactions on viewers' perceptions of a speaker's credibility. Students watched one of four versions of a televised debate. One version used a single-screen format, showing only the speaker, while the other three versions used a split-screen format in which the speaker's opponent displayed constant, occasional, or no nonverbal disagreement with the speaker. After watching the videos, students rated the speaker's credibility. Analysis indicated that the speaker was given significantly higher character and competence ratings when his opponent was in constant disagreement than when his opponent was not shown or when his opponent indicated moderate and no disagreement. Moreover, the speaker was given significantly higher ratings for composure and sociability when his opponent was in constant disagreement than when his opponent was not shown or when his opponent indicated no disagreement. These results and their implications are discussed.

The clinical diagnosis of narcolepsy often depends on the coexistence of pathologic sleepiness and cataplectic attacks. We present a case of narcolepsy unequivocally diagnosed after daytime, split-screen, video-polysomnographic monitoring captured a prolonged cataplectic event during which the patient was coherent, conversant, and in electroencephalographic rapid eye movement sleep.

A standardized acquisition methodology assists operators to accurately replicate high resolution B-mode ultrasound images obtained over several spaced-apart examinations utilizing a split-screen display in which the arterial ultrasound image from an earlier examination is displayed on one side of the screen while a real-time “live” ultrasound image from a current examination is displayed next to the earlier image on the opposite side of the screen. By viewing both images, whether simultaneously or alternately, while manually adjusting the ultrasound transducer, an operator is able to bring into view the real-time image that best matches a selected image from the earlier ultrasound examination. Utilizing this methodology, dynamic material properties of arterial structures, such as IMT and diameter, are measured in a standard region over successive image frames. Each frame of the sequence has its echo edge boundaries automatically determined by using the immediately prior frame's true echo edge coordinates as initial boundary conditions. Computerized echo edge recognition and tracking over multiple successive image frames enhances measurement of arterial diameter and IMT and allows for improved vascular dimension measurements, including vascular stiffness and IMT determinations.

These studies aim to evaluate respiratory muscle authors have developed a real time system for function in childhood by observing regional capturing dynamic pictures of the breathing cycle of motions of the body surface during breathing. The patients using a pair of video-cameras, a two stereophotogrammetric analysis of biological forms channel split screen vision controller and a video- in medicine has been usefully employed for many cassette recorder with digital storage and effects, all years. Generally the methods previously adopted mounted on a custom built hospital cot. The have involved the measurement of conventional images to be measured are selected by viewing the photographs in comparators. Although these split screen in dynamic stereoscopic mode and methods have proved successful, the procedures are selected images are captured on an IBM personal very time consuming and this severely restricts computer equipped with video frame grabbers. their application to physiologic studies. The images to be measured are selected by viewing the split screen in dynamic stereoscopic mode and selected images are captured on an IBM personal computer equipped with video fram grabbers.

A standardized acquisition methodology assists operators to accurately replicate high resolution B-mode ultrasound images obtained over several spaced-apart examinations. The methodology utilizes a split-screen display in which the arterial ultrasound image from an earlier examination is displayed on one side of the screen while a real-time “live” ultrasound image from a current examination is displayed next to the earlier image on the opposite side of the screen. A computerized echo edge recognition and tracking methodology automatically identifies ultrasound echo boundaries of the intima-media complex and automatically extracts IMT and arterial dimension measurements, without introducing human measurement error. Measurement accuracy is enhanced by use of sub-pixel resolution for echo edge boundary definition. Utilizing this methodology, measurement of vascular dimensions, such as carotid arterial IMT and diameter, the coefficient of variation is substantially reduced to values approximating from about 1.0% to about 1.25%. Dynamic material properties of arterial structures are measured in a standardized region in accordance with a standardized methodology in order to promote measurement repeatability.

A historical essay is presented relating concepts of epilepsy, hysteria, and "possession." The designation "hysteroepilepsy" is placed into the context of combined phenomena in individual subject instances. An association of psychotic states resembling a schizoprenic disorder is indicated as occurring in certain epileptic patients, especially some complex partial seizures (i.e., temporal lobe-psychomotor type). Phenomena of possession may appear within any of these entities. Differential diagnosis now is aided greatly by ulilization of monitoring with combined split screen television viewing and recording of the patient's behavior and the concomitant electroencephalogram. Treatment is directed both medically and toward alleviation of contributing and precipitating psychological and sociological factors.

Eight experienced typists worked two full days in a VDT workstation using either a hard copy-screen or split screen data presentation and a light or dark character CRT display. Each of the four conditions was run one half day, using a data entry and a file maintenance task. An Applied Science Laboratory 1998 computer controlled eye monitoring system collected eye scanning and pupil diameter data. Keystrokes per minute and errors per file were monitored by an Apple II computer which was also driving the IBM 3101 VDT (with glare filter). At the beginning and end of each 90 minute work session (separated by a 15 minute rest break or a 45 minute lunch break), the subjects answered 9 ocular and 9 musculoskeletal comfort/discomfort questions displayed on the screen. The results of this study show that the percentages of time, the number of dwells per minute, the dwell times of the subjects looking at different areas of the VDT workstation (screen, document, keyboard, outside), and the typing performance are closely the same for both screen polarities and there is no evidence that screen polarity affects any of these measures in a practically and statistically significant manner. There are also no practically and statistically significant differences for the pupil diameters. However, there appears to be a small but consistent trend which indicates slightly smaller pupil diameters when the dark characters with the light (green) background CRT display was used. The subjective discomfort questionnaire results do not reveal any significant differences in either ocular or musculoskeletal discomfort scores while using either the light or the dark character CRT display. Therefore, one might use either a light or a dark character CRT display and can expect very similar VDT operator eye scanning behavior, typing performance, discomfort scores and pupil diameters as long as a sufficient character-background luminance contrast is provided. If one wants to consider engineering factors such as longer tube life one should specify the use of light characters on a dark background VDT screen (negative polarity).

The purpose of this study was to investigate the effects of the format used to display on-line help (full screen, split screen and windowed) on user performance and attitudes. Three prototypes of a programmer's editor were developed. The first prototype provided help in full screen format. The second prototype provided split screen help and the third windowed help. It was hypothesized that user performance would be best with windowed help, and that attitudes would be most positive toward windowed help. In addition it was believed that windowed help would fare best because it would allow users to see and work with about two-thirds of the product screen while the help was displayed. Forty-five application programmers participated. Each subject performed three editing tasks using one form of on-line help. No significant differences in performance or attitude were found between those who used full screen, split screen and windowed help. However, comments made by subjects during the assessment suggest...

Six subjects, all experienced typists, were tested during two full working days in a VDT workstation using two different data presentation modes - from hardcopy to screen and split screen - and a mixture of data entry and file maintenance tasks. The results of this exploratory study indicate that looking for more than 80% of the time at the screen when using a split screen as compared to looking less than 40% at the screen when using a hard copy resulted only in small or no additional increases in both the visual and the musculoskeletal discomfort scores. The subjects maintained a similar overall performance for both data presentations. Based on these results we may conclude that 1) the amount of time looking at the screen appears to have no major influence on both visual and musculoskeletal comfort/discomfort, and that 2) a regimen to adequately reduce the work-stress in continuous VDT work should focus on the duration of uninterrupted constrained sitting while the screen viewing time should not be consi...

Relationships among display forms, visual acquisition, and worker productivity are not well understood. This research investigated three methods of using the VDT with and without hardcopy, with a productivity ratio of seconds per correction as the dependent performance measure for a simplified editing task Three treatment conditions were used. 1) (HR) the manuscript to be edited (target manuscript) was displayed on the VDT with the subject positioning the hardcopy (source manuscript) by preference; 2) (HF) an experimental method with a fixed position source manuscript directly below the VDT; and 3) (SS) an experimental method using 2 windows to display the target manuscript in the top half of the screen and the source manuscript in the bottom half The experimental hypothesis was that the split screen method would provide a significantly more productive method of display than the others The counterbalanced design used four groups of 12 subjects, each performing one of the hardcopy conditions and the split screen condition Findings indicate that the SS method is not more productive than the others, regardless of hardcopy placement Paired t-tests show that productivity improves significantly in both hardcopy conditions following the SS method ANOVAs show that the task order is significant in accounting for productivity variances but prior experience is not

An experimental and control group pretest-posttest design was used to determine the effects on subjects’ focus during playback of a self-evaluation model for use by student teachers in conjunction with split screen videotape feedback. A two-way multivariate analysis of variance with repeated measures indicated no significant difference in overall group effect nor in interaction between groups and pre-post effect. However, a significant difference emerged for the pre-post effect (.0001 level), indicating that the focus reaction of both groups changed significantly from the pretest to the post test. The model seemed to have no impact of any note, but the viewing process itself appeared to evoke a change in focus on the part of subjects.

A method is described for configuring an Apple II+ or Apple IIe computer to create a multiuser, multiwindowed, electronic messaging system for use in computer-mediated communication research.