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To evaluate whether there are differences among orthodontists in the clinical management of facemask treatment for early treatment of Class III malocclusion, a survey consisting of 16 questions was conducted among members of the Italian Society of Orthodontics (SIDO). Sixty percent of the respondents were Specialists in Orthodontics (S) whereas 40% were General Dentists practicing Orthodontics (GD). Descriptive statistics were calculated to summarize the collected data. Differences in answers between S and GD were assessed with the Fisher's exact test for dichotomous variables, chi-square test for qualitative variables, and Mann–Whitney test for ordinal variables. A total of 151 clinicians participated in this survey. As for treatment timing, about 80% of the participants reported treating Class III patients with RPE and facemask between 5 and 8 years of age. Most of the participants requested the patients to wear the facemask in the afternoon and at night for a period of 9 or 12 months with recommended forces of 500 g per side. Comparisons between S and GD showed that S preferred the Petit facemask whereas GD favored the Delaire's type facemask (Fisher's Exact test, p = 0.0005). S and GD also differed significantly in their judgment of the most critical time of treatment, which for the majority of GD was the initial period but for the S was the final period (Chi-square test p = 0.0188). This survey showed that the facemask is not well received by the patients who, along with their parents, express concerns regarding its tolerability. [ABSTRACT FROM AUTHOR]

ICOM (International Council of Museums) envisions a role for the museum as an accessible and inclusive institution open to the public, which operates professionally and with the participation of communities. This vision requires research and practice to be fully implemented. The paper illustrates the participatory ideation and evaluation of new museum services that are inclusive and accessible for people who cannot visit the museum due to disability and age-related impairments. It illustrates the co-design process carried out within the EU project BeauCoup, which aims to make the cultural heritage accessible beyond the museum’s walls. This objective implies that the museum must play a key role in promoting inter-institutional partnerships between the cultural and the social sectors to engage marginalised communities. The paper describes the approach and the outcomes of the co-design process which involved various stakeholders and institutions, offering a reflection on the benefits and shortcomings of the approach. [ABSTRACT FROM AUTHOR]

This paper outlines the use of modular robotics to encourage and facilitate nonverbal communication during therapeutic intervention in dementia care. A set of new socially interactive modular robotic devices called rolling pins (RPs) has been designed and developed to assist the therapist in interacting with dementia-affected patients. The RPs are semitransparent plastic tubes that are capable of measuring their orientation and the speed of their rotation; at a local level, they have three types of feedback: red, green, and blue light, sound, and vibration. The peculiarity of the RPs is that they are able to communicate with each other or with other devices equipped with the same radio communication technology. The RPs are usually used in pairs, as the local feedback of an RP can be set depending not only on its own speed and orientation but also on the speed and the orientation of the peer RE The system is not used as a therapeutic tool per se but as a facilitator and a mediator of social dynamics during normal therapy to counteract social isolation that can result in dementia through the loss of social skills. An experiment is reported that shows that by using the RPs, the patients participated in the activity by coordinating their behavior with the therapist and imitating the same interaction patterns generated by the therapist. Index Terms--Dementia, gesture-based interaction, imitation, modular robotics, social exchanges, tangible media.

Under what conditions can we engage in a meaningful, expressive interaction with an electronic device? How can we distinguish between merely functional objects and esthetic, poetic, interactive objects that can be potential carriers for meaningful experience? This paper provides some answers to these questions through considering an aspect of aesthetic interaction that is still quite unexplored. Taking a phenomenological approach to action and perception, the paper explores the possibility of achieving by design a shared perception with interactive devices in order to enrich the experience of use as an emergent and dynamic outcome of the interaction. In exploring shared perception with interactive devices, the concept of "perceptual crossing" is taken as a main source of inspiration for design. As defined by Auvray, Lenay, and Stewart (2008), perceptual crossing is the recognition of an object of interaction which involves the perception of how the behaviour of the object and its perception relate to our own. In this sense, a shared perceptual activity influences the behaviour of interacting entities in a very peculiar way: we perceive while being perceived. Here, this argument is explored from the design viewpoint, and prototypes that illustrate the dynamics of perceptual crossing in human-robot interaction are presented. [ABSTRACT FROM AUTHOR]

The paper describes an interactive installation exploring perspectives on women's rights, triggering visitors' personal reflections through an immersive experience. Starting from the life histories of the women depicted in three paintings from fifteenth, sixteenth and seventeenth century, we explored three themes: emancipation, self-determination and violence. In the installation, representations of these three paintings were fragmented into panels, floating in the space suspended from a self-standing structure. On these elements, both the original painting and a writhing of visual material were dynamically displayed using a projector. The presence and movement of visitors in the room was tracked by means of a Kinect™ camera and influenced both the position and movements of the panels. A software crawler monitored discussions and debates on social networks. The intensity of these discussions was reflected in the movements of the panels and the content of the projections. The purpose of this interactive installation is to engage visitors in composing a harmonious picture of the complex domain of women's rights. The experiential form confronts visitors with the opinions of other people debating the theme worldwide. The installation was the outcome of a craft-inspired learning module, grounded on constructivism and reflective practice. [ABSTRACT FROM AUTHOR]