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What is required for us to summon a new life? Are we required to leave the people in our old life behind? In this work of philosophical short story fiction, Tyler and the narrator are childhood friends now in their early 20’s stuck in an out of the way, nothing, town. The narrator has a chance to go to college, but Tyler talks him out of it and they both continue to live at their parent’s houses. One day, Tyler finds a strange piece of paper with a spell that opens up a shadow portal to a "new life." They perform the spell, however, when Tyler is halfway through the portal the candle blows out and traps him half in this world, half in the other. He’s stuck. For months, the narrator visits in secret, feeding Tyler, until he is finally able to reopen the portal. When he does Tyler continues walking through to his new life, leaving the narrator behind.

The objective of this study was to compare contamination rates in urine samples obtained by transurethral catheterization and clean-catch methods in preschool children aged 2 to 5 years.A retrospective, chart review was performed on patients evaluated in our emergency department over a 6-month period who had a urine culture obtained by either transurethral catheterization or clean-catch methods. The charts were reviewed for urine bacterial colony counts and divided into positive, negative, or contaminated cohorts. Demographic data were collected as well.Four hundred sixty patients met inclusion for this study. Of these patients, there were 120 samples collected by catheter (26.1%) and 340 samples collected by clean-catch method (73.9%).Female patients comprised 73% of the eligible samples (n = 336), and 27% were male (n = 124). Contamination rates significantly varied by collection method (P0.0001), with only 9 contaminated catheter samples (7.5%) and 125 contaminated clean-catch samples (36.76%). Contaminated samples were found in 122 of 336 female urine samples (36.3%), and 12 of 124 male urine samples (9.7%). There were no associations found between contamination rates and age within either sex.Our study demonstrated a higher urine culture contamination rate in preschool age children in the clean-catch method group compared with the transurethral catheterization group. This finding was particularly strong within the female subset, which could partially be accounted for by the small male sample size.

In several auditoria, it has been observed that the reverberation time is longer than expected and that the cause is a horizontal reverberant field established in the region near the ceiling, a field which is remote from the sound absorbing audience. This has been observed in the Boston Symphony Hall, Massachusetts, and the Stadthalle Gottingen, Germany. Subjective remarks on their acoustics suggest that there are no unfavourable comments linked to the secondary sound field. Two acoustic scale models are considered here. In a generic rectangular concert hall model, the walls and ceiling contained openings in which either plane or scattering panels could be placed. With plane panels, the model reverberation time (RT) was measured as 53% higher than the Sabine prediction (frequency 500/1000 Hz), compared with 8% higher with scattering panels. The second model of a 300 seat lecture theatre with a 6 m or 8 m high ceiling had raked seating. In this case, the amount of absorption in the model was increased until the point was reached where speech had acceptable intelligibility, with the early energy fraction, D ⩾ 0.5. For this acceptable speech condition with the 6 m ceiling, the measured mid-frequency T 15 was 1.47 s, whereas the Sabine predicted RT was 1.06 s. The sound decay was basically non-linear with T 30 > T 15 > EDT. Exploiting a high-level horizontal reverberant field offers the possibility of acoustics that are better adapted as suitable for both speech and unamplified music, without any physical change in the auditorium. Using secondary reverberation in an auditorium for a wide variety of music might also be beneficial.

A revised theory of sound level distribution in rooms was proposed in 1988, which responded to the observation that reflected sound level decreases as one moves away from the source. This behavior is ubiquitous in concert spaces and has been shown also to occur in an acoustically diffuse space. This paper presents a more general theoretical derivation and compares measured levels of the early, late, and total sound, as well as the early-to-late index, with theoretical predictions. The scatter of measured sound levels in concert spaces about a linear relationship with source-receiver distance was also compared with a theoretical prediction. Two modifications to the basic theory were investigated, though the original formulation proves best for the general concert space. The revised theory matches average behavior well and represents predicted behavior in a diffuse sound field with the same reverberation time and auditorium volume. Consistent deviations within concert halls were matched with design details.

While for concert halls there are preferred ranges of values for the objective measures described in ISO3382-1, a method for comparing measured sound levels with theoretically expected values is proposed here. The theoretical values are based on the revised theory of sound level, with both measured and theoretical values plotted against source-receiver distance. The discussion concentrates on mid-frequency behaviour. The comparison can be made for early sound (less than 80 ms delay), late sound (greater than 80 ms delay), total sound level (G, strength) and the early-to-late sound index, C80. A composite of four graphs, one for each quantity, is suggested. The early and late levels can be considered from an objective standpoint as determined by the auditorium design, while the total level and early-to-late index relate to subjective response. Four case studies are presented which illustrate both typical behaviour and divergences from revised theory due to design features in the halls themselves. This Temporal Energy Analysis is proposed as an additional method for assessing acoustic behaviour with the advantage of illustrating behaviour at different locations within the auditorium.

One of the surprises from analysis of results of an objective and subjective study of British concert halls (1988 Acustica 66 , 1–14) was that the subjective judgement of loudness in concert halls is influenced not only by sound level but also by the source–receiver distance. This response implies that the same sound level is judged louder at positions further from the orchestra platform. Whereas level decreases with distance in actual halls, loudness is judged more-or-less independent of position in average halls (except at positions close to the platform and seats overhung by balconies). As an observation it ties in with evidence from experimental psychologists for loudness constancy throughout a space. The sound strength G is the sound level in an auditorium normalised to the sound power level of the source; the traditional criterion of acceptability for level is that G ⩾ 0 dB. The paper proposes that, on the basis of subjective evidence and objective behaviour in auditoria, the criterion for G should not be a unique value of G but rather a function of source–receiver distance.

This article explores the experiences of gay and bisexual young men in Ireland. It draws on focus groups and individual interviews with a group of gay and bisexual men aged 16 to 25 in Dublin. The article explores how their identities are “discredited” and “othered” through symbolic and material violence, and their bodies become an index in both maintaining and transgressing normative masculine identities. Gay and bisexual young men are stigmatized (by others and self), particularly in school and through sport, by an ascribed femininity in their body practices, and they resist this by employing survival strategies and by recreating their identities through diverse and deliberate presentations of their bodies. The young men compared experiences at school and on the gay scene, the latter often providing them with positive and affirming experiences, although there was evidence that the gay body is subject to (negative) scrutiny on the scene as well.

The current version of the standard ISO 3382 has now been in existence for seven years, yet for many the contents of Annexes A and B on newer measures remain confusing. A major issue is the use to which these measures are put. Where the 'new' measures for auditoria differ from other acoustic parameters is that they refer to a range of subjective effects, which are perceived simultaneously. Using the newer measures requires a good understanding of the multi-dimensional nature of music perception. Measurement data requires interpretation. When measurements are made in unoccupied auditoria, the data requires correction to the situation with full audience. Another issue is how to condense data measured across audience areas. The simplest approach is to present mean values of the different quantities, but this ignores the fact that many quantities vary significantly with location; the disappointment of sitting in a poor seat in an auditorium is no less for the knowledge that the overall mean is good. Several of these issues are discussed here with the aim of promoting more uniformity in the way the objective measures proposed in the Standard are applied by different research groups and companies.

Stage acoustics is an important characteristic for concert halls, both for the acoustic quality on stage and for the audience. However, relatively little research has been conducted into the question. This study was based on the investigation of an actual concert hall stage, that of the Seoul Arts Center Concert Hall in Korea. The stage acoustics was evaluated in the actual hall, and with two models: a 1:25 scale model and a computer model. The study was based on the stage support parameter ST1 proposed by Gade as a measure of support for individual performers [Acustica 65, 193-203 (1989)]. The variation of support was measured on the empty stage of the actual hall and in the two models. The effect of musicians on stage, the effect of moving the orchestra, the effect of ceiling height and of stage-wall profile were also investigated. Conclusions are drawn both relating to the Seoul Concert Hall stage and stages in general.

Measurements have been conducted in two scale models of proportionate spaces each containing measures to promote a diffuse sound field. Contrary to classical statistical theory, it was found that reflected sound levels decrease with the distance from the source. Measured levels follow behavior predicted by a revised theory previously proposed for concert halls. The scatter of the measured reflected sound levels is shown consistently to exceed values predicted by Lubman/Schroeder’s theory. However, it is demonstrated that this theory does accurately predict scatter of late sound levels when the early reflections are omitted. Investigation into the scatter of reverberation times shows that it is generally well predicted by Davy’s theory.

Although significant numbers of the federally endangered Red-cockaded Woodpecker (Picoides borealis) occur at military installations, little research has been initiated to determine what effects military activities have on the birds. From 1994–1996 we collected data at Ft. Benning Military Installation, Georgia, to assess the effects of selected military activities on reproductive success of the birds. Noise and vibration levels were recorded at or directly adjacent to active woodpecker clusters that received significant use by the military on a regular basis (i.e., firing of small arms and artillery). Identical data were collected at active clusters that were not normally used by military personnel and that we perceived to be relatively free of such disturbances. Surprisingly, we found no significant differences in noise or vibration levels between treatments and controls. There also were no significant differences between treatment and control sites with regard to the numbers of eggs, nestlings, adults, return rates of adults feeding young, or masses of nestlings and adults. Habitat assessments revealed no differences in basal area or midstory density; however, understory was significantly more pronounced at treatment sites.

In concert hall acoustics, spatial perception is a crucial element of the experience, yet several questions remain unresolved. In the 1960s, there was some work on what was then called ‘room impression’ caused by diffuse reverberation. The possible importance of early lateral reflections was proposed in 1967 by Marshall [Marshall AH. A note on the importance of room cross-section in concert halls. Journal of Sound and Vibration 1967;5:100–12] and until recently concern for the effect of early reflections has overshadowed study of the spatial effects linked to the later sound. Bradley and Soulodre [Bradley JS, Soulodre GA. The influence of late arriving energy on spatial impression. Journal of the Acoustical Society of America 1995;97:2263–71; Bradley JS, Soulodre GA. Objective measures of listener envelopment. Journal of the Acoustical Society of America 1995;98;2590–7] have now suggested that early reflections are predominantly responsible for creating a sense of source broadening [and apparent source width (ASW)], whereas a sense of envelopment, which had on occasions been linked to ASW, is almost solely produced by later lateral reflections. Bradley and Soulodre have proposed the late lateral energy level as a measure of listener envelopment (LEV). This paper considers some of the history of spatial perception in concert halls and reports on measured results made in 17 halls of the late lateral energy fraction (LLF) and the late lateral energy level (GLL). The spread of measured values of LLF turned out to be small and GLL was found to be predominantly determined by the total acoustic absorption of halls.

The story of research into spatial effects in auditoria is an intriguing one. Serious studies only began with the development in the 1950s of simulation systems which reproduced direct sound, early reflections and reverberation in anechoic chambers. The traditional view had been that spatial effects were associated with later reverberation. This paper discusses the early work from the late ‘60s on spatial effects produced by early lateral reflections from the perspective of two early participants. Subsequent work on spatial impression and the importance it has for overall concert hall acoustics are also considered. The current position is that two or more spatial effects may coexist in concert hall listening and that the nature of the performance, from solo to fully scored orchestra, may influence the spatial effects experienced.

One of several problems with seat absorption is that only small numbers of seats can be tested in standard reverberation chambers. One method proposed for reverberation chamber measurements involves extrapolation when the absorption coefficient results are applied to actual auditoria. Model seat measurements in an effectively large model reverberation chamber have allowed the validity of this extrapolation to be checked. The alternative barrier method for reverberation chamber measurements was also tested and the two methods were compared. The effect on the absorption of row–row spacing as well as absorption by small numbers of seating rows was also investigated with model seats.

In the 30 years since early lateral reflections were first suggested as important for concert halls, spatial impression and source broadening have become almost universally accepted as essential characteristics of halls with good acoustics. Two objective measures of source broadening have been proposed. Measured values of the best defined of these measures, the early lateral energy fraction (LF), are considered here. Results from two independent measurement surveys are discussed. Comparisons of LF values by hall show a significant link between hall mean LF and hall width. There is however considerable overlap between measured LF values in different halls so the relevance of describing halls by their mean early lateral energy fraction values is questionable. The behaviour of LF values within auditoria is discussed for different concert hall plan forms and within opera houses. A measure of source broadening including sound level is proposed and results considered in the context of auditorium design.

The discovery in the 1960s that sound was seriously attenuated at bass frequencies when it passed over audience seating presented a puzzle: Why had this behavior not been detected subjectively? The results of a measurement program in 17 British concert halls are used to establish the magnitude of effects on sound spectra caused by reverberation time frequency characteristics, grazing incidence, and other effects. Two design features were found to produce excessive bass sound attenuation: ceiling designs which obscure reflections from above and hall shapes responsible for poor diffusion for later sound. It is concluded that average effects due to grazing incidence can be compensated by a rise in bass frequency reverberation time.

On concert hall stages the sound traveling between players consists of the direct sound, a floor reflection and early reflections off players and objects on stage such as instruments and music stands. In smaller music ensembles, the acoustic communication between players is normally good. In larger ensembles, there is a similar situation for short distances between players. However for ensembles like a symphony orchestra, the number of players on stage results in large distances between some players with many other players sitting in between, which block the direct sound and floor reflection paths. This study investigates the sound levels on stage with and without a large orchestra present, in the absence of any stage enclosure. Sound levels within the octave bands 63–2000 Hz on an empty stage were studied analytically, while sound levels over the same frequency range with players present were investigated in a 1:25 scale model, both without and with risers on stage. The main results are presented in terms of the attenuation introduced by the orchestra, with linear models developed to describe behavior for the octave bands 500–2000 Hz.

Background: Leiomyosarcoma of the inferior vena cava is a rare tumor with potential for significant morbidity and mortality. Surgical extirpiration remains the optimal treatment choice. A case of caval leiomyosarcoma with right atrial extension is presented with management techniques and literature review. Methods: A 54 year old woman with constitutional symptoms was found to have advanced caval leiomyosarcoma with atrial extension. Surgical excision was performed without deep hypothermic circulatory arrest (DHCA), including right nephrectomy, adrenalectomy, and en-bloc resection of the vena cava along with Gore-Tex interposition graft. Results: There were no operative complications. The patient was extubated on postoperative day one. Renal function remained normal. Final pathology was high grade leiomyosarcoma. Margins were negative. The patient is well at latest follow up. Conclusion: Resection of extensive caval leiomyosarcoma allows the best chance of cure and is possible without DHCA. Perioperative planning and coordination and adherence to oncologic techniques is critical. (J Card Surg 2010;25:277-281)

The concert halls in Christchurch Town Hall and the Michael Fowler Centre, Wellington, New Zealand, have large suspended reflecting surfaces which provide early lateral reflections to listeners. One objective outcome of this is that measured early decay time (EDT) values are shorter than the reverberation time. EDT values for these two halls published in the book, Auditorium Acoustics and Architectural Design (Spon/Chapman & Hall, London, 1993) are now known to be significantly in error, due to a software fault in the signal analysis program used. Corrected diagrams including the EDT are presented as well as a brief discussion of sound decay in these halls.

This paper presents research on a collaborative learning environment in an urban elementary science classroom. The application, called RoomBugs, simulates a dynamic ecosystem of insects within the physical space of a classroom. Using table-mounted tablet computers as "sand traps" that capture the foot-prints of virtual bugs walking across the screen, participants take on the role of scientists attempting to track and control the imagined insects that exist within their classroom walls. The simulation is designed to create authentic phenomenon without requiring heavy instrumentation.

The scope of this article is to report on a patient who underwent a Bentall procedure for type A aortic dissection. Right ventricular (RV) failure developed immediately after completion of the operation. The etiology was determined by using transit time flow measurement (TTFM), an ultrasound-based technique which demonstrated the absence of blood flow to the right coronary artery. This allowed for early and effective treatment, which was followed by a successful outcome.

Michael Barron explores how physics, psychology and fashion have influenced concert hall acoustics. Harvard physics lecturer Wallace Clement Sabine established the principles that still guide architects looking to design a concert hall with ideal acoustics. In the Sabine equation, first published in 1900, sound reverberation time is proportional to the volume of the space divided by sound absorbance. But as Michael Barron explains, few of today's music venues approach the ideal, because sound quality is so often compromised by other client priorities.

ISO3382-1 (originally issued in 1997) provides five basic objective measures for assessing concert hall acoustics: reverberation time, Early Decay Time, early-to-late sound index (C80), early lateral fraction and Strength (G) or total sound level. Optimum values for the objective measures have been proposed by several authors. But how much trust can one place in this approach? The author's book Auditorium acoustics and architectural design, 2nd edition, contains 16 case studies of concert halls with both subjective questionnaire ratings and objective measurements. This data can be used to assess the value and validity of these objective measures to offer an answer to the question: how reliable is design according to ISO3382-1, as currently used by many acousticians at the design stage? The analysis in fact uses the further analysis tool involving comparisons of measured levels with revised theory of sound level distribution.

The story of spatial hearing has a certain circularity about it. To date, two separate spatial effects have been identified. The first effect is that created by a reverberant field in an enclosure, which is particularly obvious in a cathedral-type space. A second spatial effect was proposed 45 years ago linked to early lateral reflections. These two are now known as Listener Envelopment (LEV) and Source Broadening (or Apparent Source Width, ASW). Interesting research had been conducted into “Raumlichkeit” in Germany during the '60s. But following the revelations by Marshall, interest in the effects of early lateral reflections overshadowed interest in what is now called LEV. Sound level also contributes to the magnitude of these spatial effects. Measures have been proposed for both ASW and LEV, which include both reflection directional distribution and sound level. The paper will summarise the history of spatial impression and what implications it has for concert hall design. Historical reference: Applied...

The book considers the principles of acoustic design for the following types of auditorium: concert halls, recital halls, drama theatres, opera houses and multi-purpose halls. Over 40 case studies are included. The book is well-illustrated and contains plans and sections of 80 auditoria at the uniform scale of 1:500. Historical detail is also given. Though the book contains technical detail, it is also aimed at all disciplines associated with audiotrium design.

A coherent set of subjective experiments (published in 1973 and 1981) established the effect of spatial impression associated with early lateral reflections. The early lateral energy fraction was proposed as an objective measure. Some authors have preferred to use measures linked to cross correlation, presumably on the basis that this is probably closer to the mechanism used by the ear. The paper reviews the results of measurements of the early lateral energy fraction in 17 British concert spaces, as well as considering the measured results by Bradley in 13 North American concert halls. The discussion considers the relationship between early lateral energy fraction and hall width, the behavior of the measure close to the source and in both parallel‐sided halls and fan‐shaped halls. The design requirements for high spatial impression are also considered. The subjective effect of early lateral reflections is also influenced by sound level. The consequences for design of considering this additional variable in combination with the directional distribution will also be discussed. Spatial impression in concert halls and opera houses will be examined.

Measuring the absorption coefficients of seating and audience is no easy matter because of the difference in size between auditoria and standard test chambers. An optimum test method remains still to be established. Two authors have published papers on this issue recently in the Journal of the Acoustical Society of America. The designer, though, is left confronted by contradicting figures and test proposals. Bradley (1992, 1996) has proposed a technique which involves measuring about five different configurations of seats to establish the absorption of infinite seat areas and absorption by the perimeter. Davies et al. (1994) deal with the perimeter absorption by testing with and without barriers placed over the front and sides of a test block of seating. Neither method is ideal; Bradley’s depends on extrapolation to the smaller ratios of perimeter to area found in real auditoria, while Davies’ method assumes that the barriers do not introduce any new problems of their own. Beranek in his new book (1996) has reanalyzed measured data from full‐size concert halls to produce revised absorption figures. This paper seeks to find what common ground there is between the measurement methods and published data. It will draw on results of some tests on model seating in a model test chamber.

By 1980 the understanding of acoustics for concert halls had reached an interesting stage. Two German studies at Gottingen and Berlin with dummy head recordings had gone a long way to determining the important subjective and objective dimensions. However the influence of architectural form on subjective acoustic conditions was much less well established. There were two possible routes: testing acoustic scale models or full‐size auditoria. With access to sufficient full‐size auditoria, the latter was the obvious choice since it also allowed true subjective assessment. The acoustic survey of British auditoria involved both objective measurements and subjective assessments in over 40 auditoria including concert halls, drama theaters, opera houses, and multi‐purpose spaces. The whole exercise has now been published [M. Barron, Auditorium Acoustics and Architectural Design (Chapman & Hall, London, 1993)]. In concert halls a major conclusion of the subjective exercise was that halls with good reputations score well with regard to several attributes, such as reverberance, envelopment, and intimacy. Several novel observations on the effect of design details will also be discussed.

Extensive objective acoustic measurements have been made in 15 unoccupied concert halls and two multipurpose halls used for music in Britain. Only monophonic objective measures at midfrequencies are considered here, in particular, the early decay time, the early‐to‐late sound index, and the total sound level. The measured results have been compared with traditional predicted values. The widest divergence was found in the observation that the total reflected sound level decreases with increasing distance from the source. A revised theory of sound decay in concert spaces is proposed. This assumes that the total sound is composed of a direct sound component and a linearly decaying reflected component which starts when the direct sound arrives. On average, the measured results are found to be well described by the revised theory. However, certain divergences from average behavior are found; these have been associated with various design characteristics such as the diffusivity of the ceiling, wide fan shapes in plan and absorbent in the stage area. The results help place in context the significance of reverberation time and hall size for concert auditoriums.

Forecasting experts are not always sufficiently knowledgeable about the way their forecasts are used by managers. Consequently there is a tendency for them to focus excessively on forecast accuracy instead of decision usefulness. This article draws on modern information theory to provide some insights into the problem of identifying relevance and recognising value for money in market research and sales forecasts.

Michael Barron and David Targett argue in favour of forecasting playing a relevant part in decision making. They point out that forecasting possesses reliable techniques, it is only when the gap between the producers of forecasts and the users is too great that managerial scepticism intervenes. They suggest ways of overcoming this.

In recent times there has been a change of emphasis in business forecasting. The shift has been away from the technical and statistical aspects. More thought is now being given to the way in which techniques are used and the context in which they are applied. This article is the first in a series of two which deal with these issues. It describes the role of the manager in forecasting. In particular, it discusses the tasks in designing and planning a forecasting system which are the key to its success and which fall within a manager's responsibility. The second article is concerned with the link between forecasts and the decisions they support.

Despite continued efforts by many researchers, there is little information available for acoustical design of theatres. An investigation, aimed at identifying important design elements was carried out. Extensive objective measurements were made in 12 unoccupied British theatres. Of the objective measures for speech intelligibility, the 50‐ms early energy fraction is used in the analysis of the results. The significance of geometrical reflections through the design of ceiling, side walls, balconies, and through the provision of special overhead reflectors has been examined. The effects of directionality of the speaker source in relation to these design elements have also been studied. The results suggest that it would be possible to predict important reflections and thereby the early sound level as a function of design characteristics from architectural drawings. The results of late sound energy have been compared with theory and the agreement was found to be good. The study has found some of the recently completed theatres having low values of the 50‐ms early energy fraction. [Work supported by SERC.]