Academic literature on the topic 'Magnetic executive bodies'

Evidence suggests that oral intake of medium-chain triglycerides (MCTs), which promote the production of ketone bodies, may improve cognitive functions in elderly people; however, the underlying brain mechanisms remain elusive. We tested the hypothesis that cognitive improvement accompanies physiological changes in the brain and reflects the use of ketone bodies as an extra energy source. To this end, by using functional magnetic resonance imaging, cerebral blood oxygenation level-dependent (BOLD) signals were measured while 20 healthy elderly subjects (14 females and 6 males; mean age: 65.7 ± 3.9 years) were engaged in executive function tasks (N-back and Go-Nogo) after ingesting a single MCT meal (Ketonformula®) or placebo meal in a randomized, double-blind placebo-controlled design (UMIN000031539). Morphological characteristics of the brain were also examined in relation to the effects of an MCT meal. The MCT meal improved N-back task performance, and this was prominent in subjects who had reduced grey matter volume in the dorsolateral prefrontal cortex (DLPFC), a region known to promote executive functions. When the participants were dichotomized into high/low level groups of global cognitive function at baseline, the high group showed improved N-back task performance, while the low group showed improved Go-Nogo task performance. This was accompanied by decreased BOLD signals in the DLPFC, indicative of the consumption of ketone bodies as an extra energy source.

The case of a patient who suffered from progressive amnesia, depressive humor, language and visuospatial disturbances, and hallucination episodies with interference at the daily living activities is reported. She had moderate neuropsichological diffuse deficits at the first examination, especially at the executive and visuo-constructive functions. Her cerebrospinal fluid test presented high total protein. Magnetic resonance image showed slight white matter increase in periventricular, semi-oval center bilateral and left external capsule regions, besides light frontal and parietal lobe atrophy, bilaterally. Brain single photon emission computerized tomography revealed both a bilateral moderate frontal and a severe parietal lobe hypoperfusion, especially on the left side. Macroscopic examination showed cortical atrophy, severe on the frontal, moderate on the parietal and mild on the posterior third temporal lobes, bilaterally. There was a slight atrophy on the neostriatum in the basal ganglia. The histopathological findings of the autopsy showed severe neuronal loss with intensive gemioscytic gliosis and variable degrees of status spongiosus in cortical layer. Hematoxylin-eosin and Bielschowsky staining did not show neuronal swelling (balooned cell), argyrophilic inclusion (Pick's bodies), neurofibrillary tangles nor senile plaques. Immunohistochemical staining for anti-ubiquitin, anti-tau, anti-beta-amyloide, and anti-prion protein were tested negative.

Background: Rapid-eye-movement sleep behavior disorder (RBD) is a major risk factor for Parkinson’s disease and dementia with Lewy bodies. More than a third of RBD patients have mild cognitive impairment (MCI), but their specific structural brain alterations remain poorly understood. Objective: This study aimed to investigate the local deformation and volume of gray and white matter tissue underlying MCI in RBD. Methods: Fifty-two idiopathic RBD patients, including 17 with MCI (33%), underwent polysomnography, neuropsychological, neurological, and magnetic resonance imaging assessments. MCI diagnosis was based on a subjective complaint, cognitive impairment on the neuropsychological battery, and preserved daily functioning. Forty-one controls were also included. Deformation-based morphometry (DBM), voxel-based morphometry (VBM), and regional volume analyses of the corpus callosum and cholinergic basal forebrain were performed. Multiple regression models were also computed using anatomical, cognitive (composite z scores), and motor parameters. Results: Globally, patients with MCI displayed a widespread pattern of local deformation and volume atrophy in the cortical (bilateral insula, cingulate cortex, precuneus, frontal, temporal and occipital regions, right angular gyrus, and mid-posterior segment of the corpus callosum) and subcortical (brainstem, corona radiata, basal ganglia, thalamus, amygdala, and right hippocampus) regions compared to patients without MCI (DBM) or controls (DBM and VBM). Moreover, brain deformation (DBM) in patients were associated with lower performance in attention and executive functions, visuospatial abilities, and higher motor symptoms severity. Conclusion: The present study identified novel brain structural alterations in RBD patients with MCI which correlated with poorer cognitive performance. These results are consistent with those reported in patients with synucleinopathies-related cognitive impairment.

Objective: The development of these guidelines is sponsored by the American Association of Clinical Endocrinologists (AACE) Board of Directors and American College of Endocrinology (ACE) Board of Trustees and adheres with published AACE protocols for the standardized production of clinical practice guidelines (CPG). Methods: Recommendations are based on diligent reviews of clinical evidence with transparent incorporation of subjective factors, according to established AACE/ACE guidelines for guidelines protocols. Results: The Executive Summary of this 2019 updated guideline contains 58 numbered recommendations: 12 are Grade A (21%), 19 are Grade B (33%), 21 are Grade C (36%), and 6 are Grade D (10%). These detailed, evidence-based recommendations allow for nuance-based clinical decision-making that addresses multiple aspects of real-world care of patients. The evidence base presented in the subsequent Appendix provides relevant supporting information for the Executive Summary recommendations. This update contains 357 citations of which 51 (14%) are evidence level (EL) 1 (strong), 168 (47%) are EL 2 (intermediate), 61 (17%) are EL 3 (weak), and 77 (22%) are EL 4 (no clinical evidence). Conclusion: This CPG is a practical tool that practicing endocrinologists and regulatory bodies can refer to regarding the identification, diagnosis, and treatment of adults and patients transitioning from pediatric to adult-care services with growth hormone deficiency (GHD). It provides guidelines on assessment, screening, diagnostic testing, and treatment recommendations for a range of individuals with various causes of adult GHD. The recommendations emphasize the importance of considering testing patients with a reasonable level of clinical suspicion of GHD using appropriate growth hormone (GH) cut-points for various GH–stimulation tests to accurately diagnose adult GHD, and to exercise caution interpreting serum GH and insulin-like growth factor-1 (IGF-1) levels, as various GH and IGF-1 assays are used to support treatment decisions. The intention to treat often requires sound clinical judgment and careful assessment of the benefits and risks specific to each individual patient. Unapproved uses of GH, long-term safety, and the current status of long-acting GH preparations are also discussed in this document. LAY ABSTRACT This updated guideline provides evidence-based recommendations regarding the identification, screening, assessment, diagnosis, and treatment for a range of individuals with various causes of adult growth-hormone deficiency (GHD) and patients with childhood-onset GHD transitioning to adult care. The update summarizes the most current knowledge about the accuracy of available GH–stimulation tests, safety of recombinant human GH (rhGH) replacement, unapproved uses of rhGH related to sports and aging, and new developments such as long-acting GH preparations that use a variety of technologies to prolong GH action. Recommendations offer a framework for physicians to manage patients with GHD effectively during transition to adult care and adulthood. Establishing a correct diagnosis is essential before consideration of replacement therapy with rhGH. Since the diagnosis of GHD in adults can be challenging, GH–stimulation tests are recommended based on individual patient circumstances and use of appropriate GH cut-points. Available GH–stimulation tests are discussed regarding variability, accuracy, reproducibility, safety, and contraindications, among other factors. The regimen for starting and maintaining rhGH treatment now uses individualized dose adjustments, which has improved effectiveness and reduced reported side effects, dependent on age, gender, body mass index, and various other individual characteristics. With careful dosing of rhGH replacement, many features of adult GHD are reversible and side effects of therapy can be minimized. Scientific studies have consistently shown rhGH therapy to be beneficial for adults with GHD, including improvements in body composition and quality of life, and have demonstrated the safety of short- and long-term rhGH replacement. Abbreviations: AACE = American Association of Clinical Endocrinologists; ACE = American College of Endocrinology; AHSG = alpha-2-HS-glycoprotein; AO-GHD = adult-onset growth hormone deficiency; ARG = arginine; BEL = best evidence level; BMD = bone mineral density; BMI = body mass index; CI = confidence interval; CO-GHD = childhood-onset growth hormone deficiency; CPG = clinical practice guideline; CRP = C-reactive protein; DM = diabetes mellitus; DXA = dual-energy X-ray absorptiometry; EL = evidence level; FDA = Food and Drug Administration; FD-GST = fixed-dose glucagon stimulation test; GeNeSIS = Genetics and Neuroendocrinology of Short Stature International Study; GH = growth hormone; GHD = growth hormone deficiency; GHRH = growth hormone–releasing hormone; GST = glucagon stimulation test; HDL = high-density lipoprotein; HypoCCS = Hypopituitary Control and Complications Study; IGF-1 = insulin-like growth factor-1; IGFBP = insulin-like growth factor–binding protein; IGHD = isolated growth hormone deficiency; ITT = insulin tolerance test; KIMS = Kabi International Metabolic Surveillance; LAGH = long-acting growth hormone; LDL = low-density lipoprotein; LIF = leukemia inhibitory factor; MPHD = multiple pituitary hormone deficiencies; MRI = magnetic resonance imaging; P-III-NP = procollagen type-III amino-terminal pro-peptide; PHD = pituitary hormone deficiencies; QoL = quality of life; rhGH = recombinant human growth hormone; ROC = receiver operating characteristic; RR = relative risk; SAH = subarachnoid hemorrhage; SDS = standard deviation score; SIR = standardized incidence ratio; SN = secondary neoplasms; T3 = triiodothyronine; TBI = traumatic brain injury; VDBP = vitamin D-binding protein; WADA = World Anti-Doping Agency; WB-GST = weight-based glucagon stimulation test

Abstract BACKGROUND En bloc surgical resection with wide margins offers the best local control rates for chondrosarcoma of the spine. OBJECTIVE To describe the surgical technique for en bloc resection of a large thoracic chondrosarcoma using image guidance for a complex osteotomy with an ultrasonic bone cutting device (Misonix, Farmingdale, New York). METHODS A 2-stage procedure was performed for resection of a thoracic chondrosarcoma involving the T3-T7 vertebral bodies. During the first stage, a posterior approach, the ultrasonic bone cutter was precisely navigated to perform an intralaminar osteotomy as well as a multilevel split sagittal osteotomy through the vertebral bodies. In the second stage, a transthoracic approach was used to complete the en bloc resection of the specimen. Intraoperative frozen sections from the surgical margins were negative for tumor. RESULTS The ultrasonic bone cutting device was navigated based on coregistration of the intraoperative computed tomography (CT) images and preoperative magnetic resonance imaging (MRI). Real-time navigation using coregistered images enabled identification of tumor margins within the bone and adjacent soft tissue allowing precise execution of the intralaminar and multilevel split sagittal vertebral osteotomies. Surgical video demonstrates the utility of real-time navigation to properly identify the tumor margins and guide the ultrasonic bone cutting tool during the osteotomies. CONCLUSION We describe the use of image guidance to navigate an ultrasonic bone cutting tool for a complex en bloc resection of a multilevel thoracic spine chondrosarcoma.

Abstract Background Musical hallucinations are a particular type of auditory hallucination in which the patient perceives instrumental music, musical sounds, or songs. Musical hallucinations are associated with acquired hearing loss, particularly within the elderly. Under conditions of reduced auditory sensory input, perception-bearing circuits are disinhibited and perceptual traces released, implying an interaction between peripheral sensory deficits and central factors related to brain dysfunction. Case presentation A 71-year-old Caucasian man with hearing loss complained of memory difficulties and resting tremor of the right upper limb in the previous 2 years. He already had difficulties in instrumental activities of daily life. Neurological examination showed Parkinsonian signs and hypoacusia. Neuropsychological examination identified deficits in executive functions and memory tests. Brain computerized tomography and nuclear magnetic resonance scans showed mild cortical and subcortical atrophy. The clinical diagnosis of possible dementia with Lewy bodies was established. Five years later, the patient began complaining of musical hallucinations. There had been no previous change in medication. An otorhinolaryngologist diagnosed age-related hearing loss and prescribed bilateral hearing aids. After using the hearing aids, the patient did not hear the songs any longer, only some tinnitus, described as a whistle. However, at the same time, the patient started experiencing visual hallucinations he never had before. Discussion To our knowledge, the immediate shift of hallucinations from one sensory modality to another sensory modality when perception is improved has not been previously described. This report emphasizes the interaction between brain pathology and sensory deficits for the genesis of hallucinations, and reinforces the theory that attention and control networks must couple properly to the default mode network, as well as integrate and select adequately peripheral signals to the somatosensory cortices, in order to keep a clear state of mind. Conclusion The clinician should bear in mind and let the patient know that improving one sensory modality to ameliorate hallucinations may sometimes paradoxically lead to hallucinations in a different sensory modality.

Consumer or home use (previously ‘amateur’) moving image formats are distinguished from professional (still known as ‘professional’) ones by relative affordability, ubiquity and simplicity of use. Since Pathé Frères released its Pathé Baby camera, projector and 9.5mm film gauge in 1922, a distinct line of viewing and making equipment has been successfully marketed at nonprofessional use, especially in the home. ‘Amateur film’ is a simple term for a complex, variegated and longstanding set of activities. Conceptually it is bounded only by the negative definition of nonprofessional (usually intended as sub-professional), and the positive definition of being for the love of the activity and motivated by personal passion alone. This defines a field broad enough that two major historians of US amateur film, Patricia R. Zimmermann and Alan D. Kattelle, write about different subjects. Zimmermann focuses chiefly on domestic use and ‘how-to’ literature, while Kattelle unearths the collective practices and institutional structure of the Amateur Ciné Clubs and the Amateur Ciné League (Zimmerman, Reel Families, Professional; Kattelle, Home Movies, Amateur Ciné). Marion Norris Gleason, a test subject in Eastman Kodak’s development of 16mm and advocate of amateur film, defined it as having three parts, the home movie, “the photoplay produced by organised groups”, and the experimental film (Swanson 132). This view was current at least until the 1960s, when domestic documentation, Amateur Ciné clubs and experimental filmmakers shared the same film gauges and space in the same amateur film magazines, but paths have diverged somewhat since then. Domestic documentation remains committed to the moving image technology du jour, the Amateur Ciné movement is much reduced, and experimental film has developed a separate identity, its own institutional structure, and won some legitimacy in the art world. The trajectory of Super 8, a late-coming gauge to amateur film, has been defined precisely by this disintegration. Obsolescence was manufactured far more slowly during the long reign of amateur film gauges, allowing 9.5mm (1922-66), 16mm (1923-), 8mm (1932-), and Super 8 (1965-) to engage in protracted format wars significantly longer than the life spans of their analogue and digital video successors. The range of options available to nonprofessional makers – the quality but relative expense of 16mm, the near 16mm frame size of 9.5mm, the superior stability of 8mm compared to 9.5mm and Super 8, the size of Super 8’s picture relative to 8mm’s – are not surprising in the context of general competition for a diverse popular market on the usual basis of price, quality, and novelty. However, since analogue video’s ascent the amateur film gauges have all comprehensibly lost the battle for the home use market. This was by far the largest section of amateur film and the manufacturers’ overt target segment, so the amateur film gauges’ contemporary survival and significance is as something else. Though all the gauges from 8mm to 16mm remain available today to the curious and enthusiastic, Super 8’s afterlife is distinguished by the peculiar combination of having been a tremendously popular substandard to the substandard (ie, to 16mm, the standardised film gauge directly below 35mm in both price and quality), and now being prized for its technological excellence. When the large scale consumption that had supported Super 8’s manufacture dropped away, it revealed the set of much smaller, apparently non-transferable uses that would determine whether and as what Super 8 survived. Consequently, though Super 8 has been superseded many times over as a home movie format, it is not obsolete today as an art medium, a professional format used in the commercial industry, or as an alternative to digital video and 16mm for low budget independent production. In other words, everything it was never intended to be. I lately witnessed an occasion of the kind of high-fetishism for film-versus-video and analogue-versus-digital that the experimental moving image world is justifiably famed for. Discussion around the screening of Peter Tscherkassky’s films at the Xperimenta ‘09 festival raised the specifics and availability of the technology he relies on, both because of the peculiarity of his production method – found-footage collaging onto black and white 35mm stock via handheld light pen – and the issue of projection. Has digital technology supplied an alternative workflow? Would 35mm stock to work on (and prints to pillage) continue to be available? Is the availability of 35mm projectors in major venues holding up? Although this insider view of 35mm’s waning market share was more a performance of technological cultural politics than an analysis of it, it raised a series of issues central to any such analysis. Each film format is a gestalt item, consisting of four parts (that an individual might own): film stock, camera, projector and editor. Along with the availability of processing services, these items comprise a gauge’s viability (not withstanding the existence of camera-less and unedited workflows, and numerous folk developing methods). All these are needed to conjure the geist of the machine at full strength. More importantly, the discussion highlights what happens when such a technology collides with idiosyncratic and unintended use, which happens only because it is manufactured on a much wider scale than eccentric use alone can support. Although nostalgia often plays a role in the advocacy of obsolete technology, its role here should be carefully qualified and not overstated. If it plays a role in the three main economies that support contemporary Super 8, it need not be the same role. Further, even though it is now chiefly the same specialist shops and technicians that supply and service 9.5mm, 8mm, Super 8, and 16mm, they are not sold on the same scale nor to the same purpose. There has been no reported Renaissances of 9.5mm or 8mm, though, as long term home movie formats, they must loom large in the memories of many, and their particular look evokes pastness as surely as any two-colour process. There are some specifics to the trajectory of Super 8 as a non-amateur format that cannot simply be subsumed to general nostalgia or dead technology fetishism. Super 8 as an Art Medium Super 8 has a longer history as an art medium than as a pro-tool or low budget substandard. One key aspect in the invention and supply of amateur film was that it not be an adequate substitute for the professional technology used to populate the media sphere proper. Thus the price of access to motion picture making through amateur gauges has been a marginalisation of the outcome for format reasons alone (Zimmermann, Professional 24; Reekie 110) Eastman Kodak established their 16mm as the acceptable substandard for many non-theatrical uses of film in the 1920s, Pathé’s earlier 28mm having already had some success in this area (Mebold and Tepperman 137, 148-9). But 16mm was still relatively expensive for the home market, and when Kiyooka Eiichi filmed his drive across the US in 1927, his 16mm camera alone cost more than his car (Ruoff 240, 243). Against this, 9.5mm, 8mm and eventually Super 8 were the increasingly affordable substandards to the substandard, marginalised twice over in the commercial world, but far more popular in the consumer market. The 1960s underground film, and the modern artists’ film that was partly recuperated from it, was overwhelmingly based on 16mm, as the collections of its chief distributors, the New York Film-Makers’ Co-op, Canyon Cinema and the Lux clearly show. In the context of experimental film’s longstanding commitment to 16mm, an artist filmmaker’s choice to work with Super 8 had important resonances. Experimental work on 8mm and Super 8 is not hard to come by, even from the 1960s, but consider the cultural stakes of Jonas Mekas’s description of 8mm films as “beautiful folk art, like song and lyric poetry, that was created by the people” (Mekas 83). The evocation of ‘folk art’ signals a yawning gap between 8mm, whose richness has been produced collectively by a large and anonymous group, and the work produced by individual artists such as those (like Mekas himself) who founded the New American Cinema Group. The resonance for artists of the 1960s and 1970s who worked with 8mm and Super 8 was from their status as the premier vulgar film gauge, compounding-through-repetition their choice to work with film at all. By the time Super 8 was declared ‘dead’ in 1980, numerous works by canonical artists had been made in the format (Stan Brakhage, Derek Jarman, Carolee Schneemann, Anthony McCall), and various practices had evolved around the specific possibilities of this emulsion and that camera. The camcorder not only displaced Super 8 as the simplest to use, most ubiquitous and cheapest moving image format, at the same time it changed the hierarchy of moving image formats because Super 8 was now incontestably better than something. Further, beyond the ubiquity, simplicity and size, camcorder video and Super 8 film had little in common. Camcorder replay took advantage of the ubiquity of television, but to this day video projection remains a relatively expensive business and for some time after 1980 the projectors were rare and of undistinguished quality. Until the more recent emergence of large format television (also relatively expensive), projection was necessary to screen to anything beyond very small audience. So, considering the gestalt aspect of these technologies and their functions, camcorders could replace Super 8 only for the capture of home movies and small-scale domestic replay. Super 8 maintained its position as the cheapest way into filmmaking for at least 20 years after its ‘death’, but lost its position as the premier ‘folk’ moving image format. It remained a key format for experimental film through the 1990s, but with constant competition from evolving analogue and digital video, and improved and more affordable video projection, its market share diminished. Kodak has continued to assert the viability of its film stocks and gauges, but across 2005-06 it deleted its Kodachrome Super 8, 16mm and slide range (Kodak, Kodachrome). This became a newsworthy Super 8 story (see Morgan; NYT; Hodgkinson; Radio 4) because Super 8 was the first deletion announced, this was very close to 8 May 2005, which was Global Super 8 Day, Kodachrome 40 (K40) was Super 8’s most famous and still used stock, and because 2005 was Super 8’s 40th birthday. Kodachome was then the most long-lived colour process still available, but there were only two labs left in the world which could supply processing- Kodak’s Lausanne Kodachrome lab in Switzerland, using the authentic company method, and Dwayne’s Photo in the US, using a tolerable but substandard process (Hodgkinson). Kodak launched a replacement stock simultaneously, and indeed the variety of Super 8 stocks is increasing year to year, partly because of new Kodak releases and partly because other companies split Kodak’s 16mm and 35mm stock for use as Super 8 (Allen; Muldowney; Pro8mm; Dager). Nonetheless, the cancelling of K40 convulsed the artists’ film community, and a spirited defence of its unique and excellent properties was lead by artist and activist Pip Chodorov. Chodorov met with a Kodak executive at the Cannes Film Festival, appealed to the French Government and started an online petition. His campaign circular read: EXPLAIN THE ADVANTAGES OF K40We have to show why we care specifically about Kodachrome and why Ektachrome is not a replacement. Kodachrome […] whose fine grain and warm colors […] are often used as a benchmark of quality for other stocks. The unique qualities of the Kodachrome image should be pointed out, and especially the differences between Kodachrome and Ektachrome […]. What great films were shot in Kodachrome, and why? […] What are the advantages to the K-14 process and the Lausanne laboratory? Is K40 a more stable stock, is it more preservable, do the colors fade resistant? Point out differences in the sensitometry curves, the grain structure... There was a rash of protest screenings, including a special all-day programme at Le Festival des Cinemas Différents de Paris, about which Raphaël Bassan wrote This initiative was justified, Kodak having announced in 2005 that it was going to stop the manufacturing of the ultra-sensitive film Kodachrome 40, which allowed such recognized artists as Gérard Courant, Joseph Morder, Stéphane Marti and a whole new generation of filmmakers to express themselves through this supple and inexpensive format with such a particular texture. (Bassan) The distance Super 8 has travelled culturally since analogue video can be seen in the distance between these statements of excellence and the attributes of Super 8 and 8mm that appealed to earlier artists: The great thing about Super 8 is that you can switch is onto automatic and get beyond all those technicalities” (Jarman)An 8mm camera is the ballpoint of the visual world. Soon […] people will use camera-pens as casually as they jot memos today […] and the narrow gauge can make finished works of art. (Durgnat 30) Far from the traits that defined it as an amateur gauge, Super 8 is now lionised in terms more resembling a chemistry historian’s eulogy to the pigments used in Dark Ages illuminated manuscripts. From bic to laspis lazuli. Indie and Pro Super 8 Historian of the US amateur film Patricia R. Zimmermann has charted the long collision between small gauge film, domesticity and the various ‘how-to’ publications designed to bridge the gap. In this she pays particular attention to the ‘how-to’ publications’ drive to assert the commercial feature film as the only model worthy of emulation (Professional 267; Reel xii). This drive continues today in numerous magazines and books addressing the consumer and pro-sumer levels. Alan D. Kattelle has charted a different history of the US amateur film, concentrating on the cine clubs and their national organisation, the Amateur Cine League (ACL), competitive events and distribution, a somewhat less domestic part of the movement which aimed less at family documentation more toward ‘photo-plays’, travelogues and instructionals. Just as interested in achieving professional results with amateur means, the ACL encouraged excellence and some of their filmmakers received commissions to make more widely seen films (Kattelle, Amateur 242). The ACL’s Ten Best competition still exists as The American International Film and Video Festival (Kattelle, Amateur 242), but its remit has changed from being “a showcase for amateur films” to being open “to all non-commercial films regardless of the status of the film makers” (AMPS). This points to both the relative marginalisation of the mid-century notion of the amateur, and that successful professionals and others working in the penumbra of independent production surrounding the industry proper are now important contributors to the festival. Both these groups are the economically important contemporary users of Super 8, but they use it in different ways. Low budget productions use it as cheap alternative to larger gauges or HD digital video and a better capture format than dv, while professional productions use it as a lo-fi format precisely for its degradation and archaic home movie look (Allen; Polisin). Pro8mm is a key innovator, service provider and advocate of Super 8 as an industry standard tool, and is an important and long serving agent in what should be seen as the normalisation of Super 8 – a process of redressing its pariah status as a cheap substandard to the substandard, while progressively erasing the special qualities of Super 8 that underlay this. The company started as Super8 Sound, innovating a sync-sound system in 1971, prior to the release of Kodak’s magnetic stripe sound Super 8 in 1973. Kodak’s Super 8 sound film was discontinued in 1997, and in 2005 Pro8mm produced the Max8 format by altering camera front ends to shoot onto the unused stripe space, producing a better quality image for widescreen. In between they started cutting professional 35mm stocks for Super 8 cameras and are currently investing in ever more high-quality HD film scanners (Allen; Pro8mm). Simultaneous to this, Kodak has brought out a series of stocks for Super 8, and more have been cut down for Super 8 by third parties, that offer a wider range of light responses or ever finer grain structure, thus progressively removing the limitations and visible artefacts associated with the format (Allen; Muldowney; Perkins; Kodak, Motion). These films stocks are designed to be captured to digital video as a normal part of their processing, and then entered into the contemporary digital work flow, leaving little or no indication of the their origins on a format designed to be the 1960s equivalent of the Box Brownie. However, while Super 8 has been used by financially robust companies to produce full-length programmes, its role at the top end of production is more usually as home movie footage and/or to evoke pastness. When service provider and advocate OnSuper8 interviewed professional cinematographer James Chressanthis, he asserted that “if there is a problem with Super 8 it is that it can look too good!” and spent much of the interview explaining how a particular combination of stocks, low shutter speeds and digital conversion could reproduce the traditional degraded look and avoid “looking like a completely transparent professional medium” (Perkins). In his history of the British amateur movement, Duncan Reekie deals with this distinction between the professional and amateur moving image, defining the professional as having a drive towards clarity [that] eventually produced [what] we could term ‘hyper-lucidity’, a form of cinematography which idealises the perception of the human eye: deep focus, increased colour saturation, digital effects and so on. (108) Against this the amateur as distinguished by a visible cinematic surface, where the screen image does not seem natural or fluent but is composed of photographic grain which in 8mm appears to vibrate and weave. Since the amateur often worked with only one reversal print the final film would also often become scratched and dirty. (108-9) As Super 8’s function has moved away from the home movie, so its look has adjusted to the new role. Kodak’s replacement for K40 was finer grained (Kodak, Kodak), designed for a life as good to high quality digital video rather than a film strip, and so for video replay rather than a small gauge projector. In the economy that supports Super 8’s survival, its cameras and film stock have become part of a different gestalt. Continued use is still justified by appeals to geist, but the geist of film in a general and abstract way, not specific to Super 8 and more closely resembling the industry-centric view of film propounded by decades of ‘how-to’ guides. Activity that originally supported Super 8 continues, and currently has embraced the ubiquitous and extremely substandard cameras embedded in mobile phones and still cameras for home movies and social documentation. As Super 8 has moved to a new cultural position it has shed its most recognisable trait, the visible surface of grain and scratches, and it is that which has become obsolete, discontinued and the focus of nostalgia, along with the sound of a film projector (which you can get to go with films transferred to dvd). So it will be left to artist filmmaker Peter Tscherkassky, talking in 1995 about what Super 8 was to him in the 1980s, to evoke what there is to miss about Super 8 today. Unlike any other format, Super-8 was a microscope, making visible the inner life of images by entering beneath the skin of reality. […] Most remarkable of all was the grain. While 'resolution' is the technical term for the sharpness of a film image, Super-8 was really never too concerned with this. Here, quite a different kind of resolution could be witnessed: the crystal-clear and bright light of a Xenon-projection gave us shapes dissolving into the grain; amorphous bodies and forms surreptitiously transformed into new shapes and disappeared again into a sea of colour. Super-8 was the pointillism, impressionism and the abstract expressionism of cinematography. (Howath) Bibliography Allen, Tom. “‘Making It’ in Super 8.” MovieMaker Magazine 8 Feb. 1994. 1 May 2009 ‹http://www.moviemaker.com/directing/article/making_it_in_super_8_3044/›. AMPS. “About the American Motion Picture Society.” American Motion Picture Society site. 2009. 25 Apr. 2009 ‹http://www.ampsvideo.com›. Bassan, Raphaël. “Identity of Cinema: Experimental and Different (review of Festival des Cinémas Différents de Paris, 2005).” Senses of Cinema 44 (July-Sep. 2007). 25 Apr. 2009 ‹http://archive.sensesofcinema.com/contents/07/44/experimental-cinema-bassan.html›. Chodorov, Pip. “To Save Kodochrome.” Frameworks list, 14 May 2005. 28 Apr. 2009 ‹http://www.hi-beam.net/fw/fw29/0216.html›. Dager, Nick. “Kodak Unveils Latest Film Stock in Vision3 Family.” Digital Cinema Report 5 Jan. 2009. 27 Apr. 2009 ‹http://www.digitalcinemareport.com/Kodak-Vision3-film›. Durgnat, Raymond. “Flyweight Flicks.” GAZWRX: The Films of Jeff Keen booklet. Originally published in Films and Filming (Feb. 1965). London: BFI, 2009. 30-31. Frye, Brian L. “‘Me, I Just Film My Life’: An Interview with Jonas Mekas.” Senses of Cinema 44 (July-Sep. 2007). 15 Apr. 2009 ‹http://archive.sensesofcinema.com/contents/07/44/jonas-mekas-interview.html›. Hodgkinson, Will. “End of the Reel for Super 8.” Guardian 28 Sep. 2006. 20 Mar. 2009 ‹http://www.guardian.co.uk/film/2006/sep/28/1›. Horwath, Alexander. “Singing in the Rain - Supercinematography by Peter Tscherkassky.” Senses of Cinema 28 (Sep.-Oct. 2003). 5 May 2009 ‹http://archive.sensesofcinema.com/contents/03/28/tscherkassky.html›. Jarman, Derek. In Institute of Contemporary Arts Video Library Guide. London: ICA, 1987. Kattelle, Alan D. Home Movies: A History of the American Industry, 1897-1979. Hudson, Mass.: self-published, 2000. ———. “The Amateur Cinema League and its films.” Film History 15.2 (2003): 238-51. 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Subversion: The Definitive History of the Underground Cinema. London: Wallflower Press, 2007. Sneakernet, Christopher Hutsul. “Kodachrome: Not Digital, But Still Delightful.” Toronto Star 26 Sep. 2005. Swanson, Dwight. “Inventing Amateur Film: Marion Norris Gleason, Eastman Kodak and the Rochester Scene, 1921-1932.” Film History 15.2 (2003): 126-36 Zimmermann, Patricia R. “Professional Results with Amateur Ease: The Formation of Amateur Filmmaking Aesthetics 1923-1940.” Film History 2.3 (1988): 267-81. ———. Reel Families: A Social History of Amateur Film. Bloomington: Indiana UP, 1995.

Дисертація на здобуття наукового ступеня кандидата технічних наук (доктора філософії) за спеціальністю 05.09.05 «Теоретична електротехніка». – Державна установа «Інститут технічних проблем магнетизму Національної академії наук України». Національний технічний університет «Харківський політехнічний інститут» Міністерство освіти і науки України, Харків, 2019. Дисертація присвячена удосконаленню математичної моделі магнітного поля електромагнітів постійного струму систем керування космічними апаратами з урахуванням неоднорідності намагнічування осердь циліндричної та складної форми. Через обмеженість ресурсів при знаходженні в навколоземному просторі все більше переходять на використання пасивних систем керування космічними апаратами, у тому числі магнітних систем керування. Перевагою пасивних над активними системами керування є відсутність робочого тіла, що являє собою ключовим фактором при тривалому знаходженні космічного апарата в навколоземному просторі. У випадку застосування магнітних систем керування, до яких входять також магнітні виконавчі органи, виникає проблема досягнення необхідного керуючого моменту при обмеженні габаритів космічного апарата. Оскільки для магнітних виконавчих органів основним показником керуючого моменту космічного апарата є магнітний момент, то необхідність досягнення заданого його рівня при зменшенні маси, енерговитрат та габаритів є однією з основних задач при проектуванні магнітних виконавчих органів. Одним із видів магнітних виконавчих органів є електромагніти постійного струму. У найбільш поширеному випадку вони складаються з циліндричного осердя із матеріалу з високою магнітною проникністю і співвісної намагнічувальної котушки. Для збільшення магнітного моменту електромагніту використовують полюсні наконечники, що розташовані поблизу торців циліндричного осердя. Розрахунок магнітного моменту такого електромагніту є досить складною науковою задачею. Пов’язано це з необхідністю врахування нелінійних властивостей матеріалу осердя при визначенні його магнітного моменту як основної складової магнітного моменту електромагніту. Проведено критичний аналіз відомих методів розрахунку магнітного поля та магнітного моменту осердь електромагнітів. Встановлено, що в методах, основаних на застосуванні коефіцієнтів розмагнічування та інтегральних рівнянь, не враховується неоднорідність і нелінійність намагнічування осердь циліндричної та складної форми, а також неоднорідності магнітного поля, що створюється котушкою. Показано, що застосування електростатичної аналогії для розрахунку магнітостатичного поля в неоднорідних намагнічуваних середовищах правильно на основі дипольної моделі намагнічування, проте в розрахункових формулах потенціального поля можливо коректне використання намагніченості молекулярними струмами. Інтегральне рівняння відносно поверхневої густини фіктивних магнітних зарядів перетворено на основі практично рівномірного розподілу намагніченості в поперечних перерізах осердя та за допомогою середніх за об’ємом кожного елемента осердя магнітних проникностей, що дозволяє розрахувати магнітне поле електромагнітів систем керування космічними апаратами з урахуванням крайових ефектів і кривої намагнічування матеріалу осердя. Досліджено вплив напруженості магнітного поля, створюваного котушкою, відносної довжини осердь циліндричної та складної форми з пермалою 50Н, а також розмірів і положень полюсних наконечників на магнітний момент електромагніту та встановлено, що циліндричні осердя, які мають відносну довжину b/R=16, 33, 66 при рівні магнітного поля, що створюється котушкою, H0=1647÷9888 А/м забезпечують діапазони магнітного моменту електромагнітів Mem=0,4÷2,3; 2,2÷12,2; 12,3÷28,8 А·м2 і полюсні наконечники циліндричних осердь збільшують магнітний момент електромагніту в залежності від їх розмірів та відстані від торців при b/R=16 до 50 %, при b/R=33 до 32 % і при b/R=66 до 11 %. На основі цих досліджень розроблено наступні рекомендації для забезпечення максимального ефективного питомого магнітного моменту електромагніту. Котушка електромагніту з осердям циліндричної та складної форми повинна забезпечувати такі рівні зовнішнього магнітного поля, при яких напруженість результуючого магнітного поля на переважній частині осердя знаходиться поза зоною насичення кривої намагнічування і відповідає більшій намагніченості. За таких умов зростання Mem може бути досягнуто збільшенням b/R, зовнішнього радіуса Rw та товщини hw полюсних наконечників. Використання циліндричних осердь з пермалою 50Н при b/R=16 неефективно, а полюсні наконечники підвищують ефективність осердь з b/R=16 при H06587 А/м. Для забезпечення максимального ефективного питомого магнітного моменту електромагнітів з осердями циліндричної та складної форми з пермалою 50Н з b/R=33 рекомендується рівень магнітного поля котушки H0=6587 А/м, а для осердь з b/R=66 – H0=3293 А/м. Полюсні наконечники повинні знаходитись на торцях осердя та мати такі розміри: при b/R=16 та 33 – Rw=11 мм, hw=1÷4 та 6÷12 мм, а при b/R=66 – Rw=8 мм, hw=8÷32 мм. Достовірність теоретичних результатів підтверджено вимірюваннями середніх значень індукції магнітного поля в поперечних перерізах циліндричного осердя, порівнянням з опублікованими розрахунковими значеннями магнітного моменту циліндричних осердь та тестуванням математичної моделі за допомогою аналітичних розв’язків аналогічних електростатичних задач. В роботі автором отримані наступні нові наукові результати. Отримало подальший розвиток використання електростатичної аналогії, що дозволило сформулювати інтегральне рівняння відносно поверхневої густини фіктивних магнітних зарядів для розрахунку плоскомеридіанного магнітостатичного поля в кусково-однорідному намагнічуваному середовищі та виконати тестування його чисельного розв’язку. Вперше на основі практично рівномірного розподілу намагніченості в поперечних перерізах осердя перетворено вихідне інтегральне рівняння для розрахунку магнітного поля електромагнітів, що дозволило зменшити порядок апроксимуючої системи алгебраїчних рівнянь у 10÷12 разів. Вперше для урахування нелінійних властивостей матеріалу осердя в чисельному розв’язку інтегрального рівняння для розрахунку магнітного поля електромагнітів використано середні за об’ємами елементів осердя магнітні проникності, що дозволило зменшити розміри області розв’язання інтегрального рівняння в 6÷9 разів. Отримані автором результати мають істотне практичне значення. Математична модель магнітного поля електромагнітів систем керування космічними апаратами, а також рекомендації щодо форми, розмірів осердь, рівня магнітного поля, яке створюється котушкою, можуть бути застосовані при проектуванні електромагнітів, котрі забезпечують заданий магнітний момент. Основні результати дисертації використані в ДУ «ІТПМ НАН України» при виконанні досліджень за бюджетною тематикою.
Thesis for the scientific degree of candidate of technical sciences (Ph.D.) in specialty 05.09.05 «Theoretical electrical engineering». – State Institution «Institute of Technical Problems of Magnetism of the National Academy of Sciences of Ukraine», National Technical University «Kharkiv Polytechnic Institute», Kharkiv, 2019. The thesis is devoted to the improvement of the mathematical model of magnetic field of DC electromagnets of spacecraft control systems considering the heterogeneity of the magnetization of the cores of cylindrical and complex shape. Due to scarcity of resources, while in the Earth's space, they are increasingly switching to passive spacecraft control systems, including magnetic control systems. The advantage of passive over active control systems is the lack of working body, which is a key factor in the long-term location of the spacecraft in the Earth's space. In the case of the use of magnetic control systems, which also include magnetic executive bodies, the problem arises to achieve the required control torque while limiting the dimensions of the spacecraft. Since the control moment of the spacecraft's control point is the magnetic moment, the need to reach its specified level while reducing mass, energy, and dimensions is one of the main tasks in the design of magnetic executive bodies. One of the types of magnetic executive bodies is the DC electromagnets. In the most common case, they consist of a cylindrical core of high magnetic permeability material and coaxial magnetizing coil. To increase the magnetic moment of the electromagnet pole pieces are used, which are located near the ends of the cylindrical core. The calculation of the magnetic moment of the electromagnet is quite complex scientific problems. This is due to the need to consider the nonlinear properties of the core material when determining its magnetic moment as the main part of the magnetic moment of the electromagnet. A critical analysis of the known methods of calculating the magnetic field and the magnetic moment of the cores of electromagnets is carried out. It is established that the methods based on the application of demagnetizing factors and integral equations do not consider the heterogeneity and nonlinearity of the magnetization of the cores of cylindrical and complex shape, as well as the inhomogeneity of the magnetic field generated by the coil. It is shown that the use of electrostatic analogy for the calculation of the magnetostatic field in inhomogeneous magnetizing media is correct on the basis of the dipole magnetization model, but in the formulas of the potential field, the correct use of magnetization by molecular currents is possible. The integral equation with respect to the surface density of fictitious magnetic charges was transformed on the basis of almost uniform distribution of magnetization in the cross sections of the core and by means of the averages of the volume of each element of the core of magnetic permeabilities, which allows to calculate the magnetic field of electromagnets of spacecraft control systems taking into account the edge effects and the magnetization curve. The influence of the magnetic field intensity generated by the coil, the relative length of the cores of cylindrical and complex shape made of permalloy 50N, as well as the sizes and positions of the pole pieces on the magnetic moment of the electromagnet is studied and found that cylindrical cores having a relative length b/R=16, 33, 66 at the level of the magnetic field, generated by the coil,H0=1647÷9888 A/m is provide the magnetic moment ranges of the electromagnets Mem=0,4÷2,3; 2,2÷12,2; 12,3÷28,8 A·m2 and the pole pieces of the cylindrical cores increase the magnetic moment of the electromagnet depending on their size and distance from the ends at b/R=16 to 50 %, at b/R=33 to 32 % and at b/R=66 to 11 %. Based on these studies, the following recommendations have been developed to ensure the maximum effective specific magnetic moment of the electromagnet. The coil of the electromagnet with the cores of cylindrical and complex shape should provide such levels of an external magnetic field at which the resultant magnetic field strength on the vast majority of the core is outside the saturation zone of the magnetization curve and corresponds to greater magnetization. Under these conditions, the growth of Mem can be achieved by increasing the b/R, the outer radius Rw, and the thickness hw of the pole pieces. The use of cylindrical cores made of permalloy 50N at b/R=16 is inefficient, and the pole pieces increase the efficiency of cores with b/R=16 at H0=6587 A/m. To ensure the maximum effective specific magnetic moment of electromagnets with cores of cylindrical and complex shape made of permalloy 50N with b/R=33 the magnetic field level of the coil H0=6587 A/m is recommended, and for cores with b/R=66 the magnetic field H0=3293 A/m is recommended. The pole pieces must be at the ends of the core and have the following dimensions: for b/R=16 and 33 is Rw=11 mm, hw=1÷4 mm and hw=6÷12 mm, for b/R=66 is Rw=8 mm, hw=8÷32 mm. The validity of the theoretical results is confirmed by measuring the mean values of the magnetic field induction in the cross sections of a cylindrical core, comparing it with the published calculated values of the magnetic moment of cylindrical cores, and testing the mathematical model using analytical solutions of similar electrostatic problems. In the work the author obtained the following new scientific results. The use of electrostatic analogy was further developed, which made it possible to formulate an integral equation with respect to the surface density of fictitious magnetic charges to calculate a plane-meridian magnetostatic field in a piecewise homogeneous magnetized medium and to test its numerical solution. For the first time, on the basis of a virtually uniform distribution of magnetization in the cross sections of the core, the original integral equation was transformed to calculate the magnetic field of electromagnets, which allowed to reduce the order of the approximating system of algebraic equations by 10÷12 times. For the first time, to calculate the nonlinear properties of the core material in the numerical solution of the integral equation, the average volume of the core elements of the magnetic permeability was used to calculate the magnetic field of the electromagnets, which reduced the size of the area of the integral equation solution by 6÷9 times. The results obtained by the author are of considerable practical importance. The mathematical model of the magnetic field of the electromagnets of the spacecraft control systems, as well as the recommendations regarding the shape, dimensions of the cores, the level of the magnetic field created by the coil, can be applied in the design of electromagnets that provide a given magnetic moment. The main results of the thesis have been used in the State Institution “Institute of Technical Problems of Magnetism of the National Academy of Sciences of Ukraine” when conducting research on budget topics.