Introduction: A trauma resuscitation is dynamic and complex process in which failures could lead to serious adverse events. In several trauma centers, evaluation of trauma resuscitation is part of a hospital's quality assessment program. While video analysis is commonly used, some hospitals use live observations, mainly due to ethical and medicolegal concerns. The aim of this study was to compare the validity and reliability of video analysis and live observations to evaluate trauma resuscitations. Methods: In this prospective observational study, validity was assessed by comparing the observed adherence to 28 advanced trauma life support (ATLS) guideline related tasks by video analysis to life observations. Interobserver reliability was assessed by calculating the intra class coefficient of observed ATLS related tasks by live observations and video analysis. Results: Eleven simulated and thirteen real-life resuscitations were assessed. Overall, the percentage of observed ATLS related tasks performed during simulated resuscitations was 10.4% (P < 0.001) higher when the same resuscitations were analysed using video compared to live observations. During real-life resuscitations, 8.7% (p < 0.001) more ATLS related tasks were observed using video review compared to live observations. In absolute terms, a mean of 2.9 (during simulated resuscitations) respectively 2.5 (during actual resuscitations) ATLS-related tasks per resuscitation were not identified using live observers, that were observed through video analysis. The interobserver variability for observed ATLS related tasks was significantly higher using video analysis compared to live observations for both simulated (video analysis: ICC 0.97; 95% CI 0.97-0.98 vs. live observation: ICC 0.69; 95% CI 0.57-0.78) and real-life witnessed resuscitations (video analyse 0.99; 95% CI 0.99-1.00 vs live observers 0.86; 95% CI 0.83-0.89). Conclusion: Video analysis of trauma resuscitations may be more valid and reliable compared to evaluation by live observers. These outcomes may guide the debate to justify video review instead of live observations.
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The purpose of this study was a serial assessment of gross motor development of infants at risk is an established procedure in neonatal follow-up clinics. Assessments based on home video recordings could be a relevant addition. In 48 infants (1.5-19 months), the concurrent validity of 2 applications was examined using the Alberta Infant Motor Scale: (1) a home video made by parents and (2) simultaneous observation on-site by a pediatric physical therapist. Parents’ experiences were explored using a questionnaire.
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Objective: To explore the relationship between personal characteristics of older adults with multiple chronic conditions (MCCs) and perceived shared decision making (SDM) resp. decisional conflict. Methods: In a video-observational study (N = 213) data were collected on personal characteristics. The main outcomes were perceived level of SDM and decisional conflict. The mediating variable was participation in the SDM process. A twostep mixed effect multilinear regression and a mediation analysis were performed to analyze the data. Results: The mean age of the patients was 77.3 years and 56.3% were female. Health literacy (β.01, p < .001) was significantly associated with participation in the SDM process. Education (β = −2.43, p = .05) and anxiety (β = −.26, p = .058) had a marginally significant direct effect on the patients’ perceived level of SDM. Education (β = 12.12, p = .002), health literacy (β = −.70, p = .005) and anxiety (β = 1.19, p = .004) had a significant direct effect on decisional conflict. The effect of health literacy on decisional conflict was mediated by participation in SDM. Conclusion: Health literacy, anxiety and education are associated with decisional conflict. Participation in SDM during consultations plays a mediating role in the relationship between health literacy and decisional conflict. Practice Implications: Tailoring SDM communication to health literacy levels is important for high quality SDM.
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Zorgprofessionals in de revalidatie helpen cliënten met beperkingen om zo goed mogelijk in het dagelijks leven te functioneren. Voor mensen die een beroerte hebben gehad, is het opnieuw aanleren en uitvoeren van dagelijkse bewegingen zoals lopen complex. Aangezien de motorische problematiek meestal vergezeld gaat met cognitieve stoornissen, zoals geheugenstoornissen, wordt het leren extra bemoeilijkt. Therapeuten constateren dat de huidige (veelal verbale) aanpak onvoldoende resultaat bij deze doelgroep oplevert. Nieuwe wetenschappelijke inzichten veronderstellen dat impliciet (onbewust) motorisch leren juist voor de cliënten met cognitieve problemen een aanpak is die het aanleren van bewegingen makkelijker maakt. De centrale onderzoeksvraag: Welke kennis hebben therapeuten nodig om de onbewuste motorische leerstrategieën analogie leren, foutloos leren en observationeel leren toe te passen en ondersteunende technologieën op cliëntgerichte wijze in te zetten om het effectief en efficiënt aanleren en zelfstandig oefenen van het lopen bij cliënten na een beroerte mogelijk te maken? Het onderzoek leverde voor therapeuten wetenschappelijk onderbouwde concrete kennis op over de toepassing van onbewuste motorische leerstrategieën en de inzet van eenvoudige technologieën bij cliënten met een beroerte en mogelijk gepaard gaande cognitieve stoornissen in de dagelijkse praktijk. Tijdens het onderzoek (vier werkpakketten) was er voortdurend een wisselwerking tussen onderzoek en praktijk. Gebleken is dat naast de therapeuten ook informele zorgverleners hun naasten graag willen ondersteunen in hun revalidatietraject. Zij zien dat de onbewuste leerstrategieën een positief effect hebben. Echter de leerstrategieën zijn binnen het RAAKPRO project alleen vertaald naar instructies voor therapeuten. Deze zijn niet geschikt om toegepast te worden door informele zorgverleners. Top-Up project: Kennis over de toepassing van impliciet motorisch leren uit de RAAKPRO aanvraag vertalen naar instructie- en voorbeeldmateriaal voor informele zorgverleners, zoals mantelzorgers, zodat zij de revalidant beter kunnen begeleiden bij het (impliciet) motorisch leren van bewegingen in de thuissituatie en sociale omgeving en het gehele revalidatietraject versterkt.
Tango is among the most widespread world music genres nowadays. However, only partial information about the elements and techniques of composing, arranging and performing tango has been documented and made available so far. This research project aims at investigating tango’s main aspects in the oeuvre of relevant tango musicians, promoting its creative practice and expanding its artistic community. By making the implicit knowledge in scores and recordings explicit and ready for creative use by the greater artistic community, tango can be preserved, on one side; and musicians can experiment and reach new artistic horizons, securing its continuation and development as vivid, contemporary music, on the other. The project has two research questions: 1. What are the main features and techniques of tango music composition, arrangement and performance? 2. How can musicians nowadays integrate these features and techniques into their practice to deepen their understanding and enhance their artistic creations and performances? This research uses a mixed method design, including the analysis of scores and recordings, literature review, interviews, observational studies and experimentation. It expands the artistic community on the topic and bridges two top-notch institutions devoted to tango learning: Codarts and UNSAM (Argentina). The research also endeavours improvements in the Codarts curriculum as it complements and expands its educational programme by providing students with research tools to enhance their creative practice. Theoretical and artistic outcomes will be documented and disseminated in concerts, concert-lectures, papers, articles and a tailor-made website containing compositions, arrangements, videos, text, musical examples and annotated scores, so as to record: a) the musical materials and techniques found in the analysed scores and recordings, together with their applications in practice and performance; b) the artistic processes, reflections and production of the participants; c) information on how to create, arrange and perform tangos.
