Falls are frequent in older adults and may have serious consequences but awareness of fall-risk is often low. A questionnaire might raise awareness of fall-risk; therefore we set out to construct and test such a questionnaire. Methods. Fall-risk factors and their odds ratios were extracted from meta-analyses and a questionnaire was devised to cover these risk factors. A formula to estimate the probability of future falls was set up using the extracted odds ratios. The understandability of the questionnaire and discrimination and calibration of the prediction formula were tested in a cohort study with a six-month follow-up. Community-dwelling persons over 60 years were recruited by an e-mail snowball-sampling method. Results and Discussion. We included 134 persons. Response rates for the monthly fall-related follow-up varied between the months and ranged from low 38% to high 90%. The proportion of present risk factors was low. Twenty-five participants reported falls. Discrimination was moderate (AUC: 0.67, 95% CI 0.54 to 0.81). The understandability, with the exception of five questions, was good. The wording of the questions needs to be improved and measures to increase the monthly response rates are needed before test-retest reliability and final predictive value can be assessed.

Die Studie gibt am Beispiel der Tugend Ehrlichkeit einen Einblick in normative und subjektive Orientierungen Jugendlicher in ihrem alltäglichen Schulkontext. Dem Tugendbegriff in den bisherigen Erziehungsdebatten wird eine Perspektive gegenübergestellt, die die Sichtweise der Schülerinnen und Schüler einbezieht: Im Gegensatz zum normativ verwendeten Tugendbegriff präsentiert sich in den vorliegenden Befunden die Tugend Ehrlichkeit als ambivalente Verhaltensweise, die situations-, kontext- und personenabhängig ist. Seit der griechischen Antike sind Tugenden ein zentrales Thema der Pädagogik. Erziehungsphilosophen haben immer wieder Tugendkataloge entwickelt, von denen sie annahmen, dass sie die praktische Erziehung leiten können. Die vorliegende Arbeit fragt, wie sich Jugendliche auf Erziehungsansprüche einstellen und diese zu ihrem eigenen Vorteil unterlaufen. Der Frage wird am Beispiel der schulrelevanten Tugend Ehrlichkeit nachgegangen, indem die Studie 16 Jugendliche mittels problemzentrierter Interviews im Schulkontext befragt. Die Ergebnisse der Untersuchung verweisen auf explizite und implizite Ehrlichkeitsregeln, die sich in konventionelle und unkonventionelle Regeln unterteilen lassen.

A low-energy 2.4GHz RF transceiver supporting 1Mb/s Gaussian Frequency-Shift Keying modulation and designed to run on a 1.5V battery is implemented in a standard 0.18μm CMOS technology. The integrated DC-DC converter can provide up to 100mA to an external load besides the current required by the transceiver. The transmitter current at 0dBm nominal output power is 11.9mA. The receiver draws 11.4mA and presents a sensitivity of -82.5dBm at a bit-error rate of 0.1% with the on-chip DC-DC converter delivering a total of 120mA. The transceiver is able to operate at a supply voltage as low as 0.8V.

A phase–domain approach of I/Q–quantization for RF Transceivers is presented. The I/Q–signals are converted directly from the phase domain into a digital representation of the actual phasor position. This phase–domain Analog–to–digital converter (Phase–ADC) designed in 0.18μm occupies an area of 0.049 mm2, has a dynamic range of 50 dB and draws roughly 300 μA from 1.2 Volt

Prof. Dr. Beat Reidy und sein Team von der Hochschule für Agrar-, Forst- und Lebensmittelwissenschaften HAFL haben Formeln zur Berechnung von Nahrungsmittel- und Flächenkonkurrenz zwischen Mensch und Tier erarbeitet. Das klingt abstrakt, ist aber wichtig für die Diskussionen zur Versorgungssicherheit – und soll konkret helfen, die Schweizer Milchwirtschaft klimafreundlicher und effizienter zu machen.

Künstler wie Laszlo Moholy-Nagy waren beeindruckt von der Wirkmächtigkeit des Lichts und versuchten, diese in ihren Kunstkonzepten zur Geltung zu bringen. Die Totalität dieser Kunstidee wird eingeholt und zunichte gemacht in den totalitären Lichtinszenierungen der Nationalsozialisten.

In Curriculum I (2004), the entire household of contemporary Swiss artist Isabelle Krieg is piled up to form a streambed: the water runs over her belongings and disappears in her bed. Likewise, Curriculum II (2008) consists of the artist’s studio equipment, with a stream running through it. Using the example of the intermedia-works Curriculum I and Curriculum II by Isabelle Krieg, this contribution aims to show how water as an art material can be linked to subject matter and interact with written and spoken/sung language to contribute to the art work’s meaning.

The beginning of the 19th century is a moment of decisive aesthetic changes for Italian and European scenography. Stage design moves from architectural constructions typical of the 18th century, marked by the Bibiena dynasty, to more painterly solutions like the « scena-quadro ». For instance, the illusion of depth is produced more by a specific use of colour and chiaroscuro effects - the so-called prospettiva aerea - than using geometrical structures. The scenographer becomes a painter and the stage a painting. Scholars have already defined the technical elements of these aesthetic changes through the study of treatises or indirect artifacts, such as sketches or engravings. Nevertheless, the recent discovery of original scenic material (wings, curtains, set pieces, backdrops, machinery,…) from the beginning of the 19th century in the theater of Feltre (IT) offers a unique opportunity to study these elements directly from the material itself in its own original context. This paper proposes to refine the study of historical scenography by observing these constitutive technical and aesthetic changes of stage painting, not only from treatises or sketches but also directly from rare original scenic elements of that period and see how this scenic material reflects the scientific research. The study of an Italian case is especially fascinating, as the artists from that country were known throughout the rest of Europe for their skill in stage painting. The work of Raphaël Bortolotti is focused on the original scenic material from the beginning of the 19th century in the historical theatre of Feltre, a small town north of Venice. After a Master’s degree in History of Art (University Lausanne) and another one in baroque singing (Schola Cantorum Basiliensis), Raphaël Bortolotti decided to prepare a Ph.D. at the University of Bern (HKB) on stage painting in Italy in the first half of the 19th century. Supervised by Maria Ida Biggi (Fondazione Cini) and Andreas Beyer (Universität Basel), he will start his Ph.D. during the following academic year.