The 2006 Mode Experiment was based on a nationwide random sample of short-term acute care hospitals. Hospitals from each of CMS' ten geographic regions participated in the Mode Experiment. A hospital's probability of being selected for the sample was proportional to its volume of discharges, which guaranteed that each patient would have an equal probability of being sampled for the experiment. The participating hospitals contributed patient discharges from a four-month period: February, March, April, and May 2006. Within each hospital, an equal number of patients were randomly assigned to each of the four modes of survey administration. A randomized mode experiment of 27,229 discharges from 45 hospitals was used to develop adjustments for the effects of survey mode (Mail Only, Telephone Only, Mixed mode, or Active Interactive Voice Response) on responses to the CAHPS® Hospital Survey (also known as Hospital CAHPS or HCAHPS).
In Forged Cybertronians, alt-modes develop naturally during the protoform stage Silent Light . In those Constructed Cold, the alt-mode is determined by the pre-built nature of the chassis. Alt-modes have long been highly significant in Cybertronian society and politics. In the days of the Thirteen the various tribes were often (but not exclusively) defined by their alt-mode (. Onyx Prime's beastial tribe). Following the departure of the surviving Primes and the rise of Functionism, alt-modes determined your position in society with common forms lowering your social class and rare ones elevating it. Bestial transformers were considered among the lowest ranked individuals and suffered extreme limitations. Relinquishment Clinics sprung up, allowing the rich to 'borrow' another body so they could enjoy another alt mode, with flying forms being among the most popular.. Post Hoc A brave few like Whirl were able to convince the Functionists to let them do a job that had nothing to do with what they transformed into, although this frequently led to underhanded retribution. Interiors
‘In the Null Void video, we follow a desperate character in his attempt to transcend a physical space and escape his addictions via a hallucinatory female. The environment is a dystopic, brutalist variation on an old theme: the stifled, domestic household. The refrigerator, the television, the wine bottles, and –most notably – the main character’s nonexistent female counterpart evoke this dark theme. The cold lighting, concrete floors and metal containers further elicit the atmosphere of a prison in which he tries to resist the temptations offered by his imaginary friend. The illusory female character’s performance is mostly static, as though she is another object in the room. Her eyes are glazed over in reverie, the mode by which the action will follow. These reveries take various forms, limited by the sparseness of her environment. Dave plays a kind of narrator, floating around her dreams (sometimes actually), performing the song, alluding to the twofold nature of escape. Most important is the television, which serves as a physical manifestation of these purely mental (intellectual) fantasies. Its formal role in the narrative is essential, and as the viewer’s perspective is fed through the television, we lose our place. What is real and what is the fantasy? In this way, we are able to identify with the protagonist. After reality and fantasy are knotted together, they fracture, and the space is literally broken into parts. This is reminiscent of a familiar sensation at the end of a dream or reverie, when the idea comes together and then falls apart. The video thus gives us a picture of what the nature of escape can sometimes feel like: the ecstasy of transcendence, the eluding of time, the total circumvention of life as a physical object.“ ’says Saccenti.