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In this text I discuss how Sámi ways of knowing could be woven into the practices of Sámi research. I introduce three stories of three research projects as examples of attempts to overcome the complex and multifaceted challenges that Sámi society is currently facing. These examples place the Sámi perception of the world and its ontological and epistemological premises and practices at the core of knowledge practices. Sámi knowledge and ways of knowing the world are jointly created and shared in the every-day activities of communicating and acting, being in dialogue with the environment, caring for it, and engaging with the principle that a human being is not the master of nature.

Artistic currents and social protest have long been intertwined. One of the most paradigmatic examples of similarities and proximities between those fields is surrealism. It appeared in the early 1920s as a movement, as it gathered on a collective basis various artists (poets, painters, filmmakers, carvers, photographers, etc.) who shared the same aesthetic principles. Those principles were expressed in manifestos that had been written by a charismatic leader, Andre Breton, whose authoritative methods led to repeated internal challenges, exclusions, and secessions. Like protesters who seek change to the social or political structure, the surrealists sought for a regeneration of the aesthetic norms of their time. Posing as an artistic vanguard, they violently challenged the dominant artistic forms of academism using provocation, scandal, and disruption. But the surrealists did not restrict their criticism to the world of aesthetics; they also set out to challenge the political order by joining the communist movement and by participating in various mobilizations, for example, against colonial wars. Other artistic movements – such as Cobra or Situationism – have adopted the same form of a collective vanguard that intends to challenge both the aesthetic values and the political order. Keywords: civil rights; music; peace

UNLABELLED: The hormones used in fertility treatment come in various forms. Progesterone used for luteal phase support is often administered vaginally as either suppositories, tablets or gel. However, in Denmark the administration of progesterone as a subcutaneous injection has newly been introduced. The aim of the study was to explore patient attitudes towards and satisfaction with subcutaneous injection of progesterone versus vaginal administration of progesterone in Assisted Reproductive Technology (ART) treatments.METHODS AND ANALYSIS: A qualitative study with online and face to face interviews with a total of 19 women undergoing an ART treatment. Only women with at least one previous blastocyst transfer using vaginal progesterone or subcutaneous progesterone could be recruited. All participants were included from either the Fertility Clinic at Copenhagen University Hospital - Herlev and Gentofte or from the Fertility Unit at Aalborg University Hospital.RESULTS: The analysis resulted in four themes: (1) medication, (2) everyday life, (3) bodily experiences and (4) infertility or hope. Most informants highlighted the administration of subcutaneous progesterone only once a day and avoidance of the vaginal discharge as clear advantages. Reasons for preferring the vaginal administration were inconvenience of bringing the subcutaneous medication along and resistance to inject oneself.CONCLUSION: The findings of this study suggest that the satisfaction with the subcutaneous progesterone is generally positive. However, valuable thoughts have given insights into possible areas, which could be improved. Further, that some women prefer vaginal progesterone. The results show that the women are interested in being included in the decision-making when choosing the administration form of progesterone.

This article reviews a recent wave of literature on the resurgence of vinyl records, examining what it has claimed about vinyl's capacity for tangibility and the contrast to digital media, associated with intangibility. These claims are explained with reference to other literatures on touch, and it is suggested that vinyl's haptics mediates and embodies the emotionally rewarding production of a sense of self. The apparent contrast of vinyl aesthetics with classical music aesthetics is also discussed, and the presence of contemporary classical music within the vinyl resurgence is considered.

Interfaces 5 was born to home the dialogue that the neuroscientist Michael A. Arbib and the philosopher Tonino Griffero started at the end of 2021 about atmospheric experiences, striving to bridge the gap between cognitive science’s perspective and the (neo)phenomenological one. This conversation progressed due to Pato Paez’s offer to participate in the webinar “Architectural Atmospheres: Phenomenology, Cognition, and Feeling,” a roundtable hosted by The Commission Project (TCP) within the Applied Neuroaesthetics initiative. The event ran online on May 20, 2022. Bob Condia moderated the panel discussion between Suchi Reddy, Michael A. Arbib, and Tonino Griffero. The RESONANCES project was responsible for developing the editing and publishing process. This volume collects nine essays: the main chapter is “A Dialogue on Affordances, Atmospheres, and Architecture” by Michael A. Arbib and Tonino Griffero; there are four commentaries to this text by Federico De Matteis, Robert Lamb Hart, Mark Alan Hewitt, and Suchi Reddy; Michael A. Arbib and Tonino Griffero have independently responded to the commentaries, emphasizing the opportunities and challenges of their respective approaches: cog/neuroscience and atmospherology applied to architecture; Elisabetta Canepa offers “An Essential Vocabulary of Atmospheric Architecture,” developing an atmospherological critique of the Marianna Kistler Beach Museum of Art on the Kansas State University campus to evaluate the accuracy, coherence, and adaptability of her lexicon. Bob Condia and Mikaela Wynne provide an introduction entitled “On Becoming an Atmospherologist: A Praxis of Atmospheres.”, The RESONANCES project (Architectural Atmospheres: The Emotional Impact of Ambiances Measured through Conscious, Bodily, and Neural Responses) received funding from the European Union's Horizon 2020 research and innovation program under the Marie Skłodowska-Curie grant agreement no. 101025132. The content of this book reflects only the authors' view. The European Research Executive Agency is not responsible for any use that may be made of the information it contains. For further information, please visit the project website: www.resonances-project.com

Reproductive technologies (RTs) can assist integrated conservation breeding programs to attain propagation targets and manage genetic diversity more effectively. While the application of RTs to enhance the conservation management of threatened amphibians has lagged behind that of other taxonomic groups, a recent surge in research is narrowing the divide. The present study reports on the first application of RTs (hormone-induced spawning, hormone-induced sperm-release, and sperm cryopreservation) to the critically endangered Baw Baw frog, Philoria frosti. To determine the effect of hormone therapy on spawning success, male–female pairs were administered either 0 μg/g gonadotropin-releasing hormone agonist (GnRHa), 0.5 μg/g GnRHa, or 0.5 μg/g GnRHa + 10 μg/g metoclopramide (MET) (n = 6–7 pairs/treatment), and the number of pairs ovipositing, total eggs, and percent fertilisation success were quantified. To determine the effect of hormone therapy on sperm-release and to establish the peak time to collect sperm post-hormone administration, males were administered 0 IU/g (n = 4), or 20 IU/g hCG (n = 16). Total sperm, sperm concentration, and percent viability were quantified at 0, 2, 4, 6, 8, 10, and 12 h post-hormone administration. Overall, the percentage of pairs ovipositing was highest in the GnRHa + MET treatment, with 71% of pairs ovipositing, compared to 57% and 33% of pairs in the GnRHa and control treatments, respectively. The quantity of sperm released from males in response to hCG peaked at 4 h post-hormone administration, though it remained high up to 12 h. The percent sperm viability also peaked at 4 h post-administration (94.5%), exhibiting a steady decline thereafter, though viability remained above 77% throughout the 12 h collection period. The remaining sperm samples (n = 22) were cryopreserved using established protocols and biobanked for long-term storage and future conservation applications. The mean post-thaw sperm viability was 59%, and the percent total motility was 17%. The results from this preliminary study will direct further applications of RTs to the critically endangered Baw Baw frog to assist with species recovery.

This article suggests that the English Hours travel essays written in the 1870s were the crucible in which James perfected his technique of literary representation. Focusing on progress across space and tropes of liminality, the study highlights the presence, as of 1872, of the scenario of ghostly vision which dramatizes the shift from observation to reflection in the author’s fiction. It also shows how the 1877 essays mirror the novelist’s ethical concerns as he was working his way towards a poetical rendering of prosaic urban modernity. Cet article aborde les essais des années 1870 publiés dans English Hours comme le creuset dans lequel s’est élaborée la technique de représentation jamesienne. En analysant le parcours spatial et les lieux liminaux, il fait ressortir la mise en place, dès 1872, du scénario de vision spectrale figurant le passage de l’observation à la réflexion par le langage dans l’œuvre fictionnelle de l’auteur, et dans les récits de 1877, l’ouverture d’une voie permettant de concilier le prosaïsme de la réalité urbaine moderne et les exigences éthiques de l’art.

Henry James’s description of the appearance and behavior of traveling businessmen in the Hôtel de France section of “En Province” in A Little Tour in France is unusual, and appears to call attention to a recurrent and haunting anxiety on the part of the author that he might resemble these businessmen more than he liked to admit. The article explores James’s apparent identification with the itinerant businessman and the strategies he devised for distancing himself from them. On peut être frappé par le traitement inhabituel que Henry James réserve à l’apparence physique et au comportement des voyageurs d’affaires de l’Hôtel de France dans l’essai “En Province” de A Little Tour in France, anomalie qui indiquerait une hantise récurrente de l’auteur d’être beaucoup plus semblable à ces individus qu’il n’aurait voulu le reconnaître. L’objet de cet article est d’analyser la façon dont James semble s’identifier avec ces représentants de commerce et d’examiner les stratégies qu’il déploie pour s’en distancier.

OBJECTIVE: Identifying which types of athletes have increased injury risk (ie, predictive risk factors) should help develop cost-effective selective injury prevention strategies. Our objective was to compare a theoretical injury risk classification system developed by coaches and rehabilitation therapists, with observed injury rates in human circus acts across dimensions of physical stressors, acrobatic complexity, qualifications, and residual risks. DESIGN: Descriptive epidemiological study. SETTING: professional circus company. PATIENTS OR OTHER PARTICIPANTS: Human circus artists performing in routine roles between 2007 and 2017. ASSESSMENT OF RISK FACTORS: Characteristics of circus acts categorized according to 4 different dimensions. MAIN OUTCOME MEASURES: Medical attention injury rates (injury requiring a visit to the therapist), time-loss injury rates (TL-1; injury resulting in at least one missed performance), and time-loss 15 injury rates (TL-15; injury resulting in at least 15 missed performances). RESULTS: Among 962 artists with 1 373 572 performances, 89.4% (860/962) incurred at least one medical attention injury, 74.2% (714/962) incurred at least one TL-1 injury, and 50.8% (489/962) incurred at least one TL-15 injury. There were important inconsistencies between theoretical and observed injury risk patterns in each of the 4 dimensions for all injury definitions (medical attention, TL-1, and TL-15). CONCLUSIONS: Although theoretical classifications are the only option when no data are available, observed risk patterns based on injury surveillance programs can help identify artists who have a high (or low) theoretical risk but are nonetheless actually at low (or high) risk of injury, given their current roles. This will help develop more cost-effective selective injury prevention programs.

This paper will produce a new edition of the Rīʿ al-Zallālah inscription, discussing in detail its paleographic features and content, and the ramifications it has on our understanding of the linguistic and religious milieu of the sixth–early seventh century Ḥigāz.

The logo is a graphic element that can take the form of a letter, text, image, or even combinations of all these elements. It is used to identify a brand, product, organization or event. Any business, regardless of its size, must have a logo to define it. Nowadays, communication has become dominated by its visual composition. The world in which the rhythm is increasingly accelerated, communication strategies must emphasize what is possible to transmit instantly, with minimal effort, to the person who is looking. Starting from this premise, in this paper, we will present why it is good to create your own logo and what are the aspects to be taken into account when doing so. Well, our goal is to find a logo that has positive connotations for the business we want to promote. In this paper, a list of quality logo services and tips has been created to help people while creating an original logo for a business. Finally, we have written an idea on how to start creating a logo for a business that provides credibility in interacting with potential customers. We need a professional logo, colorful, versatile, that has positive visual impact, but at the same time it is affordable, and can be purchased by any small creative workshop.

Despite the atheism of renowned abstract expressionist painter Mark Rothko, the artist was commissioned by Christians to create a sacred space that was originally intended to be used by religious believers: the Rothko Chapel in Houston, Texas. The project started out as a collaboration between Rothko and another atheist: famed architect Phillip Johnson, who designed several prominent religious spaces throughout his distinguished career. While Johnson removed himself from the Chapel project early on, Rothko would have carried his conceptual vision all the way to the end if it were not for his tragic suicide just prior to the Chapel’s completion. Using as a guide the criteria for sacred space set forth in the classic work The Sacred and The Profane by famed historian Mircea Eliade, I will consider the question of how a religious space designed by non-believers can be rightly considered sacred, as well as ways in which it falls short.

In the footsteps of Caribbean diasporic artosts, this project aims at generating a Trans-Caribbean/Transamerican connectedness.

Traditional buildings are a comprehensive manifestation of history, art, and architectural features, and are also a carrier of folk culture, traditional skills, and regional aesthetic tastes. This paper studies traditional buildings and arts from three regions of Jiangxi, including northern Jiangxi, southern Jiangxi, and central Jiangxi. Traditional buildings in Jiangxi Province flourished in the Ming and Qing Dynasties. As Jiangxi is located in the interior of China and is adjacent to many provinces, the architectural art of traditional buildings is greatly influenced by geographical location. Traditional buildings in northern Jiangxi are influenced by Huizhou architectural culture, while those in southern Jiangxi are influenced by Hakka culture. The patio-style buildings and high-lighting buildings that represent the local characteristics of Jiangxi are found exactly in central Jiangxi. The relatively diverse set of architectural features and artistic elements is due to a variety of intertwined regional cultures. Compared with those of the surrounding provinces, the economic level of Jiangxi is relatively underdeveloped, and the local architecture has accordingly formed a restrained, simple, and practical artistic style.

‘Excitement struggles with the restraint of form and language and the artifice of verbal repetition… runs riot.’ The repetition is more pronounced and personal here than in another Lesbia epigram, no. 70, where ‘the repetition dicit…dicit makes it certain that Catullus had [Callimachus, Ep. 25 Pf.] in mind’. Poem 70 illustrates how Catullus might allude to and adapt a Hellenistic model in expressing his personal feelings; while the longer elegiac poems in particular (and 66, the translation of Coma Berenices) show the depth of his engagement with Callimachean literary technique. We should not be surprised to find Callimachean elements here too, given the demonstrable correspondences with poem 68 in particular, a composition noted for its use of Alexandrian artifice. But while there are close echoes of the high emotion, the doctus poeta of 68 seems to be largely missing from 107. Here Catullus exults ipsa refers te / nobis (5–6); there his mistress se nostrum contulit in gremium (132).

This scientific article is aimed at studying the problem of fostering creativity in future designers in the context of labour market requirements and taking into account the latest trends in design. The analysis of modern approaches to the educational process in the field of design at the institutional level and the compliance of educational services with the needs of the labor market was carried out. It was found that the creative educational environment of the educational institution best contributes to the development of creativity in future designers. The determining factors of the educational environment are revealed. It has been proven that educating students in a creative educational environment affects their creativity and further motivation for success. A conclusion was made about the need to create a creative and innovative educational environment in educational institutions., Наукова стаття спрямована на дослідження проблеми розвитку креативності в майбутніх дизайнерів у контексті вимог ринку та з урахуванням останніх тенденцій мистецтва дизайну. Проаналізовано сучасні підходи до освітнього процесу в галузі дизайну, виявлено визначальні фактори креативного освітнього середовища навчального закладу. Акцентується на тому, що вчителі та адміністрація мають бути творчими та дбати про середовище, яке стимулює розвиток креативності учнів. Визначальними рисами креативного освітнього середовища є: демократичні стосунки між усіма учасниками навчального процесу та керівництвом закладу, повага до індивідуальності кожної особистості, взаєморозуміння між працівниками, відданість справі, прагнення підвищити успішність учнів. Проведений аналіз дидактичних форм і методів засвідчив необхідність застосування евристичних стратегій, проблемного навчання, ігрових, проективних, інтерактивних технологій тощо, а також сучасних педагогічних прийомів (до прикладу, прийом «шість капелюхів»), які стимулюють креативність майбутніх дизайнерів.

The nine acts explore the new pandemic reality of immobility, vulnerability and emotional turmoil through creative engagement. Each act combines a visual work and a poem based on it. I made the sketches and paintings in 2020-21 and added poetic reflections in 2022. The poetic layer emerged as an experiment in picture-informed linguistic associations, where compositional and painterly elements in the visual works, and the embodied memories of their making, informed the imagination.

The creation of the Norman kingdom of Sicily was complemented by the development of a unique court milieu encompassing elements from the Latin West, Byzantium, and the Islamic world. The churches of Palermo, in particular, became the focus of a sophisticated project of experimentation and combination of different artistic traditions, to convey an artificial image of equilibrium among élites and communities of three different denominations: Latin, Greek-Byzantine, and Arabo-Christian. Through the creation and subversion of architectural boundaries, the promotion of certain forms of visual hybridity, the transgression of artistic media, and the articulation of new liminal spaces, the Norman rulers transformed their churches and cathedrals into an ideal stage for performing their liturgy of kingship, and conveying the message of a multi-faceted religious system unified and harmonized only through the king, as supreme head of the Church and vicar of Christ.

Background: Specific polymorphisms might influence controlled ovarian stimulation in women undergoing assisted reproductive technologies (ARTs). Data regarding possible interactions of these polymorphisms are still scanty. The aim of this analysis was to evaluate the effect of polymorphisms of gonadotropins and their receptors in women undergoing ART. Methods: A total of 94 normogonadotropic patients from three public ART units were enrolled. Patients underwent a gonadotropin releasing hormone (GnRH) long down-regulation protocol with a starting dose of 150 IU of recombinant follicular stimulating hormone (FSH) daily. Eight polymorphisms were genotyped. Results: A total of 94 women (mean age 30.71 ± 2.61) were recruited. Fewer fertilized and mature oocytes were retrieved in homozygous carriers of luteinizing hormone/choriogonadotropin receptor (LHCGR) 291 (T/T) than in heterozygous C/T carriers (p = 0.035 and p = 0.05, respectively). In FSH receptor (FSHR) rs6165 and FSHR rs6166 carriers, the ratio between total gonadotropin consumption and number of oocytes retrieved differed significantly among three genotypes (p = 0.050), and the ratio was lower in homozygous A/A carriers than in homozygous G/G and heterozygous carriers. Women who co-expressed allele G in FSHR-29 rs1394205 and FSHR rs6166 and allele C LHCGR 291 rs12470652 are characterized by an increased ratio between total FSH dosage and number of oocytes collected after ovarian stimulation (risk ratio: 5.44, CI 95%: 3.18–7.71, p < 0.001). Conclusions: Our study demonstrated that specific polymorphisms affect the response to ovarian stimulation. Despite this finding, more robust studies are required to establish the clinical utility of genotype analysis before ovarian stimulation.

With the advent of film studies in the United States, there has been a growing interest in legal academic circles in lawyer, legal, and courtroom films. In Professor Elkins’s essay, we find a claim that Hollywood lawyer films have pedagogical value.With the emerging interest in lawyer and legal films, there is virtually nothing written about what or how films are to be taught, and what their value might be. Professor Elkins provides the basic axioms for a humanistic approach to reading lawyer films, an approach that does not require an extensive background in film studies or film theory. Le développement des études cinématographiques aux États-Unis a accru l’intérêt des milieux académiques pour les films juridiques centrés sur un avocat ou un procès. Dans son article, le Professeur Elkins affirme que les films juridiques produits à Hollywood ont une valeur pédagogique.Malgré ce nouvel intérêt pour les films juridiques et les films centrés sur l’avocat, pratiquement rien n’a été écrit sur l’exploitation pédagogique de ces films, et sur l’intérêt qu’ils présentent. Le Professeur Elkins propose ici les principes de base d’une approche humaniste de la lecture de films d’avocats, une approche qui ne nécessite pas une culture cinématographique extensive ou une connaissance théorique des études cinématographiques.

The purpose of this theoretical research proposal is to investigate the effectiveness of arts-based instruction in improving students' oral and written English language skills, their creativity, motivation and general engagement with the subject. This paper is also aiming at exploring ways in which this approach can be implemented into teaching practice. The study aims to explore the potential impact of arts-based instruction on students' engagement, motivation, and language proficiency, and to propose a framework for incorporating artistic content in English language teaching. In order to develop the methodological design, a literature review of relevant studies will be performed on art-based instruction and its effect on the learning of languages. Finally, a set of 12 sessions will be developed and explained serving as an example of how the said instruction can be taken into the English as a Foreign Language classroom, primarily at public high schools.

This article analyses experimental institutionalism in the city of Rome, focusing on artistic practices of the C.S.O.A. Centro Sociale Autonomo Occupato (Squatted Autonomous Social Centre) Forte Prenestino and the three-year occupation of Valle theatre, Teatro Valle Occupato. In scholarly research on art institutionalism, artistic practices in squatted spaces are often overlooked. While the 1990s European wave of experimental institutionalism transformed the concept of an art museum or art institution into a processed-based, community-oriented, and participatory platform, in Rome, the collectives of activists and artists used more autonomous endeavours, such as processes of instituting, to affirm how artistic practices’ use of radical imagination can foster collective agency, creativity, and radical statecraft. In the following, radical statecraft is understood as a political act that reclaims and creates anew institutional infrastructures. Teatro Valle Occupato’s experimental cultural institution of the commons at the 17th-century theatre Valle from 2012 to 2015, and the projects of artists and musicians of the European underground cultural hub C.S.O.A. Forte Prenestino at the squatted 19th-century military fort in the working-class, peripheric neighbourhood of Centocelle, are crucial examples of artistic, cultural, and institutional experimentation, whereby artistic and cultural practices foster social relationships based on freedom, mutualism, solidarity, and the commons. In both cases, the contingency to grassroots politics forged the desire and imagination to either create anew or carve out a social space. By reclaiming spaces in which art is used as a means of radical statecraft, these practices reimagine society fostering non-market-driven social relationships becoming pivotal in the struggles against the neoliberal turn in Italy.

With the constant expansion of the Web, search engines became part of people’s daily routines. How users behave during the search process depends on a variety factors, one of which is the topic of their search interest. This study focused on the behavior of users searching the Web for content related to art and cultural heritage. A proprietary, publicly available, federated search engine, in the form of a web and mobile app, was developed for this research’s purposes. This platform was used to monitor actual user behavior during a six-month period. Quantitative data related to the platform’s usage were collected and analyzed in order to provide a detailed picture of the way interested parties engaged with it. This information pertained not only to the search queries and results viewed, but also to the various characteristics of the search sessions themselves. The study presented an analysis of these data, with emphasis on query and result characteristics, usage devices, login preferences and session duration, and drew conclusions. The study’s findings showed, among other things, that art searchers showed a preference for shorter queries, a tendency for higher query repeatability, and showed interest in a wider number of results than general purpose searchers. Additionally, they were more keen to use desktop devices instead of mobile ones and displayed higher engagement metrics during longer search sessions or when logged in. These findings outlined an art searcher who was interested in concepts and people often revisited searches and results, showed interest for more than the first few hits, was attracted by rich content, and understood the art search process as a task which requires focus. They also pointed out a duality in the art search process itself which can be long and involved or short and purposeful.

Objective: To evaluate the incidence, diagnostic management strategies and clinical outcomes of women with spontaneous haemoperitoneum in pregnancy (SHiP) and reassess the definition of SHiP. Design: A population-based cohort study using the Netherlands Obstetric Surveillance System (NethOSS). Setting: Nationwide, the Netherlands. Population: All pregnant women between April 2016 and April 2018. Methods: This is a case study of SHiP using the monthly registry reports of NethOSS. Complete anonymised case files were obtained. A newly introduced online Delphi audit system (DAS) was used to evaluate each case, to make recommendations on improving the management of SHiP and to propose a new definition of SHiP. Main outcome measures: Incidence and outcomes, lessons learned about clinical management and the critical appraisal of the current definition of SHiP. Results: In total, 24 cases were reported. After a Delphi procedure, 14 cases were classified as SHiP. The nationwide incidence was 4.9 per 100 000 births. Endometriosis and conceiving after artificial reproductive techniques were identified as risk factors. No maternal and three perinatal deaths occurred. Based on the DAS, adequate imaging of free intra-abdominal fluid, and identifying and treating women with signs of hypovolemic shock could improve the early detection and management of SHiP. A revised definition of SHiP was proposed, excluding the need for surgical or radiological intervention. Conclusions: SHiP is a rare and easily misdiagnosed condition that is associated with high perinatal mortality. To improve care, better awareness among healthcare workers is needed. The DAS is a sufficient tool to audit maternal morbidity and mortality.

Objective: To evaluate the incidence, diagnostic management strategies and clinical outcomes of women with spontaneous haemoperitoneum in pregnancy (SHiP) and reassess the definition of SHiP. Design: A population-based cohort study using the Netherlands Obstetric Surveillance System (NethOSS). Setting: Nationwide, the Netherlands. Population: All pregnant women between April 2016 and April 2018. Methods: This is a case study of SHiP using the monthly registry reports of NethOSS. Complete anonymised case files were obtained. A newly introduced online Delphi audit system (DAS) was used to evaluate each case, to make recommendations on improving the management of SHiP and to propose a new definition of SHiP. Main outcome measures: Incidence and outcomes, lessons learned about clinical management and the critical appraisal of the current definition of SHiP. Results: In total, 24 cases were reported. After a Delphi procedure, 14 cases were classified as SHiP. The nationwide incidence was 4.9 per 100 000 births. Endometriosis and conceiving after artificial reproductive techniques were identified as risk factors. No maternal and three perinatal deaths occurred. Based on the DAS, adequate imaging of free intra-abdominal fluid, and identifying and treating women with signs of hypovolemic shock could improve the early detection and management of SHiP. A revised definition of SHiP was proposed, excluding the need for surgical or radiological intervention. Conclusions: SHiP is a rare and easily misdiagnosed condition that is associated with high perinatal mortality. To improve care, better awareness among healthcare workers is needed. The DAS is a sufficient tool to audit maternal morbidity and mortality.

The relationship between narcissistic personality and art and beauty appreciation has recently become the focus of research investigations. Adaptive narcissists raise their sense of worth in order to shield themselves from harm caused by others. Because they aspire to be more attractive, healthier, and successful versions of themselves, they frequently have greater success in life than the majority of people. Grandiose and overtly narcissistic behavior are the main recognized characteristics of an overt narcissist, which is currently regarded as a personality disorder that puts mental health and wellbeing at peril. On a random sample collection of data from 1101 respondents to an online questionnaire, we conducted a network analysis of the Adaptive Overt Narcissism Scale (AONS) items. In this study, we used a network analysis approach to examine the network structure of adaptive overt narcissism, as well as its relationships with psychological functioning. The present study utilized network analysis to investigate the centrality measures of items in the Adaptive Overt Narcissism Scale (AONS) and their interrelationships. Results indicated that item Q6.8 (“I appreciate art and beauty”) had low betweenness, closeness, and strength centrality measures, indicating that it was less influential in the network. However, it also had negative expected influence, suggesting that its absence would have a destabilizing effect on the network. These results highlight the importance of the appreciation of art and beauty in deactivating the adaptive overt narcissist network. Further research is needed to explore the mechanisms underlying this relationship and its implications for narcissism prevention and intervention.

Autoimmune diseases can develop during HIV-1 infection, mainly related to the individual’s immune competence. The study investigated the association of the TREX1 531C/T polymorphism and antinuclear antibodies (ANA) in HIV-1 infection and the time of antiretroviral therapy (ART) used. Cross-sectional and longitudinal assessments were carried out in 150 individuals, divided into three groups: ART-naïve, 5 years and 10 years on ART; ART-naïve individuals were evaluated for 2 years after initiation of treatment. The individuals’ blood samples were submitted to indirect immunofluorescence tests, real-time PCR and flow cytometry. The TREX1 531C/T polymorphism was associated with higher levels of TCD4+ lymphocytes and IFN-α in individuals with HIV-1. Individuals on ART had a higher frequency of ANA, higher levels of T CD4+ lymphocytes, a higher ratio of T CD4+/CD8+ lymphocytes and higher levels of IFN-α than therapy-naïve individuals (p < 0.05). The TREX1 531C/T polymorphism was associated with better maintenance of the immune status of individuals with HIV-1 and ANA with immune restoration in individuals on ART, indicating the need to identify individuals at risk of developing an autoimmune disease.

The word “zadokeli” in Ewe, means “eclipse of the sun”. Duringthe global pandemic in 2020, 6 eclipses occurred within the year including 4 lunar eclipses across the world, with one total and one annular solar eclipse in addition. The first eclipse of 2020 occurred between 10th and 11th January, foreshadowing a dark year ahead. In the Ewe worldview, an eclipse, whether solar or lunar, is of deep spiritual significance. Thus, in the event of an eclipse, traditional priests, priestessesand diviners seek answers and offer prayers. These holders of esoteric knowledgeengage with the divinities to ‘restore’ normal cosmic order through propitiation rites. Adjei’s role here is as an artist drawing links between the 2020 eclipse and the rise in anti-Black violence and injustice, and positions him among the far-seeing priests and diviners who seek answers in an effort to ‘restore’ both cosmic and social order. Thus, through his new collection of paintings, Sela Adjei visually expands the discussion of analogizing the Black predicament with a recurring image of a gloomy eclipse; Zadokeli isthe same theme that animates Mawuli Adzei’s new poetry anthologybearing the same title. The book was edited by G. Edzordzi Agbozo, Ph.D. (University of North Carolina Wilmington, USA) and Niklas Wolf, M.A. (University of Zurich). The contributing scholars include: Asana Greenstreet, M.A. (Royal College of Art), Matthew Francis Rarey, Ph.D. (Oberlin, Ohio, USA), Elikplim Akorli, M.Phil, Damawa L. Jallah, Alan Dunyo Avorgbedor, Ph.D. (McGill University’s Peter Guo-hua Fu School of Architecture), kwabena agyare yeboah (University of California, Santa Barbara), Kate Wand, MFA, Nii Kotei Nikoi, Ph.D. (College of Wooster, Ohio, U.S.A.), and Fidelia Ankomah, M.Phil (University of Cape Coast, Ghana).

The word “zadokeli” in Ewe, means “eclipse of the sun”. During the global pandemic in 2020, 6 eclipses occurred within the year including 4 lunar eclipses across the world, with one total and one annular solar eclipse in addition. The first eclipse of 2020 occurred between 10th and 11th January, foreshadowing a dark year ahead. In the Ewe worldview, an eclipse, whether solar or lunar, is of deep spiritual significance. Thus, in the event of an eclipse, traditional priests, priestesses and diviners seek answers and offer prayers. These holders of esoteric knowledge engage with the divinities to ‘restore’ normal cosmic order through propitiation rites. Adjei’s role here is as an artist drawing links between the 2020 eclipse and the rise in anti-Black violence and injustice, and positions him among the far-seeing priests and diviners who seek answers in an effort to ‘restore’ both cosmic and social order. Thus, through his new collection of paintings, Sela Adjei visually expands the discussion of analogizing the Black predicament with a recurring image of a gloomy eclipse; Zadokeli is the same theme that animates Mawuli Adzei’s new poetry anthology bearing the same title. The book was edited by G. Edzordzi Agbozo, Ph.D. (University of North Carolina Wilmington, USA) and Niklas Wolf, M.A. (University of Zurich). The contributing scholars include: Asana Greenstreet, M.A. (Royal College of Art), Matthew Francis Rarey, Ph.D. (Oberlin, Ohio, USA), Elikplim Akorli, M.Phil, Damawa L. Jallah, Alan Dunyo Avorgbedor, Ph.D. (McGill University’s Peter Guo-hua Fu School of Architecture), kwabena agyare yeboah (University of California, Santa Barbara), Kate Wand, MFA, Nii Kotei Nikoi, Ph.D. (College of Wooster, Ohio, U.S.A.), and Fidelia Ankomah, M.Phil (University of Cape Coast, Ghana).

Education is one sector that plays an important role in building the nation and forming a complete human being. The impact of the pandemic condition makes the learning process at all levels of school to college feel very less enthusiastic. This is because the teaching and learning process which was initially carried out directly / face to face shifted to the learning and teaching process which was carried out through platforms that were integrated into internet-based networks (e-learning). The purpose of this study was to find and design a learning strategy for the Minangkabau Traditional Music Practice Course, FBS UNP Sendratasik Department. From the situation and conditions seen through the GAP analysis, several techniques/procedures must be passed so that the learning objectives can be achieved. The research method was carried out through several stages, including; 1) observation, 2) design of learning devices, 3) implementation of learning, and 4) tests, evaluations and revisions. This research is proven through stages; 1) learn the basic principles of the technology under study, 2) use the formulation of technology concepts; and 3) proof-of-concept of important functions and/or characteristics analytically and experimentally regarding learning strategies for Minangkabau Traditional Music Practice to achieve student competence.

AI is rapidly becoming enmeshed in our professional and private lives. The ubiquity of such technologies raises a host of ethical questions, value clashes, and unforeseen consequences that must be confronted. Developments such as Ai-Da and DALL-E 2 are exciting in that they present robust new capabilities in AI and creativity. However, the futures such technologies unlock are also unpredictable. Given the speed with which such technologies are emerging and becoming adopted, the need to engage target audiences to weigh in on possible AI futures is critical. Our pilot project, Artistic Process Futures and AI, seeks to explore the role and potential implications of AI technologies with artists. In this paper, we show how participatory speculative design processes might be channeled into a public statement, or manifesto, regarding possible and preferable AI futures for supporting the artistic process, and how our workshop exposed uncertainty at the core of such deliberation.

AI is rapidly becoming enmeshed in our professional and private lives. The ubiquity of such technologies raises a host of ethical questions, value clashes, and unforeseen consequences that must be confronted. Developments such as Ai-Da and DALL-E 2 are exciting in that they present robust new capabilities in AI and creativity. However, the futures such technologies unlock are also unpredictable. Given the speed with which such technologies are emerging and becoming adopted, the need to engage target audiences to weigh in on possible AI futures is critical. Our pilot project, Artistic Process Futures and AI, seeks to explore the role and potential implications of AI technologies with artists. In this paper, we show how participatory speculative design processes might be channeled into a public statement, or manifesto, regarding possible and preferable AI futures for supporting the artistic process, and how our workshop exposed uncertainty at the core of such deliberation.

AI is rapidly becoming enmeshed in our professional and private lives. The ubiquity of such technologies raises a host of ethical questions, value clashes, and unforeseen consequences that must be confronted. Developments such as Ai-Da and DALL-E 2 are exciting in that they present robust new capabilities in AI and creativity. However, the futures such technologies unlock are also unpredictable. Given the speed with which such technologies are emerging and becoming adopted, the need to engage target audiences to weigh in on possible AI futures is critical. Our pilot project, Artistic Process Futures and AI, seeks to explore the role and potential implications of AI technologies with artists. In this paper, we show how participatory speculative design processes might be channeled into a public statement, or manifesto, regarding possible and preferable AI futures for supporting the artistic process, and how our workshop exposed uncertainty at the core of such deliberation.

This paper highlights the role of materiality in legitimising art organising as occurs at festivals and performances. Through ethnographic fieldwork pertaining to art events and projects, we documented how legitimacy is accomplished through the very performance of art. We observed that artistic practices materialise the very norms by which they are assessed and demarcate a normative space of their own. Our paper contributes to the research on legitimacy by showing that it takes place through connection with societal norms and also through a disconnection that fosters such a distinct space. Legitimation thus corresponds to configuring the specific situation where the actions under scrutiny are legitimate; it is a continuous process that is accomplished not for but with an audience. This paper highlights the role of materiality in legitimising art organisingas occurs at festivals and performances. Through ethnographic fieldworkpertaining to art events and projects, we documented how legitimacy isaccomplished through the very performance of art. We observed thatartistic practices materialise the very norms by which they are assessedand demarcate a normative space of their own. Our paper contributes tothe research on legitimacy by showing it takes place through connectionwith societal norms but also through a disconnection that fosters such adistinct space. Legitimation thus corresponds to configuring the specificsituation where the actions under scrutiny are legitimate; it is acontinuous process that is accomplished not for but with an audience

The fields of art and science are closely intertwined within modern society, and they are capable of supporting and enhancing each other in various ways. For example, art is able to create and simulate inferred systems or processes that cannot be observed directly by any scientific method; the microscopic world of living cells is one biological system evading observation, as the sample preparation methods used in microscopy in most cases only allows viewing and imaging of already dead subjects. Being an artist working with liquid media, I realised that diffusion—a physical process involved in the dilution of paint in water and also forming the basis of the functioning of any cell—is not just a means of building visually stimulating artistic models of real-life microscopic processes but also a conceptual key that allows us to understand how art and science interact. The theoretical foundation of the methodology and subsequent discussion in this thesis is Gilles Deleuze and Félix Guattari’s theory of rhizome and its six major principles. The process of diffusion and its relationship with science and art are critical to my doctoral research. The importance of diffusion for living plant systems is viewed through a Deleuzian lens, using my practice-led outcomes to support and illustrate this approach. The ways that science can benefit from art in modern and contemporary context are examined through the work of other artists whose practices exist in the broad field where art and science overlap. I show that, for an artist, the transition between art and science can occur in both directions and how this transition relies on diffusion in their practice. The research reflects on my own art and science projects, outlining my involvement in microscopic studies of Australian nature, my work with Griffith University studying myrtle rust fungal disease in native Australian plants, and the discovery of aphids as a potential myrtle rust treatment. It provides insight into my diffusive practice as a trained artist and scientist, rhizomatically connected to the two different disciplines and to the microscopic world I study. The practice-led research outcomes are presented in different media, and they evidence that collaboration between art and science is capable of revealing the invisible forms of nature around us. This exegesis demonstrates that transdisciplinary collaboration has the potential for significant discoveries and that art offers another way to educate the public about urgent environmental problems.

This study attempts to understand its art sikambang performances, know and described values contained in a art sikambang , and he knows existence art sikambang as the inheritance culture in wedding events the coastal communities in urban village lopian, kecamatan badiri. Research methodology used is the method research qualitative conducting observations non of participation (non participant an observer and documentation, and interview. The result shows that art of sikambang is art the coastal communities which includes what, rhyme, song, martial arts or dampeng followed by music coastal, and stage basikambang carried out in wedding events. Values are contained in the arts of sikambang like a religion, value education, moral value, of the cultural and the value of aesthetics used as the guidance of the lives of the community coastal. The inheritance of the cultural at a show art sikambang through a process internalization, the socialization process, and the process of enkulturasi.

This article provides a critical account of Brahms’s early collection of quotations, aphorisms and poems commonly known as Des jungen Kreislers Schatzkästlein in the context of the composer’s youthful engagement with German literature. Drawing on archival materials housed in Vienna, it evaluates the 1909 publication of the Schatzkästlein by the Deutsche Brahms-Gesellschaft and traces Brahms’s path in assembling his quotations to reveal borrowings from sources he encountered in the Schumann house in Düsseldorf in 1854. The second section of the article considers the different modes of reading implied by Brahms’s collection, while the third reflects on the artistic worldview articulated by the assembled entries. While scholars have viewed the Schatzkästlein largely as evidence of Brahms’s adolescent infatuation with the writings of the German Romantics, this investigation emphasizes the competing conceptions of artistry present in these fascinatingly messy notebooks and argues that this youthful collection points to the important role played by literature in the development of Brahms’s distinctive musical sensibility.

Transforming Collections aims to enable digital search across collections, to uncover patterns of bias in collections systems and narratives, to reveal hidden connections, and to open up new interpretative frames and ‘potential histories’ of art, nation and heritage4. Whose voices, bodies and experiences are centred and privileged in collections? This project is underpinned by the belief that a national collection cannot be imagined without addressing structural inequalities, contested heritage and contentious histories embedded in objects. In 1999, the late sociologist and cultural theorist Stuart Hall posed the question ‘Whose heritage?’. Hall called for the ‘unsettling’ and ‘reimagining’ of heritage and nation. Nearly 25 years on, the need to critically question and transform notions of ‘heritage’ and ‘nation’ remain as urgent as ever. Led by UAL in close partnership with Tate among our 16 partners across the UK, the project seeks to surface suppressed histories, amplify marginalised voices, and re-evaluate artists and artworks long ignored or side-lined by dominant narratives and institutional practices. We want to imagine an inclusive, evolving, (re)distributed ‘national collection’ that builds on and enriches existing knowledge with multiple and multivocal narratives, to critically connect and imaginatively disrupt collections, and transform them.

The analysis of plants featured in Baroque artworks on the eastern Adriatic coast has not previously been the subject of an in-depth study. The study of plant iconography in Baroque sacred artworks, which are mostly paintings, was carried out in eight churches and monasteries on the Pelješac peninsula in southern Croatia. Taxonomic interpretation of the painted flora on 15 artworks led to the identification of 23 different plant taxa (species or genera) belonging to 17 families. One additional plant was identified only by family taxonomic rank. The number of plants was relatively high, and most species were considered non-native (71%, “exotic” flora) phanerophytes. In terms of geographic origin, the Palaearctic region (Eurasia) and the American continent were identified as the main areas of plant origin. Lilium candidum, Acanthus mollis, and Chrysanthemum cf. morifolium, were the most common species. We think that the plants were selected for decorative and aesthetic reasons, as well as for their symbolic significance.

The purpose of this study is to explore the interaction between copyright, branding, marketing, and heritage protection with regard to a fashion brand. The authors use analytical-critical and legal-dogmatic methods, supplemented with desk research, a case study approach, and a review of the marketing literature. This paper argues that the top-tier fashion brands use the concept of artification in order to build their brands, mesmerize clientele, and increase revenues. Although design and reference to the arts play a major role in the luxurious and premium end of the fashion business, this analysis proves that the top players do not necessarily observe the appropriate laws in these areas. The reader will see examples of the flouting of basic legal constraints by big players, e.g., copyrights or property rights, including the monetisation of the creativity of others with the expectation of no legal challenge. Offenders capitalise on the likelihood that a legal suit is too demanding for smaller players, such as foundations or museums.

Aim: The topic of global health affects us all. In order to spread the word about this important medical field, a bilingual brochure containing medical comics on the subject was published at the Medical University of Vienna.Method: Medical comics are well established internationally, have a long history in the communication of medical information, and - under the umbrella of graphic medicine - are both popular and widely used. In the context of the exhibition project art-action-attitude/body, 6 panels were transformed into a 12-page brochure on the topic of global health in cooperation with an artist and a graphic designer.Results: The brochure was made available for free to visitors of the exhibition, published online, handed out at various fairs by the artist, and presented at an international conference.Summary: The collaboration with an artist and a graphic designer (Renate Mowlam, Bettina Jarosch) gave rise to a high-quality product that explains the subject matter clearly and in a way that is accessible to all, with the written word supported by images. In the brochure, 46 pictures shed light on the topics "health as a human right", "global health" (definition and examples), and "one health" (definition and examples). This enabled readers to quickly become informed about this complex subject, to contemplate it, and to reflect on their own behavior. Zielsetzung: Das Thema Global Health betrifft uns alle. Um dieses wichtige Forschungsfeld zu vermitteln, wurde an der Medizinischen Universität Wien anhand von Medical Comics eine Broschüre zu diesem Thema in zwei Sprachen herausgebracht.Methodik: Medical Comics sind international etabliert, mit langer Geschichte in der Kommunikation von medizinischen Informationen und finden - eingebettet in die Dachorganisation der Graphic Medicine - großen Zuspruch und Anwendung. Im Rahmen des Ausstellungsprojektes "Art-Action-Attitude/Körper" wurde aus 6 Panelen in Zusammenarbeit mit einer Künstlerin und einer Grafikerin zum Thema "Global Health" eine 12 Seiten umfassende Broschüre gestaltet. Ergebnisse: Die Broschüre wurde bei der Ausstellung gratis zur Mitnahme aufgelegt, online gestellt, von der Künstlerin auf diversen Messen ausgeteilt und auf einer internationalen Tagung vorgestellt.Resümee: Die Zusammenarbeit mit Professionistinnen (Renate Mowlam: Künstlerin; Bettina Jarosch: Grafikerin) hat sich in einem hochwertigen Produkt materialisiert, das Inhalte entsprechend klar und niederschwellig erklärt und bildlich unterstützt. Dabei wurden in 46 Bildern die Themen "Gesundheit als Menschenrecht", "Global Health" (Begriffserklärung und Beispiele) und "One Health" (Begriffserklärung und Beispiele) beleuchtet. So konnten sich Lesende rasch zu diesem komplexen Thema informieren, darüber nachdenken und das eigene Verhalten reflektieren.

In 1520, Segovia's rebel city council besieged the impregnable royal fortress located on a narrow stone outcrop at the far west of the city. The cathedral stood just in front of the fortress, and the rebels demolished part of the church's structure to use it as a secure stronghold. Beyond the physical damage, the revolt demonstrated the peril posed by the proximity of cathedral and castle. Unsurprisingly, it was soon decided that the cathedral would be relocated to the city's main square. Deserted by its canons and chaplains, the old church was a ruin by 1562, while its younger counterpart was slowly reaching completion. Neglect coexisted with preservation: the first step in the construction of a new cathedral was the decision to move the building's cloister—stone by stone—from the old to the new site. This paper discusses the relocation, exploring its denouement and contextualizing it within pre-modern perspectives on heritage and architecture.

This article explores visual arts and literature in the Slovenian diasporic community in Argentina, founded by post-World-War-II refugees who fled Slovenia at the end of the war and the beginning of the communist revolution in Yugoslavia. Based on the ethnographic data collected among the Slovenes in Argentina and biographical interviews with selected Slovene artists, the article addresses how art and cultural production in the diaspora, imbued with social memories and themes of war, violence, mass executions in the post-war period, and exile from the homeland is encompassed in three levels of cultural policies: (a) an Argentinean framework of cultural pluralism that integrated migrant communities into the national identity and narrative, allowing them to preserve and express their ethnic and cultural backgrounds and identities; (b) a diasporic level that institutionalized specific themes important for diasporic ideologies, some explicitly related to violence, exile, and mass executions; and (c) a transnational level that facilitated the integration of artists from the diaspora into Slovenian and international “art worlds”. These cultural policies were often contradictory and required artists to shift between inclusion in the Argentinean art domain and the diasporic one, which favored partial social exclusivism.

My thesis traces the provenance of select works from the Aaron M. and Clara Weitzenhoffer Collection, bequeathed to the Fred Jones Jr. Museum of Art at The University of Oklahoma. This collection, which was the largest donation of Impressionist paintings and works on paper to a public university, lacks provenance documentation in the field’s literature.The recent litigations of the looted paintingShepherdess Bringing in SheeporLa Bergère Rentrant des Moutons(1886)by Camille Pissarro with the Jewish heir Léone-Noëlle Meyer stressed the need for the Fred Jones Jr. Museum of Art to renew and disclose the provenance of the rest of the collection. By closely examining four artworks’ origins, from original artists to the bequeathed objects within the Weitzenhoffer estate in 2000, my thesis will aim to solidify provenance documentation and further highlight the inherent requisite to change archival standards. I will trace the circulation of the following artworks: Mary Cassatt’s 1901 portrait,Sara in a Dark Bonnet Tied Under Her Chin, Edgar Degas’ 1885 pastel,Dancer at the Barre, Camille Pissarro’s 1894 landscape,Apple Trees in a Meadow at Éragny, and Claude Monet’s 1879 landscape painting,Riverbank at Lavacourt.My research will rely on Getty Research Institute catalogue materials narrating the selected artworks from the Weitzenhoffer Collection. In addition, I will compare the actual provenance materials from the Fred Jones Jr. Museum of Art with personal archival research to uncover historical trajectories and improve provenance research techniques.

This research addresses the difficulty of critically engaging audiences in activist art and design, investigates ways to enhance opportunities for audience critical engagement and develops engagement strategies for art and design practitioners. This project aims to nurture direct involvement with social change by prompting reflection about injustice across three presentation sites: museums and galleries; public space; and social movement protests. The practice-led research has been carried out through sculpture, multi-media installations, public interventions, and protest actions. There are challenges to publicly presenting activist art and design, and the 'Duck and Dive, Bob and Weave' research strategy was developed as a means to negotiate these difficulties and to enhance opportunities for audience critical engagement. This strategy is about adaptability and agility and consists of responsive moves that evade or escape the difficulties of censorship, depoliticisation, privatisation, state oppression, and heterogeneous audiences by moving around, under, above and through them. In addition, moves across multiple sites enhanced opportunities for audience critical engagement by cultivating contested spaces, creating works that embody politics and injustice, temporarily intervening in public space, stoking debate, using chance encounters and legally occupying public space.