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Understanding equitable practice is crucial for science education since science, technology, engineering, and mathematics (STEM) fields and STEM learning practices remain significantly marked by structural inequalities. In this paper, building on theories of discourse and situated meaning developed by Foucault, Gee, and Sedgewick, we explore how educators navigated discourses about social justice in informal science learning (ISL) across four UK sites. We draw on qualitative, multimodal data across 5 years of a research–practice partnership between a university, a zoo, a social enterprise working to support girls and nonbinary youth in STEM, a community digital arts center, and a science center. We identify three key discourses that shaped social justice practices across all four practice–partner sites: (1) "inclusion" for STEM, (2) "inclusion" for the institution, and (3) "inclusion" for minoritized youth. We discuss how educators (n = 17) enacted, negotiated, resisted, and reworked these discourses to create equitable practice. We argue that while the three key discourses shaped the possible meanings and practices of equitable ISL in different ways, educators used their agency and creativity to develop more expansive visions of social justice. We discuss how the affordances, pitfalls, and contradictions that emerged within and between the three discourses were strategically navigated and disrupted by educators to support the minoritized youth they worked with, as well as to protect and promote equity in ISL. This paper contributes to research on social justice in ISL by grounding sometimes abstract questions about power and discourse in ISL educators' everyday work. [ABSTRACT FROM AUTHOR]

Purpose: To understand how often couples return to ART centres for a second child. Methods: Retrospective monocentric cohort study including women who had a first live birth with IVF. The primary objective was to assess the rate of those returning for a second child within five years of the previous pregnancy. The secondary aim was to disentangle the determinants of this rate. Results: A total of 374 patients were included, of whom 188 returned (50%, 95% CI 45–55%). Among those who did not return (n = 186), four (2%) referred to another ART Center and 24 were unreachable. Of the 158 contacted subjects that did not refer for ART, 53 (34%, 95% CI 27–41%) conceived naturally, 57 (36%, 95% CI 29–44%) abandoned their intent of parenthood, and 48 (30%, 95% CI 24–38%) unsuccessfully attempted natural conception. These 48 women (13%) who expressed interest in a second child but did not undergo ART were compared to those seeking a second pregnancy through ART. Baseline characteristics were similar except for an older age (Median 36, IQR: 34–38 vs 34, IQR: 32–36, p = 0.001). Additionally, in terms of IVF cycle characteristics, women who did not return were more likely to achieve their first pregnancy with a fresh transfer rather than a frozen transfer (75% vs 59%, p = 0.05). They also had a higher number of retrieved oocytes (Median 10, IQR: 7–13 vs 9, IQR: 5–12) and less frequently cryopreserved embryos (27% vs 52%, p = 0.003). Conclusion: The proportion of couples who have conceived with ART and who are interested in having a second child is high. Our results underline the importance of paying more attention to the number of intended children, as this information could influence clinical management. [ABSTRACT FROM AUTHOR]

South African institutions were slow to acquire artworks by black women. When they did, among the first were tapestries from a Swedish art center at Rorke's Drift in rural South Africa. However, it remains unknown that many works by these marginalized African women had entered Swedish collections before then, showing in acclaimed exhibitions such as Woven in Africa, which opened at Röhsska Museum of Design and Craft in Göteborg in 1965. Despite the proportions of this export undertaking, and the valorizing of Sweden in the reinvention of African culture, little is remembered of these "stranded" works or the subjectivities that informed them. The recent showing in 2021–2022 of Röhsska's Rorke's Drift tapestries on Migration—The Journey of Objects provides a context for interrogating past curatorial practices related to these works. Revealing how the meanings of these migrating tapestries shifted over time, this article also shows that their vicissitudes were also ordained in the conception of the Rorke's Drift project. Using a post-development methodology, the author unsettles erstwhile notions of cultural philanthropy, showing how the venture advanced the interests of its planners in Stockholm, and how these problematically-connoted tapestries reflect the hegemonies of both apartheid and mid-century Swedish "development." [ABSTRACT FROM AUTHOR]

The article discusses the Contemporary Indigenous Textiles from Australia's Tropic Zone exhibition at the Cairns Art Gallery. The exhibition showcases textile designs from ten Indigenous community art centers across Australia's North East to North West regions. The textiles feature hand-printed designs that reflect the artists' connections to Country and celebrate Indigenous culture. The exhibition is spread across three gallery rooms and includes interpretive information about the art centers and artists. The article highlights the cultural significance and community benefits of textile design creation and production. [Extracted from the article]

This article explores why New York City's municipal government, together with private benefactors, poured an unprecedented amount of money into the arts during the 1980s, a time of broader austerity. While other public expenditures saw dramatic cuts, the arts were considered essential to the city's future as a center for global capital—as a way to lure financial elites and young professionals to the city, create new forms of revenue-raising consumption, and cement New York's reputation as the ultimate global city. New York had always had a vital arts scene. But in the 1980s, the arts were monetized in new ways to serve capital—and capitalists. Arts and culture were central to the new urban lifestyle that helped produce the explosion of global finance. But as arts and culture increasingly came to be associated with a luxury lifestyle, the arts themselves became a luxury, inaccessible to most New Yorkers. [ABSTRACT FROM AUTHOR]

It has been observed that the most mismanaged and most misdirected of the cultural infrastructures that have emerged since the euphoria of cultural reawakening in Nigeria in the 1970s are the Cultural Centres (or Arts Centres) which were offshoots of the various State Arts Councils (or Councils for Arts and Cultures) established by the various State Governments. The main reason for the misdirection of the affairs of the Cultural Centres has been attributed to the lack of understanding or appreciation of the social and political roles that the institutions can play in our national development and social mobilization. Therefore, an attempt is made in this essay to put the role of Cultural Centres in a proper perspective by examining the concept and origin of the institutions. The essay concludes with the organizational framework in which the Cultural Centres can be effectively managed to achieve the desired impact as agents of community development and social mobilization. [ABSTRACT FROM AUTHOR]

Background. Depression is a common mental disorder and is a leading cause of disability globally. Depressive symptoms among people living with HIV can be a significant barrier to ART initiation and thus lead to poor ART adherence. Global studies have found the prevalence of depressive symptoms among people living with HIV ranges from 12 to 63%. The real scenario of Nepal still needs to be explored. Thus, this study aimed to identify the prevalence and predictors of depression in individuals with HIV. Methods. An institutional-based cross-sectional study was carried out from August to December 2020 among 406 people living with HIV attending ART centers in Lumbini province. Participants were selected using a systematic random sampling technique and surveyed with a structured questionnaire consisting of sociodemographic variables, HIV AIDS-related variables, and 21 items Beck Depression Inventory tool. The odds ratio was used as the ultimate measure of association, with a 95% confidence interval computed to establish statistical significance. A multivariate regression analysis was carried out to identify the final predictors of depressive symptoms. Results. The study found that 26.8% of the respondents had depressive symptoms. Those who were literate (AOR = 0.24, 95% CI: 0.10–0.61), in the poorest wealth quintile (AOR = 7.28, 95% CI: 2.22-23.87), initiated ART within 12 months (AOR = 1.88, 95% CI: 1.03–3.42), had CD4 cell counts below 200 (AOR = 2.50, 95% CI: 1.54–4.06), and had a time difference of 3 months or less between HIV diagnosis and ART initiation (AOR = 0.50, 95% CI: 0.29–0.86) were independently associated with depressive symptoms. Conclusion. Routine screening for depressive symptoms should be integrated into national HIV prevention and control programs for people living with HIV. An enabling environment should be created to facilitate the rapid enrollment of individuals newly diagnosed with HIV in ART services, thereby reducing the time gap between HIV diagnosis and ART initiation. [ABSTRACT FROM AUTHOR]

This study aims to examine the communication skills of students with special abilities in terms of different variables (gender, parents' education status, number of siblings, birth order, enjoying to participate in group activities, and parents' occupational groups). The descriptive survey model was taken as a basis for the study. The study participants consisted of 160 gifted students studying at the Science and Art Center. The data were obtained by using the Communication Scale. In the analysis of the data, descriptive statistics and multivariate analysis of variance (MANOVA) were used. According to the results of the research, the scores of male students on the communication scale are significantly higher than the average score of female students. While there was a significant difference in the mean of communication scores according to the variables of the education status of the mother and father and the profession of the father, no significant difference was found according to the other variables. The results indicate that in determining and developing the communication skills levels of students with special abilities, variables such as the gender of the students and the educational status of their parents should be taken into consideration. [ABSTRACT FROM AUTHOR]

The article discusses Annet Couwenberg's monograph, "Sewing Circles," which explores the use of circles as a productive and rational form of research. The monograph is centered on Couwenberg's exhibition at the Center for Art, Design and Visual Culture at the University of Maryland. It includes essays that provide an overview of Couwenberg's research, details on her materials and methods, and a visual survey of her work from the last 10 years. The article highlights the connections between art and science in Couwenberg's work, as well as her experimentation with emerging technologies and examination of an immigrant identity. [Extracted from the article]

The article discusses the exhibition "Madayin: Eight Decades of Australian Aboriginal Bark Paintings from Yirrkala," which recently took place at the American University Museum at the Katzen Arts Center in Washington, DC. The exhibition showcased 60 works of Australian Aboriginal bark paintings from Yirrkala, with a focus on the Yolngu people's cultural and artistic traditions. The Yolngu co-curators emphasized the depth and sacredness of their knowledge, providing viewers with only a surface understanding of the artworks. The exhibition aimed to illustrate and protect Yolngu epistemology, cosmology, and system of rights. The catalog accompanying the exhibition included essays from the artists, as well as visual criticism and cultural analysis. The artworks displayed in the exhibition demonstrated the beauty and diversity of the Yolngu painting tradition, with different aesthetic styles and themes. The exhibition also highlighted the continuity and permanence of Yolngu cosmology and emphasized the importance of clan and kinship relationships. The exhibition received praise for its collaborative and inclusive approach, as well as its efforts to share Yolngu knowledge and promote reconciliation. The exhibition will continue to be shown at the University of Virginia and the Asia Society Museum in New York City. [Extracted from the article]

The purpose of this study was to compare the working memory skills of the students with gifted and typical development in the 3rd and 4th grades of primary school. The comparative descriptive research model was used for the purpose of the study. Participants of this study consisted of a total 44 primary school 3rd and 4th grade students, 22 of whom were diagnosed with gifted in general abilities and ongoing to the Science and Art Center (SAC) and the remaining 22 of whom with typical development. In the study, the "Working Memory Scale," consisting of four dimensions and nine subtests, was used to determine the participants' working memory performance. During the data collection process of the research, the scale was individually administered by visiting the SAC and primary schools in Kirikkale. The SPSS 28 program was used for the analysis of the obtained data. Study findings showed that there were statistically significant differences between students with gifted and typically developing students in terms of verbal/visual short-term memory, verbal/visual working memory, and Working Memory Scale overall standard scores. The working memory skills with all component of the students with gifted and typical development whose tongue language Turkish were evaluated for the first time with a valid, reliable, and standard tool. The research findings were discussed in light of the related literature, and suggestions were made for further research and practices. [ABSTRACT FROM AUTHOR]

Background: Depression is one of the most common neuropsychiatric complications of HIV disease, and in turn it is associated with worse HIV-related outcomes. HIV/AIDS is a significant cause of death and disability, especially in low- and middle-income countries. UNAIDS estimates that in 2017, 36.7 million people were living with HIV (PLHIV). Mental health and HIV/AIDS are closely interlinked; mental health problems, including substance-use disorders, are associated with increased risk of HIV infection and AIDS and interfere with their treatment, and conversely some mental disorders occur as a direct result of HIV infection. Objectives: The main objective of this study was to assess the prevalence of depression amongst patients with seropositive for HIV attending ART plus centre of Hamidia Hospital, Bhopal Material and methods: The study was carried among 250 newly diagnosed HIV/AIDS positive persons attending the ART plus centre of Hamidia hospital Bhopal India. All the patients, male, female, and transgender in the age range of 18-65 years and willing to participate were included in this study during the period April 2017 to March 2018. Informed verbal consent was obtained for each patient at the time of study. Patients were studied for their different socio-demographic parameters and level of depression among the HIV/ AIDS patients. Results: The prevalence of depression was found to be 43.2%. Age range of study population was 18 years to 65 years, with 57.66% males and 42% females and 0.8% transgender. Majority of the patient’s (82.67%) were in adult (15 to 49 years) age group. Heterosexual contact was the commonest (95.62%) mode of HIV transmission. Most common occupation group, among males was laborers while most of females were house wives accounting for 26.33% and 34% of the study group respectively. Majority of patients belonged to class IV (34.66%) and class III (34.33%) of socioeconomic status. Commonest associated systemic disease was tuberculosis, seen in 14% of patients. Unprotected sexual route was the most common (91.5%) mode of transmission; among which heterosexual route was found to be the commonest (95.62%). Conclusion: Majority of patients belonged to low socioeconomic status and in young and productive age group with heterosexual contact being commonest mode of transmission. Majority of our patients were at relatively good immune status, and in early stage of the disease. Mild depression was common as compare to the moderate depression. [ABSTRACT FROM AUTHOR]

Aim: The aim of the present study was to assess the neurological manifestations in patients diagnosed with HIV and to assess CD 4 counts in HIV Patients. Methods: This study was conducted in the Department of Medicine and ART Center, Rajindra Hospital, Patiala. A total 200 patients in the time period 1st April to March 2021 were included in the study. Results: Majority of patients were in economically productive age group 21-45 years. 70.50% patients were in 26-45 years of age group with mean age range 36.28±10.20. Out of 200 patients 55 (28.5%) had neurological manifestations. Among the 55 patients with neurological manifestations, majority (60.40%) were in 26-45 year age group with Mean age of study subjects: 36.28+ 10.20, Mean age for males: 34.30 ± 7.29, Mean age for females –29.27 ± 6.47and Male to female ratio : 2.56:1. Fever was the commonest symptom seen among the patients with neurological manifestations in 41 patients (71.93%) followed by altered sensorium seen in 36 patients (63.16%), head ache in 30 patients (52.63%), seizures in 15 patients (26.32%) of the patients. These results were statistically significant for all neurological symptoms except headache. [ABSTRACT FROM AUTHOR]

The term Black melancholia - when melancholia turns black - speaks to a profound collective gloom born of insistent socio-historical violence. With it, Dr Nana Adusei-Poku takes the concept of melancholy and extracts it from a highly racialized discourse in which notions of loss are pathologized and reserved for white cis (fe-)male subjects. Adusei-Poku subverts the idea of melancholy to describe a particularly Black experience of sadness, one borne of fatigue and the certainty of loss in the future. Her reading of sadness takes into consideration colonial legacies of pain and grief, as well as the aesthetic practices that utilize this emotional space as a creative force. Curated by Adusei-Poku, the exhibition 'Black Melancholia', which took place at the Hessel Museum of Art and Center for Curatorial Studies, Bard College, 25 June 2022-16 October 2022, brought together works by twenty-eight artists of African descent that expand and complicate the notion of melancholy in art historical discourse. While the show included powerful visual artworks, this interview with Alhena Katsof focuses on the performative aspects of the exhibition to explore the ways Adusei-Poku activated the space. Katsof, a scholar of performance studies and exhibition histories, is also a friend and interlocutor of Adusei-Poku. In 'When Melancholia Turns Black', they pick up their ongoing conversations about exhibitions and performance, transforming their long-distance phone calls into words on a page. [ABSTRACT FROM AUTHOR]

Background: HIV-1 Viral load (VL) measures efficiency of the antiretroviral therapy (ART) after treatment initiation and helps to diagnose virological failures at an early stage. Current VL assays require sophisticated laboratory facilities. As well as there are other challenges pertaining to insufficient laboratory access, cold-chain management and sample transportation. Hence the number of HIV-1 VL testing laboratories is inadequate in the resource limited settings. The revised national tuberculosis elimination programme (NTEP) in India has developed a vast network of point of care (PoC) testing facilities for diagnosis of tuberculosis and several GeneXpert platforms are functional under this programme. Both the GeneXpert HIV-1 assay and HIV-1 Abbott real time assay are comparable and GeneXpert HIV-1 assay can be used as PoC for HIV-1 Viral load testing. Also, the dried blood spot (DBS) as a sample type has been considered as a good option for HIV-1 VL testing in hard to reach areas. This protocol is therefore developed to assess the feasibility of integrating HIV-1 VL testing among people living with HIV (PLHIV) attending ART centres using the two public health models under the current programme: 1. HIV-1 VL testing using GeneXpert platform and plasma as a sample type, and 2. HIV-1 VL testing using Abbott m2000 platform and DBS as a sample type. Methods: This ethically approved feasibility study will be implemented at two moderate to high burden ART centres where VL testing facility is not available in the town. Under Model-1, arrangements will be made to carry out VL testing on the adjacent GeneXpert facility and under Model-2, DBS will be prepared on site and couriered to identified viral load testing laboratories. In order to assess the feasibility, data will be collected on pretested questionnaire pertaining to number of samples tested for VL testing, number of samples tested for tuberculosis (TB) diagnosis and the turnaround time (TAT). In-depth interviews will be conducted among the service providers at ART centre and different laboratories for addressing any issues regarding the model implementation. Results: The proportion of PLHIV tested for VL at ART centres, total TAT for both models including TAT for sample transportation, sample testing and receipt of results as well as proportion of sample rejections and reasons for the same, correlation coefficient between DBS based and plasma based VL testing will be estimated using various statistical tools. Conclusion: If found promising, these public health approaches will be helpful for the policy makers and program implementation in scaling up HIV-1 viral load testing within India. [ABSTRACT FROM AUTHOR]

In 2008 Ndidi Dike, a Nigerian artist, held an exhibition titled 'The Last ¾ Mile: Waka-into-Bondage'. Curated by Bisi Silva, this exhibition, which responded to ongoing events between 2007 and 2008 as part of the Democrazy series curated by the Center for Contemporary Arts (CCA) in Lagos, also served to mark the 2007 bicentenary of the abolition of the slave trade by Britain. The exhibition depicted the dangerous itineraries that characterised the capture and eventual departure of slaves through Badagry, in western Nigeria, to the New World. In this article I show how Dike deployed certain objects to visually and conceptually accentuate the significance of the slave ship as the epicentre of political and cultural crises during the heyday of capitalism. I argue that Dike reinscribes Badagry in the forgotten narratives of points of origin and attempts to counter a neoliberal reading of Britain's bicentenary commemoration of the slave trade. In so doing, she presents contemporary society as one where the violent travails and political realities of slave ships are re-enacted. [ABSTRACT FROM AUTHOR]

Alto do Moura, the largest figurative art center in the Americas, is a neighborhood in the city of Caruaru, known mainly for the production of figurative clay art. In addition to clay crafts, there are several other types of expressions, most of them with music, that are performed by the locals - or by other people who go to the place to make such expressions happen -, among them: Reisado, Bacamarte, poesia, pífano and others. One of the aspects of the artistic and cultural expressions carried out in Alto do Moura is their relationship with clay figurative art and the Festas Juninas (June festivals). This article, which aims to discuss how these expressions are changing to continue existing, is an excerpt from a qualitative research, with ethnographic methodological procedures and fieldwork, based on semi-structured interviews, observations, and personal experience. Part of the data was obtained through the work carried out for the "Inventário do Ofício dos Artesãos e Artesãs do Barro do Alto do Moura - Caruaru-PE". It is possible to notice that, to remain alive, the expressions of Alto do Moura transit between the new (change) and the old (tradition), the art of clay and Festas Juninas. [ABSTRACT FROM AUTHOR]

Alto do Moura, the largest figurative art center in the Americas, is a neighborhood in the city of Caruaru, known mainly for the production of figurative clay art. In addition to clay crafts, there are several other types of expressions, most of them with music, that are performed by the locals -- or by other people who go to the place to make such expressions happen --, among them: Reisado, Bacamarte, poesia, pífano and others. One of the aspects of the artistic and cultural expressions carried out in Alto do Moura is their relationship with clay figurative art and the Festas Juninas (June festivals). This article, which aims to discuss how these expressions are changing to continue existing, is an excerpt from a qualitative research, with ethnographic methodological procedures and fieldwork, based on semi-structured interviews, observations, and personal experience. Part of the data was obtained through the work carried out for the "Inventário do Ofício dos Artesãos e Artesãs do Barro do Alto do Moura -- Caruaru-PE". It is possible to notice that, to remain alive, the expressions of Alto do Moura transit between the new (change) and the old (tradition), the art of clay and Festas Juninas. [ABSTRACT FROM AUTHOR]

Drawing on fieldwork in an Aboriginal community in Western Australia, this article chronicles the life of a collection of Indigenous art and material culture through archival research, ethnography, observation, and interviews. Moving from a school to community keeping spaces, through a natural disaster, to an art center and a university conservation center, this examination reveals how entanglements between people and the collection play out in the local context. The moving and returning of the collection signifies various trajectories that articulate with different value systems and demonstrates that negotiating differences between groups and individuals is an inevitable and necessary part of maintaining and caring for collections in source communities. The article attests that time is needed at local levels to support Indigenous‐led processes which include value creation, cultural protocols, change, continuity, and the (re)valuation of objects. [ABSTRACT FROM AUTHOR]

Tina Campt is the Roger S. Berlind '52 Professor of Humanities at Princeton University. She holds a joint appointment between the Department of Art and Archeology and the Lewis Center for the Arts. She is a founding researcher of Black European studies, as well as the lead convenor of the Practicing Refusal Collective and the Sojourner Project. Campt has published five books—Other Germans: Black Germans and the Politics of Race, Gender and Memory in the Third Reich (2004); Image Matters: Archive, Photography and the African Diaspora in Europe (2012); Listening to Images (2017); Imagining Everyday Life: Engagements with Vernacular Photography (with Marianne Hirsch, Gil Hochberg, and Brian Wallis, 2020), and A Black Gaze: Artists Changing How We See (2021). Campt was also recipient of the 2020 Photography Catalogue of the Year Award from Paris Photo and Aperture Foundation. [ABSTRACT FROM AUTHOR]

Despite the numerous projects and exhibitions dedicated to technology and Internet infrastructure, "Data Center Studies" has not yet fully grappled with art's role in the wider intervention critical scholarship is making via the data center—as object, cultural image, sociotechnical imaginary, site, metaphor, and concept. In this article, I weave in artworks and insights from artists to make a theoretical intervention about what constitutes environmental media "in the cloud," and how a critique of Internet infrastructure has spurred a critical data center art movement. [ABSTRACT FROM AUTHOR]

In history, the features that defined the male gender versus the female gender were largely accepted as good in contrast with the bad features of the female gender. This patriarchal way of thinking has existed as a dominant mode of thought throughout history and across many societies. In the last two centuries, objections have been raised against this dominant patriarchal thought and practice and struggle ensured. As a result, the subject at the center of the arts and sciences historically is in question as the women’s perspective came to be represented in diverse expressions of thought, from art to politics, from economics to the sciences. The concept of “patriarchal/male-dominated thought” has led to a re-evaluation of everything that is human. There are no studies directly on this subject in the field of theology, and the existing ones are in the form of repeating what is available in Muslim culture. Studies on the subject are mainly in the field of anthropology and sociology. Therefore, the study of this topic in the field of Theology and especially Social Theology is an issue that should be taken into consideration. Because the studies in the field of Kalam are mainly in the form of either the repetition of the previous acquis or the understanding of what was written. For this reason, the approach of today's Muslim thought on this issue should be examined based on basic sources and presented to the world of thought. Within the scope of all these evaluations, in our study, first of all, the definition of human in the Qur'ān will be based on the simple definition of man and woman, without distinguishing between men and women. Because all kinds of evaluations that are not made on this basis are subjective or shaped by the influence of previous cultures and beliefs. Based on this reality, first of all, the concept of "fitrah" in the Qur'ān and the psychological and social reflections and meanings of this concept will be explored. Then, the concept of "female fıtrat (nature)" will be analyzed in Muslim culture, and how this concept shapes women's and social life and affects Muslim thought today. It is important to understand how concepts such as "feminism" and "gender" belonging to the modern period are discussed in the discipline of Social Kalam with an approach that centers the text of the Qur'ān. Specifically, this paper will discuss how relevant past and present Kalāmī debates are for contemporary questions around gender and feminism and address whether a new approach to the subject is possible. This is a basic study to determine what kind of ideas or advice Islam or the Kalam Discipline offers on the issue of "Female Fıtrat (Nature)", as a fundamental question for all societies. Because this topic and discussion focus on the modern period, the theories of modern feminism will be used together with studies in the field of anthropology and sociology. Since the subject will be discussed in terms of the discipline of "Social Kalam", classical Kalâm sources will also be used in today's studies. [ABSTRACT FROM AUTHOR]

The social, economic and cultural developments in the nineteenth century changed the musical traditions and contributed to the new ones. The increase in the number of conservatories, stages, concerts and publishing houses triggered each one's development and paved the way for brilliant virtuosos. Paris, one of the centers of art, was home to many composer-performers. Among these musicians are Franz Liszt and Fryderyk Franciszek Chopin. Chopin, whose compositions are mostly for the piano, wrote nineteen songs with no intention of publishing. In the nineteenth century, when transcriptions for the purpose of promoting, disseminating, performing and learning compositions were popular, Liszt chose six of Chopin's songs and adapted them for solo piano. In this study, Chopin's original version of the song Życzenie and its transcription Mädchens Wunsch made by Liszt are comparatively analyzed in terms of melodies. [ABSTRACT FROM AUTHOR]

Background: India has the third largest number of people living with HIV/Acquired immunodeficiency syndrome (AIDS). It is important to understand the presentation of HIV disease in the local context and culture. Aims and Objectives: The present study is aimed at identifying the socio-demographic characteristics, clinical presentations of HIV/AIDS patients, opportunistic infections (OI), and the possible risk factors for acquiring HIV infection. Materials and Methods: A descriptive cross-sectional study was conducted on HIV patients from September 2021 to December 2021. The HIV-positive patients of all age groups and all categories were included in the study. However, the clinical staging was done according to the World Health Organization (WHO) classification of HIV/AIDS. Data were expressed as mean and percentage proportion with chi square test for measuring statistically significance. Results: Among 140 HIV patients 88 (62.9%) were males. More than half were 101 (72.1%) in the reproductive age group 18-40 years with mean age 35±11.5 years. The commonest mode of HIV transmission was heterosexual 114 (81.4%). Maximum belonged to social Class IV 51 (36.4%) and Class III 47 (33.6%) of socioeconomic status. Fever 92 (65.7%), weight loss 82 (58.7%), and cough 68 (48.6%) were the common presenting. Pulmonary tuberculosis and diarrhea were the most predominant secondary OI accounting for 46 (32.9%) and 35 (25.0%), respectively. More than half 82 (58.6%) of patients were in the WHO clinical Stage II of HIV disease. CD4 counts of the patients were significantly inversely correlated with the number of symptoms and the number of OI. Conclusion: There was a high frequency of behavioral risk factors, together with unawareness among HIV patients, socio-demographic, and clinical profile of study participants reflects an impact of early case detection and timely institution of highly active antiretroviral therapy. [ABSTRACT FROM AUTHOR]

This study was conducted using a qualitative approach as it aimed to evaluate the Science and Art Center Science Curriculum (SACSC), which was updated in 2020, within the framework of the context, input, process, and product (CIPP) approach by taking the opinions of science teachers working in Science and Art Centers (SACs) in Turkey. The data were collected according to the qualitative data collection method and a structured interview form was used as a data collection tool. The findings showed that science teachers working in SACs have generally negative views on SACSC based on the context dimension of the CIPP Model, while their views are generally positive based on input, process, and product dimensions. Based on the results of the research, it is recommended to conduct other comparative studies between the SACSC and similar curricula in other countries in order to reveal the relationship between the program components and the needs of children and society. [ABSTRACT FROM AUTHOR]

Purpose: Since the end of February 2020, SARS-CoV-2 dramatically spread in Italy. To ensure that most of National Health System (NHS) resources were employed to control the pandemic, non-urgent medical procedures (including IVF) were suspended in March 2020. Here, we aimed at assessing the impact of the restrictive measures on Italian IVF activity. Methods: In May 2020, the Italian ART Register launched an online survey (multiple choices and open answers) across ART centers (89.0% response rate; N = 170/191) to investigate how they were facing the emergency and estimate the reduction in their activity. In February 2022, the official data of the whole 2020 were published and retrospectively analyzed. The ART cycles conducted in Italy in 2020 (67,928 by 57,423 patients) were then compared to those conducted in 2019 (82,476 by 67,633 patients). The estimates formulated through the survey were compared to the actual reduction. Results: In 2020, 14,548 less IVF cycles were conducted with respect to 2019 (− 17.6% reduction). This led to 2539 fewer live births (− 19.8%) than 2019. If the reduction unveiled by the survey launched in May 2020 (i.e., − 35%) would have persisted throughout 2020, a significantly larger impact was expected (4200 less newborns). Instead, the activity was gradually recovered, and it compensated the months of greatest emergency, thus fulfilling the most optimistic scenario. Conclusions: Italy suffers from the lowest birth rate in Europe, and COVID-19 impact on IVF-derived live births testified how key ART is for Italian demographics. The government should support access to these treatments with dedicated actions. [ABSTRACT FROM AUTHOR]

Purpose: The risk of monozygotic twins (MZTs) is increased in couples undergoing assisted reproductive technology (ART) treatments. Several systematic reviews have investigated the possible determinants linked to ART, but results obtained have not been conclusive. The study aims to investigate whether the incidence of MZT differed among ART centers. Methods: This is a multicenter retrospective cohort study using the Italian ART National Registry database and involving the centers reporting data from individual ART cycles from 2015 to 2019. To investigate the incidence of MZT, only single embryo transfer cycles were considered. Women who had sex-discordant deliveries were excluded. MZT rate was calculated as the number of multiple pregnancies (more than one gestational sac at first ultrasound) out of the total number of clinical pregnancies. A binomial distribution model was used to determine the 95% CI of the frequency of MZT. Results: Eighteen centers were included, and they provided data on 10,433 pregnancies. The total number of MZT was 162, corresponding to an incidence of 1.5% (95% CI: 1.3–1.8%). The rate of MZT among centers varied between 0% (95% CI: 0.0–25.9%) and 3.2% (95% CI: 1.3–8.1%). All the 95% CIs included 1.5%, rejecting the hypothesis that the MZT rate may significantly differ among centers. Conclusions: The rate of MZT did not significantly vary among ART centers. Local factors are unlikely to explain the increased rate of MZT in ART pregnancies. [ABSTRACT FROM AUTHOR]

This essay proposes a theory of (post)-pandemic performance that reconceives the theatre, via its buildings, as installation. Innovations designed to navigate theatre-making within the context of pandemic, and the imperatives of online and physically distanced productions, open new perspectives on theatre's projects and venues. Taking installation as its primary optic, the essay reviews two recent performance events: Black Box , a physically distanced audio tour staged by Berlin-based theatre company Rimini Protokoll at Schauspiel Stuttgart in 2021, and The Way Out (2020), a digital performance directed by British filmmaker Suri Krishnamma and recorded at Battersea Arts Centre, London. These productions restage entire arts centers as installational encounters to explore how theatre might address itself to its histories and futures. Taking the form of theatrical tours, the events encompass areas beyond the stage that are functional or transitional, raising questions not only about how we move through specific performance spaces, but also how we position ourselves in relation to theatre's institutions. In (post)-syndemic theatre, the installational thus gives view onto both the physical-material of theatre's buildings and representational tools, and the institutional in its structures of power. [ABSTRACT FROM AUTHOR]

Towards the end of the 1960s—a period of intense creative, technological and political changes—the Argentinian art critic and entrepreneur Jorge Glusberg founded the CAyC (Center for Art and Communication) in Buenos Aires. CAyC was an interdisciplinary experimental project that explored the relationship between art, technology and society. It sought to articulate a network of discussions and productions by a new style of Latin American artist, deeply influenced by science, technology and society. Glusberg defined such practice as Systems Art, which appeared in three ways, namely as a system of collective representation; a system of meaning that defied formal categories; and a system of relationships and processes for social inquiry. In doing so, the artist became a researcher who reflected on their social context and the latter's processes of production. This paper will discuss CAyC's pioneering work and its global influence through three main initiatives: its exhibitions Art and Cybernetics, Systems Art in Latin America and the International Open Encounters on Video. These events were driven by the revolutionary artistic and experimental promotion of the distinctive ways in which Latin American artists were using technology to respond to local issues at a time when computer systems and cybernetic models for management and organizational practices were being introduced across the region. [ABSTRACT FROM AUTHOR]

What the show - both Othello's works and the exhibition design - does so successfully is to move beyond the discursive into expressive and sensory feeling. Facing the exhibition entrance is de Othello's I Blue Field of Feel i (2021), a ceramic vessel awash with blue, purple, and white flows of glaze. Entering the first gallery of I Woody de Othello: Hope Omens i at the John Michael Kohler Art Center, the visitor finds themselves immersed in a space of vibrant color and subtle sound punctuated by gleaming ceramic sculptures. [Extracted from the article]

After a very long gestation, the Bioethics French law was finally promulgated on August 2021.In theory, female couples and single women (unmarried women in the law) will be able to be taken care of, this was the flagship measure of law and has eclipsed all other points. In practice, these women consult their gynecologists or ART centers who refer them to the nearest Cecos to obtain the precious sperm straw or directly they consult Cecos. Before the law, heterosexual couples requiring the use of a sperm donation waited 1 year or more, the current average time estimated by the Biomedicine Agency is now around 13.6 months. If sperm donors seem to have increased in 2021 and early 2022, what will happen on September 1, 2022 when only donors accepting the lifting of anonymity will be accepted? If French donors behave like those in other countries where anonymity has been lifted, they will initially decrease! [ABSTRACT FROM AUTHOR]

This article explores how social artistic interventions provide forms of everyday aesthetic cosmopolitanism - an intellectual and aesthetic openness towards objects, places, experiences, activities that relates to the everyday life of people regardless of identity, occupation, social class, cultural/racial background, and lifestyle - in transforming urban voids into inclusive urban public spaces. Through socially engaged art, artists and artistic institutions do not play a leading role but act as facilitators to provide space and context for events to emerge. Through participant observations and interviews for the period 2015-2018 and using concepts of everyday aesthetic cosmopolitanism, we demonstrate how the art center Recyclart, through socially informed artistic interventions, practices, and performances, contributed to transforming urban voids into inclusive urban public spaces. Our results indicate that local life, enacted by so-called marginalized residents and their everyday practices in urban central neighborhoods, is critical in city-making and contributes to everyday aesthetic cosmopolitanism. [ABSTRACT FROM AUTHOR]

The article reflects on some questions related to a research carried out in a research center in art in education, linked to a community university. The purpose of this article is to understand the aesthetic experience as a driver of sensibilities in the formative courses of education, imbricated in the teaching action. The research question arose in the nucleus, which has reiterated the relevance of the aesthetic experience as fundamental to the human constitution. In other words, it is necessary to cultivate sensibilities throughout human existence. Narrative was the chosen approach and made it possible to revisit fragments of our experiences in the formative paths, through listening, memories, narratives and sensitive sharing. The clues and effects showed us as the final result, that the aesthetic experience, memorized or not, leaves a backbone in the training paths, showing the place-time, inhabited in each one of us and reflected in the other. [ABSTRACT FROM AUTHOR]

Purpose: Anti-Müllerian hormone (AMH) and antral follicle count (AFC) are correlated with the ovarian response, but their reliability and reproducibility are questionable. This large multicenter study describes their distribution, inter-cycle and inter-center variability, and their correlation. Methods: A total of 25,854 IVF cycles among 15,219 patients were selected in 12 ART centers. Statistical distribution of AMH and AFC was studied by using the Kolmogorov–Smirnov test and Shapiro goodness of fit test. The reproducibility of AFC and AMH was measured using a mixed model regressing the logarithmic transformation of AFC with age. Results: The distribution of AMH and AFC was characterized by a wide dispersion of values, twice more important for AFC, and a logarithmic distribution. The faster decline in AMH than in AFC with age suggests that their correlation changes with age. AMH and AFC showed a very low proportion of concordance in the range of expected poor responders according to Bologna cutoffs. The heterogeneity for AMH and AFC across centers was small, but much larger across patients within each center. Concerning the patients with several successive cycles, the reproducibility for AMH seemed much better than for AFC. Comparing respective performances of AMH and AFC for the prediction of ovarian response depended on the local conditions for measuring these indicators and on the reproducibility of results improved over time. Conclusion: Distribution of AMH and AFC was characterized by the wide dispersion of values, and a logarithmic distribution. Establishing cutoffs or a direct relationship AMH/AFC without considering age seems hazardous. Correlation between AMH and AFC was very poor in the range of poor responders. [ABSTRACT FROM AUTHOR]

Screen-printed textiles from Aboriginal art centers are more than just commercial products. Closely connected with Aboriginal "ways of being," they carry profound and often ancient stories from the world's oldest continuous culture and offer consumers a glimpse into a different world. Their creation supports remote livelihoods and culturally affirming practises which contribute to social and emotional wellbeing. But as this paper shows, the recent enthusiasm for Aboriginal textiles in the fashion industry pits the enduring cultural narratives embodied in the textiles against the transient and unpredictable forces of the fashion market. There have been many positive translations to fashion; however, the accessible and reproducible aspects of cloth render a vulnerability to exploitation in the mass fashion world. It is now time for all parties to establish transparent business principles and a clear code of ethics to guide commercial partnerships and guarantee artist control over their ancestral heritage. Fashion displays and promotes Indigenous cultural heritage in a unique way, but for these textiles, there are a range of alternative iterations that portray a timelessness beyond fashion. [ABSTRACT FROM AUTHOR]

In the United States, and in particular in the South, elected officials resistant to Black and brown demographic and cultural shifts have sought to destroy or block the histories and cultures of immigrants and minoritized from public discourse. United We Dream, an organization led by immigrant youth, is using public art to center minoritized visionmakers, history weavers, and storytellers whose experiences as immigrants awaken a mindset of abundance, racial justice, and Black and brown liberation in the broader public. Often, the concept of scarcity – that there are not enough resources to go around – undergirds the country's vast carceral and immigration enforcement systems. United We Dream's powerful cultural work aims to debunk these falsehoods and show the richness and abundance of communities nationwide. [ABSTRACT FROM AUTHOR]