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Digital physiotherapy, often referred to as “Telerehabilitation”, consists of applying rehabilitation using telecommunication technologies. The objective is to evaluate the effectiveness of therapeutic exercise when it is telematically prescribed. Methods: We searched PubMed, Embase, Scopus, SportDiscus and PEDro (30 December 2022). The results were obtained by entering a combination of MeSH or Emtree terms with keywords related to telerehabilitation and exercise therapy. RCTs on patients over 18 years and two groups were included, one working with therapeutic exercise through telerehabilitation and one working with conventional physiotherapy group. Results: a total of 779 works were found. However, after applying the inclusion criteria, only 11 were selected. Telerehabilitation is most frequently used to treat musculoskeletal, cardiac and neurological pathologies. The preferred telerehabilitation tools are videoconferencing systems, telemonitoring and online platforms. Exercise programs ranged from 10 to 30 min and were similar in both intervention and control groups. In all the studies, results proved to be similar for telerehabilitation and face to-face rehabilitation in both groups when measuring functionality, quality of life and satisfaction. Conclusion: this review generally concludes that intervention through telerehabilitation programs is as feasible and efficient as conventional physiotherapy in terms of functionality level and quality of life. In addition, telerehabilitation shows high levels of patients’ satisfaction and adherence, being values equivalent to traditional rehabilitation.

El Cerro de los Batallones is one of the most important fossil sites of the Miocene. The quantity and preservation of its fossil remains have allowed us to describe many new mammal species. One of these is Hispanomys moralesi, a derived species of the Tribe Cricetodontini, a wide group of rodents with great importance in the faunal assemblage during the Miocene. Unlike most fossil micromammals in this fossil site, we have obtained skull remains that preserve never recorded anatomical structures in this time interval. Due to the fragility of the material, it could only be studied in detail using X-ray micro-computed tomography (µ-CT Scan). With this technique, we obtained three-dimensional models of 12 skulls of Hispanomys moralesi, in which different osteological parts have been described. In this way, we compared the morphological variation of the skull with other fossil cricetids and concluded that Batallones’ species is an opisthodont rodent, with a relatively elongated rostrum, a robust base of zygomatic arches and big-sized tooth rows. Opisthodont incisor characterises omnivore and herbivore diets in rodents. Therefore, these new findings of Hispanomys moralesi could allow us to describe the dietary affinities of this extinct species.

Personal Breast Cancer (BC) Risk Assessments (PBCRA) have potential to stratify women into clinically-actionable BC risk categories. As this could involve population-wide genomic testing, women's attitudes to PBCRA and views on acceptable implementation platforms must be considered to ensure optimal population participation. We explored these issues with 31 women with different BC risk profiles through semi-structured focus group discussions or interviews. Inductive thematic coding of transcripts was performed. Subsequently, women listed factors that would impact on their decision to participate. Participants' attitudes to PBCRA were positive. Identified themes included that PBCRA acceptance hinges on result actionability. Women value the ability to inform decision-making. Participants reported anxiety, stress, and genetic discrimination as potential barriers. The age at which PBCRA was offered, ease of access, and how results are returned held importance. Most women value the opportunity for PBCRA to inform increased surveillance, while highlighting hesitance to accept reduced surveillance as they find reassurance in regular screening. Women with BRCA pathogenic variants value the potential for PBCRA to identify a lower cancer risk and potentially inform delayed prophylactic surgery. This study highlights complexities in adopting advances in BC early detection, especially for current users who value existing processes as a social good.

The aim of the present study is to analyze the psychometric properties for the Spanish adaptation of the Connor-Davidson Resilience Scale (CD-RISC) ia sample of vulnerable teenagers of Colombia. Two psychometric studies were conducted: one for the 25-item version (CD-RISC-25) and other for the brief 10-item version (CD-RISC-10). All of the items showed good discrimination, with item-total correlations ranging from 0.29 (Item 14) to 0.75 (Item 25). Cronbach’s alpha was 0.88 CI [0.86, 0.90] for the 25-item version. Subsequently, an item screening was conducted in order to test a brief version. For the brief 10-item version (CD-RISC-10), a one-factor one-dimensional structure with very good fit was found through exploratory and confirmatory factor analysis. The exploratory factor analysis suggests that CD-RISC-10 could be considered a one-dimensional measure. Importantly, both CD-RISC-25 and CD-RISC-10 showed factorial invariance as a function of sex. In conclusion, the brief 10-item version of the Connor-Davidson CD-RISC presents appropriate psychometric properties to validly and reliably estimate resilience levels for vulnerable Colombian adolescents. Key words: resilience, vulnerability, CD-RISC, adolescence

Research Background: The ‘9x5’ concept and title references the original exhibition of Impressionist works held at the Buxton Galleries in 1889 which included the work of key Australian Impressionist artists - Tom Roberts, Arthur Streeton, Frederick McCubbin and Charles Condor, all graduates from the National Gallery of Victoria Art School, the founding institution of the Victorian College of the Arts (VCA). The artworks of that 1889 exhibition were painted on cigar box lids and the title of the exhibition is derived from the dimensions of those works (9 by 5 inches). Research Contribution: All the artists in ‘9X5 Now Exhibition: Art 150’ are well-known contemporary practitioners, exhibiting nationally and internationally, and in major exhibitions and biennales. The exhibition marks the VCA as a key contributor to the cultural life of Melbourne, Victoria and Australia, is made up of the work of current staff, former staff and former students of the Victorian College of the Arts. Entry was only by direct invitation from the curator, preeminent artist Elizabeth Gower. Research Significance: The exhibition is one of a suite of exhibitions and public programs through autumn-winter 2017 (including artist talks, tours and a one-day symposium) that mark the 150th anniversary of the Victorian College of the Arts. As the only exhibition to bring together those that have a significant professional relationship with the VCA, either as staff, former staff or former students, the exhibition captures and reflects to a contemporary audience the pivotal role that tertiary art institutions play in the creation of culture, and cultural capital, in Australia.

Rivers have a clear use value, both as sources of water and as avenues for transport, and therefore perform functions such as cleaning, disposal, and irrigation. These functions are that into which Western cultures have traditionally put stock, bypassing other value systems, such as those that consider and acknowledge the aesthetic, spiritual, or ecological implication of a place made by a river.The placemaking properties of rivers, particularly where a bend exists, or two rivers merge, is reflected on in my practice, as these sites dictate where cities are built; this is where rivers do their heaviest work, carrying humanity’s waste. The works addressed int this paper deal with rivers as disposal systems, and the social dimension this creates in our relationship with a nature that we construct through our cultures.

The National Innovation and Science Agenda, launched in December 2015, has significant consequences for tertiary institutions, and in particular, for the art and design disciplines, as well as the broader arts, humanities and social science (HASS) fields. The Agenda’s embrace of innovation rests on four key pillars: one that addresses tax breaks for business; another that supports students to adopt digital strategies (primarily in science and maths); another to amend the visa system to attract international talent, and depict the government as a facilitator of digital know how. The fourth pillar, collaboration – specifically collaboration with industry – will directly affect university art and design schools, programs and divisions. Following this came the Watt Report, outlining changes in the methods of how research funding will be distributed to universities. The terms ‘impact’ and ‘engagement’ are reiterated throughout both the government Agenda and the Watt Report. This report, authored by Professor Marie Sierra (UNSW Art & Design) and Associate Professor Denise Ferris (ANU School of Art) examines how the National Innovation and Science Agenda and the Watt Report may affect the art and design tertiary education sector.

As a ‘new’ research discipline, the creative arts challenges ethics understandings with emergent research practices. There is a disjuncture between what happens in the academy and what happens in the “real world”. In this paper we focus on a current learning and teaching project that attends to ethical know-how in creative arts practice in order to address the gaps between institutional research know-how and the practices of creative practice researchers. Graduate researchers working in the university are required to observe the University’s Code of Conduct for Research and adhere to the guidelines provided by the National Statement, however practicing artists working in the community are not similarly constrained. Once creative practice PhD graduates leave the university, they are no longer required to gain ethics clearance for their work but use their own developed sense of ethics to make “judgment calls.” Ethical know-how is ‘situated’, contextual, and a mainstay of all professional practices in action. We draw on preliminary findings from a national mapping study of HDR candidates, academic supervisors and ethics administers which used an online survey to gather the thoughts and experiences of ethical know-how in order to show how ethics is understood. Ethics is at the forefront and centre of innovative creative research practice. We argue shifting perceptions and practice around ethics, beyond institutional ethics and risk management, to a situated ethics that prepares our research graduates to become ethical and innovative practitioners in the “real world” offer a significant contribution to ethical know-how.

El objetivo principal de este Proyecto de Innovación y Mejora de la Calidad Docente es la elaboración de itinerarios geológicos virtuales que complementen las prácticas de campo y de laboratorio programados en las asignaturas de Petrología Sedimentaria 1 y 2 y de Paleontología Aplicada, todas ellas pertenecientes al Grado de Geología, enlazando sus contenidos con los explicados presencialmente en las clases de teoría. Este material docente sirve como apoyo y complemento a las salidas presenciales ya establecidas en la carga docente de las mismas.

The main area of interest in my practice is in the social construction of nature. In the work Knismesis this is manifest in the unhurried progression a natural light phenomenon, bound up in the transcendent grammar of a shadow form. The exhibition 'Growth, Change, Influence' was held at the Queen Victoria Art Gallery, Royal Park, Launceston, Tasmania; one of two state-funded galleries in Tasmania (also known as the Queen Victoria Museum & Art Gallery, or QVMAG). The exhibition was curated by Damien Quilliam, Curator of Contemporary Australian Art for the QVMAG, and was a survey of staff and former staff of the University of Tasmania's Tasmanian School of Art, the School of Visual and Performing Arts, or the now (combining the previous two Schools) Tasmanian College of Arts, of which the author/artist is former Head.