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The article discusses Canadian mineral artist Roger H. Mitchell, a professor emeritus at Lakehead University, who combines his passion for geology with art to create digitally-worked abstract artworks using petrological images. Mitchell's art is inspired by his extensive research on rare igneous rocks and his fascination with the textures and colors of minerals observed under cross-polarized light. His artwork, part of the Steinbilder series, showcases the hidden beauty of rocks and minerals through vibrant colors and unique compositions, with some pieces resembling stained-glass windows. Mitchell's work has been exhibited in Thunder Bay, Ontario, and he plans to share his collection on the Almaz Press website. [Extracted from the article]

Introduction/Aims: Cerebellar ataxia, neuropathy, vestibular areflexia syndrome (CANVAS) is caused by RFC1 expansions. Sensory neuronopathy, polyneuropathy, and involvement of motor, autonomic, and cranial nerves have all been described with RFC1 expansions. We aimed to describe the electrodiagnostic features of patients with RFC1 expansions through multimodal electrophysiological investigations. Methods: Thirty‐five patients, with a median age of 70 years, and pathologic biallelic repeat expansions in the RFC1 gene, were tested for motor and sensory nerve conduction, flexor carpi radialis (FCR) and soleus H‐reflexes, blink reflex, electrochemical skin conductance, sympathetic skin response (SSR), and heart rate variability with deep breathing (HRV). Results: Only 16 patients (46%) exhibited the full clinical CANVAS spectrum. Distal motor amplitudes were normal in 30 patients and reduced in the legs of five patients. Distal sensory amplitudes were bilaterally reduced in a non‐length dependent manner in 30 patients. Conduction velocities were normal. Soleus H‐reflexes were abnormal in 19/20 patients of whom seven had preserved Achilles reflexes. FCR H‐reflexes were absent or decreased in amplitude in 13/14 patients. Blink reflex was abnormal in 4/19 patients: R1 latencies for two patients and R2 latencies for two others. Fourteen out of 31 patients (45%) had abnormal results in at least one autonomic nervous system test, either for ESC (12/31), SSR (5/14), or HRV (6/19). Discussion: Less than half of the patients with RFC1 expansions exhibited the full clinical CANVAS spectrum, but nearly all exhibited typical sensory neuronopathy and abnormal H‐reflexes. Involvement of small nerve fibers and brainstem neurons was less common. [ABSTRACT FROM AUTHOR]

Cerebellar ataxia, neuropathy, and vestibular areflexia syndrome (CANVAS) is caused by biallelic pathogenic expansions, or compound heterozygosity with other pathogenic variants in the RFC1 gene. CANVAS is estimated to be underdiagnosed, both because of the lack of formal diagnostic criteria and molecular challenges that translate to lesser access and high cost of routine testing. Our aim was to address the need for making CANVAS genetic testing routine, by designing a streamlined two‐step PCR consisting of a short‐allele screening PCR and a confirmatory PCR with fragment capillary electrophoresis detection. Exome sequencing of RFC1 was additionally foreseen to resolve potential compound heterozygosity cases. Specificity of our approach was evaluated using ataxia patients with known non‐CANVAS diagnoses, and optimized using Southern blot confirmed CANVAS patients. We evaluated our approach by testing patients consecutively referred for clinically suspected CANVAS using first the two‐step PCR, followed by exome sequencing. Our approach was able to accurately identify negative and confirm positive cases in prospectively collected suspected CANVAS patients presenting with at least three typical clinical signs. The proposed testing approach provides an alternative method able to clearly distinguish between CANVAS negative and positive cases and can be easily incorporated into the genetic diagnostic laboratory workflow. [ABSTRACT FROM AUTHOR]

NeVer2 is an open-source, cross-platform tool aimed at designing, training, and verifying neural networks. It seamlessly integrates popular learning libraries with our verification backend, offering their functionalities via a graphical interface. Users can design the structure of a neural network by intuitively arranging blocks on a canvas. Subsequently, network training involves specifying dataset sources and hyperparameters through dialog boxes. After training, the verification process entails two steps: (i) incorporating input preconditions and output postconditions via dedicated blocks, and (ii) initiating verification with a simple "push-button" action. To our knowledge, there is currently no other publicly available tool that encompasses all these features. In this paper, we present a comprehensive description of NeVer2, illustrating its complete integration of design, training, and verification through examples. Additionally, we conduct experimental analyses on various verification benchmarks to illustrate the trade-off between completeness and computability using different algorithms. We also include a comparison with state-of-the-art tools such as α , β -CROWN and NNV for reference. [ABSTRACT FROM AUTHOR]

Project management plays a critical role in boosting the success of organizations' projects. However, no matter how well a project is managed, changes are inevitable during its execution. It is crucial to evaluate the impact of these changes before implementing them to ensure they do not compromise the project's success. Existing techniques for assessing the effects of changes have several limitations--particularly in their failure to account for how changes might affect various aspects of project management, such as scope, cost, time, resources, communication, risk, procurement, or overall success. To overcome this limitation, this article introduces a new technique - the Project Change Canvas - that enables the systematic assessment of changes in information systems and technology projects by identifying and weighing their potential impacts across all relevant project management knowledge areas. [ABSTRACT FROM AUTHOR]

This paper delves into James Cahill’s debut novel, Tiepolo Blue (2022), as an updating of postmodern gay novels like Alan Hollinghurst’s Booker-Prize winner The Line of Beauty (2004). To prove the postness of Tiepolo Blue, some aspects will be addressed. First of all, the novel revises the relation between ethics and aesthetics, for Don, the protagonist, is able to overcome the aporia that blocks many of Hollinghurst’s main characters. In this sense, Kristeva’s concept of the abject is meaningful because Don shifts from the horror of encountering an “abject” piece of art to embracing the Dionysian. Likewise, the article moves from postmodernist intertextuality. For Dillon, the palimpsest is a relational event that conjures up former and new texts on a palimpsestuous surface. Pentimenti, a similar concept referring to the different layers on canvas, are also addressed as long as Tiepolo Blue is set in the world of art. In this conflict between the surface and the subterranean of palimpsests and pentimenti, the protagonist eventually chooses the underworld. This he does by rearranging his aesthetic assumptions and welcoming a fragmented version of art. In this process of middle-age awakening, he loiters London and its layers in a Felliniesque fashion. [ABSTRACT FROM AUTHOR]

People are spending more and more time interacting with virtual objects and environments. We argue that Roger Barker's concept of a 'behaviour setting' can be usefully applied to such experiences with relatively little modification if we recognize subjective aspects of such experiences such as presence and immersion. We define virtual behaviour settings as virtual environments where the partly or fully digital milieu is synomorphic with and circumjacent to embodied behaviour, as opposed to the fragmented behaviour settings of much-mediated interaction. We present two tools that can help explain and predict the outcomes of virtual experiences—the behaviour setting canvas (BSC) and model—and demonstrate their utility through examples. We conclude that the behaviour setting concept is helpful in both designing virtual environments and understanding their impact, while virtual environments offer a powerful new methodological paradigm for studying behaviour settings. This article is part of the theme issue 'People, places, things, and communities: expanding behaviour settings theory in the twenty-first century'. [ABSTRACT FROM AUTHOR]

A case study describes the impact on a collection of the extreme floods in eastern Australia in February 2022, and the salvaging of the Lismore Regional Art Gallery art collection. Despite predetermined protocols and preparedness efforts, the gallery suffered unprecedented flooding, requiring coordinated solutions to support emergency recovery. The project included relocating and stabilising around 1400 artworks, divided between the permanent collection and temporary exhibitions. Coordinated collaboration with stakeholders was needed to determine which artworks were salvageable; initial assessments indicated 60%. However, after further assessment this was reduced to 40% of all artworks able to be returned to a condition suitable for storage and display. The paper focuses on the assessment criteria used to prioritise artworks for salvage and conservation: insurance value, condition post-flooding, the views of living artists on display of treated works, and sentimental and community importance. It also outlines the conservation processes for flood-damaged paintings on canvas, works on paper, and photographgraphs, highlighting challenges and outcomes. [ABSTRACT FROM AUTHOR]

A unique and interesting creative process using banana blossom sap as a medium. Banana flower sap has specific characteristics compared to other synthetic colors. Banana flower sap tends to display typical milky white, gray, light brown, yellowish-green, red and dark brown colors. Painting using banana blossoms starts from picking the banana blossom. Exploration of the technique of cutting the stem of the banana flower until the sap oozes out and drips onto the canvas. Since then I have been practicing spontaneously using banana sap, involving movements of my fingers, pressing the banana flower gently, medium and hard. The effect of the pressure of the banana flower sap produces natural colors, according to the intensity of the movement of the fingers on the canvas. The method used is carried out spontaneously, following the stages of the art creation process (E4): Existence, Exploration, Experimentation and Evaluation. Realization (E4) represents the existence of my creative process. Utilization of fine art elements such as light, point, line, space, plane, color, texture and composition. The resulting works of art include the following titles: Banana Sap Color 1, Banana Sap Color 2, Banana Sap Color 3, and so on. The use of banana blossom sap is driven by the need to express the soul in order to produce new works of art of high quality and have high aesthetic values. [ABSTRACT FROM AUTHOR]

This paper delves into the origin and significance of Copernicus’ tellurium. It will show that this astronomical model, which appeared in the Frontispiece of Galileo’s Dialogue and turned out to become Copernicus’ most representative symbol, resulted from Galileo’s analysis of the arguments supporting heliocentrism. A particular version of the tellurium, closely associated with the Galilean Florentine context, is also depicted in a painting of the Uffizi Gallery and a canvas owned by a well-known eighteenth-century astronomer. These two portraits of Copernicus, which have been largely overlooked, are now being considered to underscore the deep connection between the emergence and recognition of this iconographical model of Copernicus and Galileo’s work and legacy. [ABSTRACT FROM AUTHOR]

During the 1980s, a conflict over eight occupied houses in the Hafenstraße in Hamburg developed into one of the most contested squatter struggles in West Germany and strongly resonated with squatters abroad. As the conflict escalated, a long-drawn-out discussion unfolded between Hamburg's squatters, authorities, media and inhabitants over who the squatters were and how the city should deal with them. This article sets out to explain why these eight buildings became such a potent symbol for so many different groups. In order to do so, it combines social movement studies methods with folklore studies approaches and analyses the Hafenstraße as a site of legend, as a canvas onto which various actors projected societal hopes, ideals and fears. Central to this analysis are the four main legendary tropes that circulated in the 1980s: the Hafenstraße as a refuge for young dropouts, as a lawless zone, as a haven for terrorists and as indicative of the city's governance crisis. Finally, it asks how such legends informed people's actions and explains the importance of these tropes in the escalation and resolution of the conflict. [ABSTRACT FROM AUTHOR]

Throughout the 1970s, a drive towards the diversification of mediums available to artists led to artists working across numerous mediums not usually associated with visual art. While some came to work with sound as a central focus in their practice, most used sound as a medium to be employed in particular artworks for conceptual purposes. The paper is focused on five audio and sound exhibitions presented in New York City between 1978 and 1984. These large group exhibitions were held in alternative art spaces and not-for-profit art galleries and have received little critical attention beyond reviews published in local newspapers and art magazines. As such, these exhibitions have all but disappeared from the history of sound in art and from art history in general. I will argue that this cluster of group shows signal to an emergent practice that was moving past the post-medium condition and conceptual art towards the postmodernism of the 1980s. These exhibitions point to an understanding of sound as a medium of visual art that is at odds with contemporary scholarship in the sonic arts, which favours a music-based understanding of approaches to sound within the art gallery. [ABSTRACT FROM AUTHOR]

In contrast to fully connected networks, Convolutional Neural Networks (CNNs) achieve efficiency by learning weights associated with local filters with a finite spatial extent. Theoretically, an implication of this fact is that a filter may know what it is looking at, but not where it is positioned in the image. In this paper, we first test this hypothesis and reveal that a surprising degree of absolute position information is encoded in commonly used CNNs. We show that zero padding drives CNNs to encode position information in their internal representations, while a lack of padding precludes position encoding. This observation gives rise to deeper questions about the role of position information in CNNs: (i) What boundary heuristics enable optimal position encoding for downstream tasks? (ii) Does position encoding affect the learning of semantic representations? (iii) Does position encoding always improve performance? To provide answers, we perform the largest case study to date on the role that padding and border heuristics play in CNNs. We design novel tasks that allow us to quantify boundary effects as a function of the distance to the border. Numerous semantic objectives reveal the effect of the border on semantic representations. Finally, we demonstrate the implications of these findings on multiple real-world tasks to show that position information can both help or hurt performance. [ABSTRACT FROM AUTHOR]

The deepening of crises and pandemics, the growth of armed conflicts actualize the ability of business to adapt to these changes, as well as the repurposing of industries in accordance with the goals of sustainable development. Industry 4.0 also creates a business environment based on innovation and adaptability to change. The lack of conflict identification in business leads to the creation of the wrong strategy and tools, losses and unprofitability. The article presents the results of a comparative analysis of the business models transformation for enterprises from different industries in the context of achieving sustainable development. The aim of the study is to identify factors that change the key elements of the business models under the influence of Covid-19 and Industry 4.0, as well as to adapt to meet the conditions of the sustainable development triangle. In the process of describing business models of enterprises, the authors proposed an approach based on the concept of sustainable development. Characterization of individual transformations of business models is based on the results of generalization of enterprises performance indicators by five sectors of the economy according to GICS. This allows for international comparability of research results. The authors found that business models of enterprises were transformed under the influence of COVID-19 and Industry 4.0. The analysis of CANVAS models allowed to identify the main transformational changes: an open system with multiple inputs and outputs, an interactive-innovative environment, a customer-oriented approach with a focus on millennials, the formation of a full range of End-to-End solutions in three areas (Operations, Solutions Delivery, Innovations). The authors confirmed the hypothesis that the business models of enterprises in the consumer and energy sectors have not adapted to the negative impact of COVID-19 and are difficult to adapt to Industry 4.0. Enterprises in other sectors of the economy have adapted to change and transformed their own business models as a result of the impact of COVID-19 and Industry 4.0. [ABSTRACT FROM AUTHOR]

The nature of modern organizations needs to be increasingly adaptive, since they are dealing with a constant demand to respond to stimuli derived from the dynamic environments they operate in. Changing their capabilities is a common response, and this makes capability management a vital aspect of organizational survivability. To date, there are no approaches specifically designed to address this specific situation. KYKLOS and Compass are two interlinked approaches of different complexity, a DSML and a canvas, developed to support capability change. As recently developed methods, they lacked formal demonstration and evaluation; therefore, the goal of this article is to present the demonstration and evaluation of the two approaches by their stakeholders, in particular, business and modeling experts. A case study in a Swedish company in the ERP system consulting domain that is undergoing changes in its sales and consulting capabilities related to evolving customer requirements has been used to demonstrate and evaluate the two approaches. The process consisted of two evaluation cycles. The first cycle concerned KYKLOS and used two categories of evaluators, the business experts and the modeling experts. While the modeling experts evaluated positively the method, the business experts had difficulties associated with its ease of use and adoption. This resulted in the development of Compass, which was evaluated by business experts during the second evaluation cycle. Compass was evaluated more positively in terms of the difficult aspects, but the challenge is ongoing and motivates further future research. [ABSTRACT FROM AUTHOR]

This paper is dedicated to the homogenization and dimension reduction for a nonlinear elasticity problem of a textile structure. The structure is represented as a squared piece of cloth and modeled as a woven canvas made of long and thin fibers, crossing each other in a periodic pattern. The squared domain is partially clamped on the left and bottom. The fibers are assumed to be glued, a condition that allows to extend the woven structure to a non-perforate plate. The nonlinear elasticity problem is stated via minimization over the energy functional. The homogenization is made via the periodic unfolding method, with an additional dimension reduction. Since the existence of a minimum of the limit energy functional is not ensured, sufficient conditions for the existence are given by assuming that the material is homogeneous and isotropic. [ABSTRACT FROM AUTHOR]

Cerebellar ataxia, neuropathy, and vestibular areflexia syndrome (CANVAS) is an autosomal recessive multisystem neurologic disorder caused by biallelic intronic repeats in RFC1. Although the phenotype of CANVAS has been expanding via diagnostic case accumulation, there are scant pedigree analyses to reveal disease penetrance, intergenerational fluctuations in repeat length, or clinical phenomena (including heterozygous carriers). We identified biallelic RFC1 ACAGG expansions of 1000 ~ repeats in three affected siblings having sensorimotor neuronopathy with spinocerebellar atrophy initially presenting with painful muscle cramps and paroxysmal dry cough. They exhibit almost homogeneous clinical and histopathological features, indicating motor neuronopathy. Over 10 years of follow-up, painful intractable muscle cramps ascended from legs to trunks and hands, followed by amyotrophy and subsequent leg pyramidal signs. The disease course combined with the electrophysical and imagery data suggest initial and prolonged hyperexcitability and the ensuing spinal motor neuron loss, which may progress from the lumbar to the rostral anterior horns and later expand to the corticospinal tract. Genetically, heterozygous ACAGG expansions of similar length were transmitted in unaffected family members of three successive generations, and some of them experienced muscle cramps. Leukocyte telomere length assays revealed comparatively shorter telomeres in affected individuals. This comprehensive pedigree analysis demonstrated a non-anticipating ACAGG transmission and high penetrance of manifestations with a biallelic state, especially motor neuronopathy in which muscle cramps serve as a prodromal and disease progress marker. CANVAS and RFC1 spectrum disorder should be considered when diagnosing lower dominant motor neuron disease, idiopathic muscle cramps, or neuromuscular hyperexcitability syndromes. [ABSTRACT FROM AUTHOR]

In this study we discuss the relationship between the concepts of abundance, peace and painting. After a general look at different definitions and approaches to the concept of abundance, we will choose the cultural and artistic approach and, in this context, take a brief look at the painters who used the concept of abundance together with peace. Then we will look at the style of Florescencism, invented and introduced by the contemporary painter Lida Sherafatmand, and the related paintings that have been shown in many prestigious exhibitions around the world, in the context of one of the main approaches of this style, which is to represent the concept of abundance. The abundance of fresh and bright flowers with vivid and promising colors in Lida Sharafmand's paintings is formally and conceptually in line with one of the clauses of the Florescencism manifesto, which refers to the concept of abundance as a way to develop peace. The paintings selected and presented in this review have been examined in the same two basic analytical directions, namely form and meaning, so that the depth of the concept of abundance and its use in line with the goal of peace in these paintings can be broken down and presented to the reader. [ABSTRACT FROM AUTHOR]

In today's increasingly competitive and dynamic business environment, the ability to adapt and innovate is the key to long-term success. In this context, well-defined business models not only function as compasses for companies or ventures toward profitability, but they are also tools that allow them to face the complexities of the market. Although frameworks have been proposed to guide the construction of these models, such as the traditional Canvas, a gap has been found in the scientific literature about the integration of this Canvas with industry-specific tools. This lack of integration can limit the effectiveness of business strategies and hinder the ability of companies to make the most of their potential. For this reason, the purpose of this study is to address this gap by adapting a method that allows a deep integration between a tool of the sector, in this case, the various stages of the industrial value chain with the blocks of the traditional Canvas model. To this end, the cross-analysis method was adapted, which eased the generation of a practical guide for the creation of business models that not only consider the intrinsic characteristics of the business but also the particularities of the industry in which they use. This guidance was applied to a venture focused on the commercialization of bio packaging made from cocoa waste and the results revealed key symbiotic relationships between the value proposition and all links in the industrial value chain, as well as the tactical integration of strategic collaborations at multiple stages of the value chain to ensure the operational viability of the business. It was also found that this integration can offer valuable insights for strategic planning and business strategy formulation. [ABSTRACT FROM AUTHOR]

This study aims to design the right strategy for MDC Coffee House in business development using the Triple Layered Business Model Canvas (TLBMC), as well as identify and analyze the key factors that support its sustainable business strategy. This study uses a qualitative approach to explore sustainable business strategies for the company, focusing on owners, employees, suppliers, and buyers. The results show that the use of TLBMC allows the company to design a more scientific and measurable business strategy, respond to market demands that are increasingly concerned about environmental and social issues, and strengthen its position as a leader in the sustainable coffee industry in Indonesia. [ABSTRACT FROM AUTHOR]

The process of creating art on canvas using natural colors from mangosteen peel represents a distinctive artistic endeavor. Mangosteen peel colors possess unique characteristics compared to synthetic ones. Across various dimensions, mangosteen peel colors tend to exhibit natural nuances such as light brown, brownish, reddish-purple, and blue. Painting with mangosteen peel entails a creative process that begins with harvesting the fruit from the garden. Spontaneously, upon splitting the mangosteen fruit into two equal parts, I decided to use the peel to make marks on the canvas. This technique involves spontaneous finger movements, gently, moderately, and sometimes forcefully pressing the canvas. The resulting color effects emerge naturally, correlating with the intensity of finger movements scraping the mangosteen peel on the canvas. The method of creating paintings using mangosteen peel is carried out spontaneously, following stages of art creation: existence, exploration, experimentation, realization, and evaluation. The realization of paintings using mangosteen peel reflects the dynamics of art creation, encompassing elements of visual arts such as light, point, line, space, plane, color, texture, and composition. The artworks produced are titled as expressions of color and line: Expression of Color and Line 1, Expression of Color and Line 2, Expression of Color and Line 3, and so forth. The use of mangosteen peel colors as an alternative medium in the process of creating paintings is driven by the necessity for creativity to achieve artworks of quality, significance, and harmonious value. [ABSTRACT FROM AUTHOR]

Background: Phenotypes of CANVAS are increasingly diversified, including bradykinesia and dysautonomia, so that its primary differential diagnoses are multiple system atrophy‐cerebellar type (MSA‐c), and spinocerebellar ataxia type 3 (SCA3). This case series aims to highlight key molecular imaging findings in CANVAS. Cases: We report a case series of six patients with CANVAS who underwent nuclear medicine examinations in our center and 13 patients from the literature. These include 18F‐FDG brain positron emission tomography (PET), single photon emission computed tomography (SPECT) of dopamine transporter (DaT) activity, and 123I‐MIBG cardiac scintigraphy of noradrenergic transmission. Conclusions: In CANVAS, 18F‐FDG brain PET mainly shows cerebellar hypometabolism, with preserved brainstem and striatum metabolism, contrasting with SCA3 and MSA‐c. Dopaminergic denervation on scintigraphy seems to be associated with clinical parkinsonism, ranging from normal to severely impaired DaT SPECT. Additionally, 123I‐MIBG cardiac scintigraphy might show denervation in CANVAS, similar to SCA3, but not in most MSA‐c patients. [ABSTRACT FROM AUTHOR]

Frank Stella's early works tend to be characterised as displaying the flatness of painted surfaces and an ambition to negate pictorial illusionism. However, beyond their emphasis on flatness, these early series of paintings generate new forms of illusions and, in some cases, initiate another type of pictorial space — one that bodies forth, coming toward the viewer, appearing as if in front of the canvas. We consider the materials of the painting format in Stella's early work (1959 to 1986) that create or facilitate the emergence of such a protruding or 'projective' space: mainly canvas, types and colours of paint. After introducing notions of flatness and illusionism and our respective approaches, we focus on Stella's use of unprimed, raw, canvas, on the one hand, and his use of reflective and fluorescent paint skins, on the other, and how paint and canvas relate to each other. We focus on the material conditions that Stella sets up to manifest his intentions regarding the perception of space in painting and where he believes painting 'should' go. Indeed, in a book published in 1986, Stella describes projective effects from painters who use different tactics than his, but he does not reveal how he achieves his own. We analyse precisely which elements in Stella's early paintings trick the eye of the viewer into seeing a painting, as it were, in front of itself, and we demonstrate the aesthetic impact of Stella's chosen materials. Or how colour, paint and canvas, working together in a sort of symbiosis, generate a protruding effect in a new, previously unseen manner, and challenge Stella's assertions against illusionism. [ABSTRACT FROM AUTHOR]

Copyright of Akademik Sanat is the property of Ankara Haci Bayram Veli University and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Background: The newly discovered intronic repeat expansions in the genes encoding replication factor C subunit 1 (RFC1) and fibroblast growth factor 14 (FGF14) frequently cause late‐onset cerebellar ataxia. Objectives: To investigate the presence of RFC1 and FGF14 pathogenic repeat expansions in Serbian patients with adult‐onset cerebellar ataxia. Methods: The study included 167 unrelated patients with sporadic or familial cerebellar ataxia. The RFC1 repeat expansion analysis was performed by duplex PCR and Sanger sequencing, while the FGF14 repeat expansion was tested for by long‐range PCR, repeat‐primed PCR, and Sanger sequencing. Results: We identified pathogenic repeat expansions in RFC1 in seven patients (7/167; 4.2%) with late‐onset sporadic ataxia with neuropathy and chronic cough. Two patients also had bilateral vestibulopathy. Repeat expansions in FGF14 were found in nine unrelated patients (9/167; 5.4%) with ataxia, less than half of whom presented with neuropathy and two‐thirds with global brain atrophy. Tremor and episodic features were the most frequent additional characteristics in carriers of uninterrupted FGF14 repeat expansions. Among the 122 sporadic cases, 12 (9.8%) carried an expansion in either RFC1 or FGF14, comparable to 4/45 (8.9%) among the patients with a positive family history. Conclusions: Pathogenic repeat expansions in RFC1 and FGF14 are relatively frequent causes of adult‐onset cerebellar ataxia, especially among sporadic patients, indicating that family history should not be considered when prioritizing ataxia patients for testing of RFC1 or FGF14 repeat expansions. [ABSTRACT FROM AUTHOR]

Wynwood, Miami, is a world-renowned global art canvas of street art and cultural production site. The rise of Miami as a global arts city and its hosting of Arts Basel enhanced the place marketing of Wynwood. Wynwood's recent trajectory is driven by the confluence of art, real estate, and urban planning. Its redevelopment over time has been dramatic, transitioning from a low‐income immigrant neighborhood and warehouse district into innovative artistic milieu. In the 2020s the neighborhood is being highly commodified, resulting in the loss of artistic capital replaced by trendy retail, condo, and hotel projects. Our analysis is primarily based on interviews with gallery owners in 2016 and 2022, as well as planning documents and business census data. Wynwood as an art venue has peaked, and artists and galleries are exiting. Nonetheless, Wynwood continues to be marketed as an arts neighborhood by property developers and retail and entertainment businesses [ABSTRACT FROM AUTHOR]

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Copyright of BRAC: Barcelona, Research, Art, Creation is the property of BRAC: Barcelona, Research, Art, Creation and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Susan Howe's difficulty has often led critics to address her poetry in relation to language poets and abstract expressionists causing many to read her poems as painterly hybrids dependent on reader-beholder experience rather than meaning. Putting Howe's poetry in conversation with Modernist painting, I establish that Howe's painterly aspects, like her 1960s counterparts on the verge of an ontological crisis, cease to be painterly. Although Howe's poems engage with the problems at the end of Modernist painting--the possibility of white space and pictorial composition--they do so with a canvas that has come to function like a page. [ABSTRACT FROM AUTHOR]

RFC1 disease, caused by biallelic repeat expansion in RFC1 , is clinically heterogeneous in terms of age of onset, disease progression and phenotype. We investigated the role of the repeat size in influencing clinical variables in RFC1 disease. We also assessed the presence and role of meiotic and somatic instability of the repeat. In this study, we identified 553 patients carrying biallelic RFC1 expansions and measured the repeat expansion size in 392 cases. Pearson's coefficient was calculated to assess the correlation between the repeat size and age at disease onset. A Cox model with robust cluster standard errors was adopted to describe the effect of repeat size on age at disease onset, on age at onset of each individual symptoms, and on disease progression. A quasi-Poisson regression model was used to analyse the relationship between phenotype and repeat size. We performed multivariate linear regression to assess the association of the repeat size with the degree of cerebellar atrophy. Meiotic stability was assessed by Southern blotting on first-degree relatives of 27 probands. Finally, somatic instability was investigated by optical genome mapping on cerebellar and frontal cortex and unaffected peripheral tissue from four post-mortem cases. A larger repeat size of both smaller and larger allele was associated with an earlier age at neurological onset [smaller allele hazard ratio (HR) = 2.06, P < 0.001; larger allele HR = 1.53, P < 0.001] and with a higher hazard of developing disabling symptoms, such as dysarthria or dysphagia (smaller allele HR = 3.40, P < 0.001; larger allele HR = 1.71, P = 0.002) or loss of independent walking (smaller allele HR = 2.78, P < 0.001; larger allele HR = 1.60; P < 0.001) earlier in disease course. Patients with more complex phenotypes carried larger expansions [smaller allele: complex neuropathy rate ratio (RR) = 1.30, P = 0.003; cerebellar ataxia, neuropathy and vestibular areflexia syndrome (CANVAS) RR = 1.34, P < 0.001; larger allele: complex neuropathy RR = 1.33, P = 0.008; CANVAS RR = 1.31, P = 0.009]. Furthermore, larger repeat expansions in the smaller allele were associated with more pronounced cerebellar vermis atrophy (lobules I–V β = −1.06, P < 0.001; lobules VI–VII β = −0.34, P = 0.005). The repeat did not show significant instability during vertical transmission and across different tissues and brain regions. RFC1 repeat size, particularly of the smaller allele, is one of the determinants of variability in RFC1 disease and represents a key prognostic factor to predict disease onset, phenotype and severity. Assessing the repeat size is warranted as part of the diagnostic test for RFC1 expansion. [ABSTRACT FROM AUTHOR]

Objectives: The cause of downbeat nystagmus (DBN) remains unknown in a substantial number of patients ("idiopathic"), although intronic GAA expansions in FGF14 have recently been shown to account for almost 50% of yet idiopathic cases. Here, we hypothesized that biallelic RFC1 expansions may also represent a recurrent cause of DBN syndrome. Methods: We genotyped the RFC1 repeat and performed in-depth phenotyping in 203 patients with DBN, including 65 patients with idiopathic DBN, 102 patients carrying an FGF14 GAA expansion, and 36 patients with presumed secondary DBN. Results: Biallelic RFC1 AAGGG expansions were identified in 15/65 patients with idiopathic DBN (23%). None of the 102 GAA-FGF14-positive patients, but 2/36 (6%) of patients with presumed secondary DBN carried biallelic RFC1 expansions. The DBN syndrome in RFC1-positive patients was characterized by additional cerebellar impairment in 100% (15/15), bilateral vestibulopathy (BVP) in 100% (15/15), and polyneuropathy in 80% (12/15) of cases. Compared to GAA-FGF14-positive and genetically unexplained patients, RFC1-positive patients had significantly more frequent neuropathic features on examination and BVP. Furthermore, vestibular function, as measured by the video head impulse test, was significantly more impaired in RFC1-positive patients. Discussion: Biallelic RFC1 expansions are a common monogenic cause of DBN syndrome. [ABSTRACT FROM AUTHOR]

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Innovating higher education teaching and learning is challenging due to structural, cultural, and resource-related reasons, and research indicates that university innovation benefits from a bottom-up approach as well as strategic alignment with university objectives. In this paper, we investigate such bottom-up innovation processes within higher education as supported by a specific tool: the University Innovation Canvas (UIC). Adapted from the Business Model Canvas and Lean Canvas, the UIC is designed to promote educational technology innovation and foster alignment of the innovation process with strategic objectives of the university: namely, sustainability and user orientation. An evaluation of the UIC based on interview and questionnaire data shows that its usage differs between innovation teams (on paper vs. digital, individual vs. collaborative, co-located vs. remotely, and synchronous vs. asynchronous). UIC usability is linked with these differences and with teams' experience in realizing innovations. Overall, the UIC is perceived to be useful by (particularly, less-experienced) innovation teams and is successful at supporting sustainable and user-oriented innovations, as 14/15 innovations are still in use after up to four years since completion. To maximize its potential, more effort needs to be devoted to improving understanding of the UIC and supporting different workflows of innovation teams in the future. [ABSTRACT FROM AUTHOR]

In this study, concrete canvas (CC) layers were used as a novel method to strengthen reinforced concrete (RC) beams because of their flexibility, rapid installation, fast curing, and rapid strengthening. Due to the importance of the CC mechanical properties, various combinations of cement including ordinary (OPC) and High Alumina (HAC), as well as silica fume, were investigated to determine the optimal mixture for strengthening RC beams. The results indicate that substituting 75% of HAC with OPC significantly boosted flexural strength by 33%, and increased tensile strength in the warp and weft directions by 25% and 21%, respectively. The study examined six RC beam specimens in a four‐point flexural test, assessing their flexural properties, ductility, cracking behavior, and energy dissipation. The number of CC layers and the bonding method, which involved either the conventional externally bonded reinforcement (EBR) technique or the externally bonded reinforcement on grooves (EBROG) technique were studied. The experimental results revealed the superiority of the EBR method over the EBROG technique due to the uniform bond between CC and the concrete surface. Using the EBR technique, improvements of 35% and 51% were observed in the load‐carrying capacity of the beams strengthened with one and two CC layers, respectively. It is while for the beam with an improved loading capacity of 51%, the crack width decreased from 5.3 to 2.1 mm, and the energy dissipation increased by three times compared to the control specimen. Theoretical analysis also was performed to calculate the load‐carrying capacity of the RC beams strengthened with CC layers. [ABSTRACT FROM AUTHOR]

Originating from product life cycle management, more and more Digital Twins (DTs) are implemented in research contexts and industrial use cases. DTs allow for continuous information provision, a mandatory requirement, e.g., for the circular economy. Implementing a DT faces integration challenges and requires precise planning for selecting specific components of a DT and its functionalities. A process model supports making informed decisions, structuring the application and its demand for certain DT elements, and streamlining implementation processes. Albeit specific implementations come with individual requirements, a generic process model allows for the transfer of general instructions and rules to particular cases. Our ongoing research focuses on developing a process model for implementing DTs. The process model builds upon the VDI norm 2206 for implementing cyber-physical systems and enhances the VDI norm by providing more granular sub-modules. This paper reports on the first development steps and preliminary artifacts, e.g., a visual inquiry tool in a DT implementation canvas. Our research builds upon a thorough analysis of theoretical and practical requirements and existing frameworks and architectures for DTs. [ABSTRACT FROM AUTHOR]

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Copyright of Journal of Computer Sciences Institute is the property of Lublin University of Technology and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)