Comparison of noninferiority margins reported in protocols and publications showed incomplete and inconsistent reporting.

OBJECTIVES To compare noninferiority margins defined in study protocols and trial registry records with margins reported in subsequent publications. STUDY DESIGN AND SETTING Comparison of protocols of noninferiority trials submitted 2001 to 2005 to ethics committees in Switzerland and The Netherlands with corresponding publications and registry records. We searched MEDLINE via PubMed, the Cochrane Controlled Trials Register (Cochrane Library issue 01/2012), and Google Scholar in September 2013 to identify published reports, and the International Clinical Trials Registry Platform of the World Health Organization in March 2013 to identify registry records. Two readers recorded the noninferiority margin and other data using a standardized data-abstraction form. RESULTS The margin was identical in study protocol and publication in 43 (80%) of 54 pairs of study protocols and articles. In the remaining pairs, reporting was inconsistent (five pairs, 9%), or the noninferiority margin was either not reported in the publication (five pairs, 9%) or not defined in the study protocol (one pair). The confidence interval or the exact P-value required to judge whether the result was compatible with noninferior, inferior, or superior efficacy was reported in 43 (80%) publications. Complete and consistent reporting of both noninferiority margin and confidence interval (or exact P-value) was present in 39 (72%) protocol-publication pairs. Twenty-nine trials (54%) were registered in trial registries, but only one registry record included the noninferiority margin. CONCLUSION The reporting of noninferiority margins was incomplete and inconsistent with study protocols in a substantial proportion of published trials, and margins were rarely reported in trial registries.

The national preceptor, or, Selections in prose and poetry ... /

"Consisting of narrative, descriptive, argumentative, didactic, pathetic, and humorous pieces ... calculated to improve the scholar in reading and speaking ... designed for the use of schools and academies."

The self-perceived effects on faculty that result from the experience of serving in a residential college

The purpose of this phenomenological study was to examine the effects that faculty who live in residence with college students perceive result from their experience. This study examined the perspectives from current and recent residential faculty members. Data were gathered through structured interviews with current and former residential faculty who gave firsthand accounts of how they felt that experience impacted them. A pilot study had been previously conducted that enabled the researcher to modify and adjust the dissertation methodology accordingly, based upon the findings of the pilot study. The pilot study, in short, found that residential faculty members felt they gained from the experience in terms of relationships with students and other faculty while facing a few small challenges. Literature consistently showed that faculty-student interaction is very important to the development and success of students (Astin, 1993). Research has clearly demonstrated positive outcomes that result for students; the literature review revealed this information is plentiful. There is a dearth of research, however, regarding this impact on the faculty members themselves. Given the importance of faculty-student interaction outside of the classroom, it is crucial to recruit faculty for these communities. Thus, more information regarding this experience will be valuable. The study was conducted at a mid-sized private university in the Southeastern United States. The reason for this choice was the fact that this school has a 25-year history as a residential college system and utilizes 12–15 residential faculty members yearly. The researcher conducted interviews with 13 faculty members and coded and analyzed the data, then prepared the findings of the study based on the results. The data resulting from the study indicated that faculty perceived great benefits from serving as residential college faculty members. Perceived benefits as described by the participants included increased skill in teaching, feeling a sense of community, stronger relationships with other faculty members and students, and an increased affinity toward the university. While there were some challenges such as lack of training, politics, and loss of privacy all participants in the study felt they gained from the opportunity and would do it again in the same situation. This study enhanced the limited formal knowledge available regarding how faculty experience living in residential colleges with students.

To boldly go where no one has gone before: symbolic annihilation and queer interventions in the Star Trek universe

Despite queer readings and interpretations by scholars and fans alike, the official Star Trek universe is devoid of any concrete or obvious representation of LGBTIQ identities. While this appears to be a case of symbolic annihilation, two recent episodes of the Internet series Star Trek New Voyages: Phase II (2004–, webseries), titled ‘Blood and Fire: Part One’ and ‘Blood and Fire: Part Two’, finally go where official Star Trek texts could, or would, not. Taking up the dual perspective of both fan and scholar, in this article I argue that these episodes use the conspicuous absence of representations of sexual diversity in the Star Trek franchise proper as the impetus for a creative intervention, one that embodies the capacity of science fiction texts to explore human sexuality beyond the confines of heteronormative identities.

Methodology of Care Humanitude in Promoting Self-care in Dependent People: An Integrative Review

Abstract. The aging of the population has led to an increase in the prevalence of chronic degenerative diseases and dependence. We need to implement humanized health care that will improve the quality of life and well-being of these people and help maintain their autonomy and self-care. Objective: To identify the implications of the caring in Humanitude in promoting self-care in the dependent person. Methods: Integrative review of the literature of the period between 2007 and 2015, using the databases Medline, EBSCO and Google Scholar. In using the PI[C]OD methodology and criteria for inclusion and exclusion, we obtained 54 items where 7 were selected for analysis. Results: There are several health benefits in the promotion of self-care, by ap-plying the Humanitude caring philosophy, mainly regarding the relationship be-tween the nurse and the patient. Conclusions: It is essential to develop further studies focused on the implications of caring in Humanitude in self-care in the dependent person.

Improved sugar cane juice clarification by understanding calcium oxide-phosphate-sucrose systems

It is accepted that the efficiency of sugar cane clarification is closely linked with sugar juice composition (including suspended or insoluble impurities), the inorganic phosphate content, the liming condition and type, and the interactions between the juice components. These interactions are not well understood, particularly those between calcium, phosphate, and sucrose in sugar cane juice. Studies have been conducted on calcium oxide (CaO)/phosphate/sucrose systems in both synthetic and factory juices to provide further information on the defecation process (i.e., simple liming to effect impurity removal) and to identify an effective clarification process that would result in reduced scaling of sugar factory evaporators, pans, and centrifugals. Results have shown that a two-stage process involving the addition of lime saccharate to a set juice pH followed by the addition of sodium hydroxide to a final juice pH or a similar two-stage process where the order of addition of the alkalis is reversed prior to clarification reduces the impurity loading of the clarified juice compared to that of the clarified juice obtained by the conventional defecation process. The treatment process showed reductions in CaO (27% to 50%) and MgO (up to 20%) in clarified juices with no apparent loss in juice clarity or increase in residence time of the mud particles compared to those in the conventional process. There was also a reduction in the SiO2 content. However, the disadvantage of this process is the significant increase in the Na2O content.

Looking Yonder : Longitudinal Research and Evaluation of the Yonder Participative Arts-based Learning Model Report 2010-2012

Since 2007, KITE Arts Education Program @ QPAC has been engaged in a series of arts and drama-based experiences for students in selected primary schools on the edges of Brisbane and in regional Queensland. The in-school workshop experiences of the program have culminated in a performance by the children for their school community, parents and carers at the Queensland Performing Arts Centre or a regional cultural venue. In conducting an analysis of the Yonder project, the researcher aimed to provide evidence of outcomes brought about through participation by schools, school staff, students and their communities in the Yonder project. To develop longitudinal data project initiators, participants were interviewed at six-monthly intervals to establish patterns of engagement and participation. The report analyses arts-based workshops conducted by the teacher artist in edge-city Brisbane and a regional centre; interviews with teachers and school administrators from the participating schools; interviews with teacher artist and professional artists; interviews with community partners; teacher professional development workshops; community-based workshops; performance outcomes that were the culminating events of the workshop program; student work samples and student reflections on the program. This document covers data and project outputs from February 2010 to July 2012. There have been five iterations of the Yonder project since its commencement in mid-2009 — three in regional Queensland (February–April 2010; February–May 2011; February–May 2012) and two in edge-city1 Brisbane (July–September 2010; August–October 2011). This report is a result of a research partnership between Queensland Performing Arts Centre and Queensland University of Technology (QUT) Creative Industries Faculty(Drama).

Shift

Shift was an exhibition held in October 2008, and was the culmination of a 10 month artist in residence held at Metro Arts, Brisbane in 2008. A number of works were produced and exhibited, and were a response to the ambient urban landscape of inner city Brisbane. The research component contributes to the discussion of the form and display of digital animation, and builds upon strategies of presentation developed from series of works completed in 2005-2007 as part of an MA (research) at QUT, Brisbane. For the two week exhibition, one interactive kiosk and several large scale digital prints were produced, and also a site specific digital animation sequence was projected onto urban landscape features next to the gallery.

Wicked futures : metadesign, resilience and transformative classrooms

This paper presents an Australian case study entitled “Designing Futures”. It examines a six month multidisciplinary design program offered by a large co-educational, inner-city state school in Queensland in 2011. The program extended an already successful and innovative school-based design curriculum and involved students in Philosophy, Science, Mathematics and English classes, as well those in Art and Design. Additionally, there were 5 full-day workshops where students combined a wide range of skills to brainstorm, design and create sustainable solutions. The design thinking used in this program was based on the concepts of metadesign, design activism and design futuring. “Designing Futures” linked over 700 middle and secondary school students and staff with nine designers-in-residence from diverse disciplines, including bio-ethics. The program aimed to empower students from highly diverse cultural and social backgrounds to engage in authentic, participatory design processes, prepare them for future social and environmental challenges, and increase personal and community resilience. The research results will inform ongoing program development and research in K-12 design education, both within the school and in conjunction with university and community partnerships in Queensland.

Body stories

This research is in the field of arts education. Eisner claims that ‘teachers rarely view themselves as artists’ (Taylor, 1993:21). Situating professional dance artists and teacher-artists (Mc Lean, 2009) in close proximity to classroom dance teachers, spatially, through a shared rehearsal studio and creatively, by engaging them in a co-artistry approach, allows participants to map unique and new creative processes, kinaesthetically and experientially. This pratice encourages teachers to attune and align themselves with artists’ states of mind and enables them to nurture both their teacher-self and their artist-self (Lichtenstein 2009). The research question was: can interactions between professional dance artists, teacher-artists (Mc Lean, 2009) and classroom dance teachers change classroom dance teachers’ self-perceptions? The research found that Artists in Residence projects provide up-skilling in situ for classroom dance teachers, and give credence to the act of art making for classroom dance teachers within their peer context, positively enhancing their self-image and promoting self-identification as ‘teacher-artists’ (Mc Lean, 2009). This project received an Artist in Residence Grant (an Australia Council for the Arts, Education Queensland and Queensland Arts Council partnership). The research findings were chosen for inclusion in the Queensland Performing Arts Complex program, Feet First: an invitation to dance, 2013 and selected for inclusion on the Creative Campus website, http://www.creative-campus.org.uk.

100 futures now : designing sustainable futures

This presentation tells the story of an initiative in middle schooling at Kelvin Grove State College that begins in the Art studios, but reaches out to other disciplines and approaches, and to community and industry partners. It is inspired by the potential of 'future thinking' to become a compelling focus in contemporary art and design. Ethically it espouses a simple premise": every student in our classrooms now has a stake in creating livable, democratic and creative futures. Every student has the potential to be an active force in making that future. "100 Futures Now" is a project that envisages creative and imaginative students working in collaboration with artists and designers to visualize amazing futures and communicate their vision through art and design. "100 Futures Now" is one in a series of innovative curriculum initiatives at Kelvin Grove State College designed to build sustainable practice in arts education with the support of partners in industry and universities and with resident artists and designers. The model blends elements of art and design methodology to focus on the critical and creative thinking skills prioritised in ACARA and 21st century curriculum. The organisers are developing a sustainable model for working with resident artists that goes beyond a single arts intervention or extension/enrichment experience. In this model artists and designers are collaborators in the design of learning experiences that support future programs. This model also looks to transfer the benefits of residencies to the wider school community (in this case to middle schooling curriculum) and to teachers in other curriculum areas, and not exclusively to the immediate target group. In "100 Futures Now", story-making is the engine that powers the creative process. For this reason the program uses a series of imaginative scenarios, including those of speculative fiction and science, as departure points for inquiry, and applies the methodologies of arts and design practice to explore and express student story telling and story making. The story-making responses of student teams will naturally be expressed multimodally through visual art, design artifacts, installation, performance and digital works. The project’s focus on narratives and its modes of communication (performance/installation) are inspired by the work of experimental contemporary design practices and the speculative scenarios of U.K. based designers Anthony Dunne and Fiona Raby. Thanks to the support of an Arts Queensland Artist-in -Residence grant in 2014, resident artists and designers who work with a diversity of ideas and approaches ranging over science, bio-ethics, biodiversity, behavior and ethics, ambient sound, urbanism, food, and wearable design, will work with middle school students as catalysts for deeper thinking and creative action. All these rich fields for future speculation will become triggers for team inquiry into the deeper connections between the past, the present, and future challenges such as climate, waste, energy, sustainability and resilience. These imagined futures will form the platform for a critical, sustainability/design futures approach that will involve questioning assumptions and empowering students as agents rather than consumers of change.

Forest reflections

Interactive art installation Artist in Residence Queensland Government grant. Awarded June 2011 for period July-September 2011. This project involved co-creating an interactive artwork on site and in the forest with Grovely Primary school children aged 6-10, some with high needs. Affiliated with the United Nations International Year of the Forest. Final work is tangible, real-time visualization created using participatory design methods.

Theatre, networked performance, and notions of ‘democratised’ spectatorship

The potential to cultivate new relationships with spectators has long been cited as a primary motivator for those using digital technologies to construct networked or telematics performances or para-performance encounters in which performers and spectators come together in virtual – or at least virtually augmented – spaces and places. Today, with Web 2.0 technologies such as social media platforms becoming increasingly ubiquitous, and increasingly easy to use, more and more theatre makers are developing digitally mediated relationships with spectators. Sometimes for the purpose of an aesthetic encounter, sometimes for critical encounter, or sometimes as part of an audience politicisation, development or engagement agenda. Sometimes because this is genuinely an interest, and sometimes because spectators or funding bodies expect at least some engagement via Facebook, Twitter or Instagram. In this paper, I examine peculiarities and paradoxes emerging in some of these efforts to engage spectators via networked performance or para-performance encounters. I use examples ranging from theatre, to performance art, to political activism – from ‘cyberformaces’ on Helen Varley Jamieson’s Upstage Avatar Performance Platform, to Wafaa Bilal’s Domestic Tension installation where spectators around the world could use a webcam in a chat room to target him with paintballs while he was in residence in a living room set up in a gallery for a week, as a comment on use of drone technology in war, to Liz Crow’s Bedding Out where she invited people to physically and virtually join her in her bedroom to discuss the impact of an anti-disabled austerity politics emerging in her country, to Dislife’s use of holograms of disabled people popping up in disabled parking spaces when able bodied drivers attempted to pull into them, amongst others. I note the frequency with which these performance practices deploy discourses of democratisation, participation, power and agency to argue that these technologies assist in positioning spectators as co-creators actively engaged in the evolution of a performance (and, in politicised pieces that point to racism, sexism, or ableism, pushing spectators to reflect on their agency in that dramatic or daily-cum-dramatic performance of prejudice). I investigate how a range of issues – from the scenographic challenges in deploying networked technologies for both participant and bystander audiences others have already noted, to the siloisation of aesthetic, critical and audience activation activities on networked technologies, to conventionalised dramaturgies of response informed by power, politics and impression management that play out in online as much as offline performances, to the high personal, social and professional stakes involved in participating in a form where spectators responses are almost always documented, recorded and re-represented to secondary and tertiary sets of spectators via the circulation into new networks social media platforms so readily facilitate – complicate discourses of democratic co-creativity associated with networked performance and para-performance activities.

A perceção de qualidade de vida do idoso institucionalizado

A institucionalização do idoso é cada vez mais uma realidade constante, o que faz com que a população idosa tenha um peso maior na estrutura etária, quer por necessidades próprias quer por necessidades sentidas pelos seus cuidadores. A fim de darmos resposta aos objetivos delineados; saber qual a perceção dos idosos sobre a Qualidade de vida; conhecer o quão satisfeitos estão os idosos com a sua saúde e conhecer a qualidade de vida dos idosos no domínio físico, psicológico, nas relações sociais e no meio ambiente. Como instrumento de recolha de dados, utilizamos a escala Whoqol-Bref e recolhemos os dados através de uma entrevista a 28 idosos com uma média de idades de 85,5 anos, institucionalizados na Residence Grande Fontaine, na Suíça. Após a colheita de dados, estes foram analisados através do programa informático Microsoft Office Excel 2010 e organizados em gráficos e tabelas. Tendo em conta os parâmetros utilizados pela escala supra referida para avaliação da qualidade de vida, conclui-se que os idosos inquiridos apresentam uma qualidade de vida no nível "Boa". Relativamente à satisfação com a sua saúde os idosos inquiridos apresentavam-se no nível "nem satisfeitos nem insatisfeitos com a mesma". Em relação a avaliação da qualidade de vida no que se refere aos quatro domínios da escala, o domínio com melhor percentagem é do meio ambiente e o domínio com menor classificação refere-se ao domínio das relações sociais.

The Trembling Line

The Trembling Line is a film and multi-channel sound installation exploring the visual and acoustic echoes between decipherable musical gestures and abstract patterning, orchestral swells and extreme high-speed slow-motion close-ups of strings and percussion. It features a score by Leo Grant and a newly devised multichannel audio system by the Institute of Sound and Vibration Research, University of Southampton. The multi-channel speaker array is devised as an intimate sound spatialisation system in which each element of sound can be pried apart and reconfigured, to create a dynamically disorienting sonic experience. It becomes the inside of a musical instrument, an acoustic envelope or cage of sorts, through which viewers are invited to experience the film and generate cross-sensory connections and counterpoints between the sound and the visuals. Funded by a Leverhulme Artist-in-Residence Award and John Hansard Gallery, with support from ISVR and the Music Department, University of Southampton. The project provided a rare opportunity to work creatively with new cutting edge developments in sound distribution devised by ISVR, devising a new speaker array, a multi- channel surround listening sphere which spatialises the auditory experience. The sphere is currently used by ISVR for outreach and teaching purposes, and has enables future collaborations between music staff and students at Southampton University and staff and ISVR. Exhibitions: Solo exhibition at John Hansard Gallery, Southampton (Dec 2015-Jan 2016), across 5 rooms, including a retrospective of five previous film-works and a new series of photographic stills. Public lectures: two within the gallery. Reviews and interviews: Art Monthly, Studio International, The Quietus, The Wire Magazine.