Impact of HIV-associated conditions on mortality in people commencing anti-retroviral therapy in resource limited settings

Objectives: To identify associations between specific WHO stage 3 and 4 conditions diagnosed after ART initiation and all cause mortality for patients in resource-limited settings (RLS).

Design, Setting: Analysis of routine program data collected prospectively from 25 programs in eight countries between 2002 and 2010.

Subjects, Participants: 36,664 study participants with median ART follow-up of 1.26 years (IQR 0.55–2.27).

Outcome Measures: Using a proportional hazards model we identified factors associated with mortality, including the occurrence of specific WHO clinical stage 3 and 4 conditions during the 6-months following ART initiation.

Results: There were 2922 deaths during follow-up (8.0%). The crude mortality rate was 5.41 deaths per 100 person-years (95% CI: 5.21–5.61). The diagnosis of any WHO stage 3 or 4 condition during the first 6 months of ART was associated with
increased mortality (HR: 2.21; 95% CI: 1.97–2.47). After adjustment for age, sex, region and pre-ART CD4 count, a diagnosis of extrapulmonary cryptococcosis (aHR: 3.54; 95% CI: 2.74–4.56), HIV wasting syndrome (aHR: 2.92; 95%CI: 2.21 -3.85), nontuberculous mycobacterial infection (aHR: 2.43; 95% CI: 1.80–3.28) and Pneumocystis pneumonia (aHR: 2.17; 95% CI 1.80–3.28) were associated with the greatest increased mortality. Cerebral toxoplasmosis, pulmonary and extra-pulmonary
tuberculosis, Kaposi’s sarcoma and oral and oesophageal candidiasis were associated with increased mortality, though at lower rates.

Conclusions: A diagnosis of certain WHO stage 3 and 4 conditions is associated with an increased risk of mortality in those initiating ART in RLS. This information will assist initiatives to reduce excess mortality, including prioritization of resources for
diagnostics, therapeutic interventions and research.

Small axe

‘18C’ was a response to the impending amendments by the Coalition Government which will remove sections 18B – E of the Racial Discrimination Act (RDA). The Coalition has left a brief window to gauge community responses – so artists, writers and academics were requested to respond with a work on paper (photographic or pulp) to this change of the RDA. Incorporating many new and existing works ‘18C’ sends notice with visual, verbal and written work to ensure that this does not go unchallenged.

An open mic will part of the opening night for performances and responses throughout the evening. Documentation collated from the exhibition and opening night will be submitted to the office of the Australian Attorney General.

Artists include: Ange Bailey, Bumpy Favell, David Blumenstein, Dominic Golding, Heather Horricks, Jef Tan, Kirsten Lyttle, Lulu Quintanilla, Megan Evans, Peter Waples Crowe, Susan Forrester, Tama TK Favell, Torika Bolatagici, Angela Tiatia, Chiara Scafidi, Deborah Kelly, Frances Tapueluelu, Jason Heller, Jenny Fraser, Lian Low, Martin Nixon, Megan Cope, Robyne Latham, Taloi Havini, Texta Queen, Weniki Hensch.

“For them, it seems to be an abstract philosophical or legal argument. For them it’s a game, it’s a debate about words and abstract principles… For people who have experienced racism, it is a deeply personal debate, and it’s actually a debate about real people and real hurt.” - Penny Wong

Out of the frying pan, into the fire : Cantrills Filmnotes as Prestige Machine

This examination of the gaps and ambiguities linked to Cantrills Filmnotes (CF), an Australian publication on experimental film, offers a case study on the production and ownership of Pierre Bourdieu’s 'cultural capital' in film art at the margins, witnessed first-hand. CF emerged at the intersection between the street and the academy, spanning that period from the 70s till its abandonment in 2000 during which, it is argued here, it migrated from the former to the latter. This examination surveils, in retrospect, for whose benefit was the magazine's accumulation of power, status and prestige exercised, in whose service was it exacted? CF’s manifesto-like editorial rhetoric was often directed at perceived shortcomings of those institutions servicing film art in Australia. What is revealed when such a critical eye focuses on the production of Cantrills Filmnotes (CF) itself? CF's cultural production has a further dimension of both taking on and taking place inside a colonial mind-set, a cultural cringe often the subject of editorial commentary, elucidating a practice residing at the geographic margins of a marginal arts practice. The founders and editors of CF, the married couple Corinne and Arthur Cantrill both suffered and benefited from CF’s impact on this international field of art production.

Something in the air - Patrick Pound remixes the NGV collection

Julie Szego speaks to Patrick Pound about his Melbourne Now hit, the beguiling Gallery of Air. Cover story with illustrations.

Beyond Scottish exceptionalism

Ben Wilkie reviews the exhibition For Auld Lang Syne: Images of Scottish Australia from First Fleet to Federation, Art Gallery of Ballarat, Ballarat, Victoria, Friday 11 April – Sunday 27 July 2014.

Outlaw-in

For the 2014 McClelland Gallery Sculpture Survey and Award Bozo ink created a scaled down model of The McClelland Gallery. Crash-landed in the Australian bush, the gallery’s belly is exposed, and into it the viewer can poke their head. Continuing our investigation into space, identity and Australian art history we look to the viewer to become panoptic in their view of the gallery and its surrounds, and at the same time the subject under surveillance. We encourage the viewer to cross the threshold from subject to object – to break the sanctity of the object/gallery. Like most of our works the invitations are many, we layer real-time experience with fictional narratives, illusions and copies. As much as we question the integrity of space we ask the viewer to consider their complicity in the history and occupation of it.

Spatial design 3.0

Spatial Design 3.0 forms a new dialogue between the artist and design artefacts, lens-based practice and the entanglements of contemporary critical theory. The artist was invited to exhibit at the Peninsula Art Gallery in Plymouth, UK at the Envelop Exhibition as part of the UK Festival of Design 2015. The artwork involves wire, photography, printing, mark making, typography and patterns negotiated and frozen within spatial arrangements. These elements are manipulated as a means to engage the traditional tools and instruments of art and design methodology in contemporary practice. The work was published and internationally distributed in the accompanying catalogue.

The new wilderness: A practice-led model for arts based enquiry

The New Wilderness is a practice-led, multidisciplinary arts project first piloted by artists, writers, teachers and academics from Geelong, Deakin University and Courthouse ARTS Centre in 2013. In a series of workshops run by artists, and working to specific themes, the project provided a platform for participants to explore and respond creatively to change in the community; it culminated in a large-scale installation at Courthouse ARTS Centre’s main gallery. Our paper positions the project as a able to cut across convention, empowering young artists to respond to ‘big questions’ of relevance to the changing material, spatial and social relations within their communities. In questioning and seeking to transform communities into sustainable media, economic, environmental and social ecologies, this emergent model begins with a localised focus, which is designed to travel across time and place, and pedagogical frameworks. The paper positions Geelong as a community under radical transformation in its economic foundations and demographics. As artists and academics living and working in the region we see it as an experimental ground for investigations into a series of provocations that mirror the shape of the paper we intend to give. The provocations, as outlined in the workshops, might also be envisaged as new relations to:Object – From consumable to unusable to play. In revisiting the first iteration of The New wilderness in 2013 we discuss the ‘superfictional’ (Hill, 2000) enquiry that participants were asked to engage with. Its premise described Geelong as an abandoned, post-apocalyptic site. Participants were asked to imagine themselves as a group of future explorers and excavate objects from the city’s old tip. In unearthing their choices and re-presenting the objects in the gallery the participant was prompted to analyse site, situation, object and process as phenomena for ‘being’ or ‘telling stories’, providing insights into wider realms of cultural experience (Ellis, Adams and Bochner, 2010). Parallel to this ‘autoethnographic’ reflection our paper uses the philosopher Giorgio Agamben’s analysis of consumer and material culture. He traces the subject’s relation to objects from use-value, to exchange-value and in the era of extreme capitalism, to pure exhibition-value. He searches for ways that the objects produced in our material culture can be ‘profaned’ (Agamben, 2007). Space – From the material to the spatial to the situation. We are interested in how objects and the practices they elicit can be ‘profaned’ by their situation (Agamben, 2007; Wark, 2103). To profane, according to Agamben, is to open up the possibility that the object loses its exhibition-value to ‘a special form of negligence’ (Agamben). He uses the example of the child’s ability to insinuate any object into a new logic of play (Agamben). Like the objects excavated for The New Wilderness they could be from a variety of spheres – business, household, industry, health etc… The child, like the artist, reconstitutes, reorders and assembles new relations between things. In reflecting on the first New Wilderness project the paper correlates the creative response of the participant (student, child, artist) with the occupier. The Occupy Movement, which took up residence in many of the world’s cities’ financial districts in 2011, used a number of strategies commensurate with both Agamben’s notion of profanation and McKenzie Wark’s reading of the Situationist International’s use of détournement - as a strategy that releases objects and subjects back into the field of play (Wark, 2013). The field was taken by the occupy movement to be the space in which they occupied – capitalism, its logic and its practices, were, for a short time, redundant in the occupied field. The New Wilderness conceptualises the city as a localised field, from which its discarded objects can be ‘profaned’ or, repurposed, to reflect on shared histories, responsibilities, pedagogies and future action. Subject: self/other– As much as we propose New Wilderness to be a pedagogical initiative we see it as personal, critical and political. In the themed workshops, designed to elicit personal responses to the object and the site, which culminated in a multi-disciplinary installation, performance and/or text based work, participants were encouraged to think critically, and importantly, collectively. Through the four workshops run in the first iteration of the project participants were asked to re-consider their material value-systems, much as the occupy movement was trying to do, and like the occupiers, participants were empowered to be agents of change. Our paper reflects on the practical outcomes and the conceptual, political and pedagogical strategies embedded in The New Wilderness project. The paper affords us the additional opportunity to imagine a life for it in other geographical, socio-economic and educational situations. Merinda Kelly and Cameron Bishop, 2013Bio: Merinda Kelly is a sculptor and installation artist, educator and PhD student at Deakin University. Her research interests include Visual Culture, Practice Led Research, the Ontology of Art, and Autoethnography. Her most recent work includes the Pop Archaeology' and the Globo-Touro Projects.Bio: Dr Cameron Bishop is an artist and academic working in Visual Arts at Deakin University. He exhibits regularly and has written a number of journal articles and book chapters. His research has focused on the philosophical and postcolonial dimensions of space and subjectivity and more recently has evolved into an active interest in strategic interventions into space and practice.

Space Window*: an exhibition devoted to Man in Space and Space in Art

Call for submissions to participate in a show in the Bell Gallery, List Art Building at Brown University. Co-sponsored by the RI State Council on the Arts and the Providence Inner City Arts Association.

William Gaddis's aesthetics of recognitions

William Gaddis’s The Recognitions (1955) is a selfreflexive novel that portrays Wyatt Gwyon’s trajectory from childhood to maturity, as he rejects and searches for originality. The present work bestows an analysis of William Gaddis’s The Recognitions focusing on the problematization of originality and authorship proposed by the novel by means of the central issues of forgery and plagiarism, which bring with them two larger and more important sister-notions: authorship and originality. The novel questions the prevailing demand for originality and discusses the possibility of being original. It formulates an aesthetics of recognitions defended in the novel and used by the author in the making of this text. In order to do that, this work provides a view on the different concepts associated with the terms originality and original, as well as some of the main infringements related to them in contemporary society. It also offers an account of the development of the concepts of originality and authorship in Western society, showing the growing importance of the figure of the author and the parallel development of the concepts of plagiarism and copyright. The next three chapters are dedicated to attempt to provide an account of William Gaddis’s The Recognitions focusing on the main artist characters and an analysis of the novel in the light of the theoretical and historical background provided. The first of these chapters focuses on Wyatt’s trajectory and his visions of art. The second identifies and analyses Wyatt’s mirrors in the narrative, which reinforce the self-reflective structure of the novel. And the third chapter exemplifies and analyses Wyatt’s aesthetics of recognitions, which turns out to be Gaddis’s own aesthetics in the making of his fiction.

Life expectancy and human capital investment: the arrival of AIDS treatment in Brazil

This paper provides microevidence on the relationship between life expectancy and educational investment decisions. Human capital theory predicts an increase in life expectancy should lead to an augmenting in schooling investment. This paper uses an unique data set on AIDS patients among Brazilian inhabitants in an attempt to estimate the impact of the arrival of Antiretroviral therapy (ART) on educational outcomes. The availability of ART offsets the negative relationship between vertical HIV-transmission and schooling, around 68% and 57% for elementary and high school completion, respectively. Robustness tests indicate the results are not driven by convergence effects.

Evolution of representation of the hands in plastic arts

A interação entre arte e ciência foi intensa durante o Renascimento, sofrendo declínio nos anos posteriores com retomada significativa no século XX, principalmente com o uso de técnicas de identificação, datação de obras de arte e o desenvolvimento de novos materiais. O relacionamento entre artes plásticas e Cirurgia da Mão mantêm-se intenso , sendo freqüente o uso de reproduções artísticas da mão nas ilustrações de textos científicos. Objetivando compreender o papel da mão nas artes plásticas, reproduções de obras de artes (esculturas e pinturas) representativas de vários estilos ou períodos da história da arte foram analisadas com enfoque no estudo das mãos. Detalhes anatômicos, relacionamento com outras estruturas do corpo humano, papel na composição e aspectos simbólicos das mãos foram estudados no contexto histórico e artístico de obras de arte do período paleolítico (pré-história) até o século XX. A representação da mão nas artes plásticas está diretamente relacionada ao estilo ou período da obra e à capacidade individual de interpretação e execução do artista.

Decrease of the DNA damage levels after sperm preparation by layering method

The aim of this prospective study was to determine the DNA fragmentation levels before and after sperm preparation by layering method. A total of 78 patients submitted to assisted reproduction technology (ART) for infertility treatment were evaluated. Ejaculated spermatozoa were obtained by masturbation on the day of ART procedure. The evaluation of DNA fragmentation was performed in the fresh semen and after preparation by a layering method, respectively. After washing with PBS, the sperm pellets were smears and then processed for the terminal deoxyribonucleotidyl transferase (TdT)-mediated dUTP nick-end labelling (TUNEL) assay that was performed using a Cell Death Detection Kit with tetramethylrhodamine-labelled dUTP. For quantitative evaluation, 200 spermatozoa in randomly selected areas on microscope slides were evaluated and the percentage of TUNEL positive spermatozoa was determined. If ≥20% of selected sperm were TUNEL positive, the exam was considered abnormal. The mean percentage of DNA sperm fragmentation before sperm preparation was 17±8.3% and after 7.8±6.5% (p<0.0001). The exam was considered normal in 49 patients before preparation and in 73 patients after (p<0.0001). The sperm preparation with a layering method for the ART procedure is effective to select sperm with a significant decrease of the DNA damage.

Collectives of humans-with-media in mathematics education: Notebooks, blackboards, calculators, computers and ... notebooks throughout 100 years of ICMI

The main aim of this study was to present evidence of the ways in which different media have conditioned and dramatically reorganized education, in general, and mathematics education, in particular. After an introduction of the theme, we discuss the epistemological perspective that provides the foundation for our analysis: the notion of humans-with-media. Then, we briefly illustrate how the medium is related to the scientific production of mathematical knowledge. We take a detour into the world of art to examine how devices and instruments have historically been associated with the production of mathematical knowledge. Then, we review studies on the history of education to show how traditional media were introduced into schools and have influenced education. In particular, we examine how devices such as blackboards and notebooks, which were novelties a 100 years ago, came to be accepted in schools and the mathematical activities that were promoted with their use. Finally, we discuss how information technology has changed education and how the Internet may have an impact on mathematics education comparable to that of the notebook over a century ago. © FIZ Karlsruhe 2009.