Persistence on therapy and propensity matched outcome comparison of two subcutaneous interferon beta 1a dosages for multiple sclerosis

To compare treatment persistence between two dosages of interferon β-1a in a large observational multiple sclerosis registry and assess disease outcomes of first line MS treatment at these dosages using propensity scoring to adjust for baseline imbalance in disease characteristics. Treatment discontinuations were evaluated in all patients within the MSBase registry who commenced interferon β-1a SC thrice weekly (n = 4678). Furthermore, we assessed 2-year clinical outcomes in 1220 patients treated with interferon β-1a in either dosage (22 µg or 44 µg) as their first disease modifying agent, matched on propensity score calculated from pre-treatment demographic and clinical variables. A subgroup analysis was performed on 456 matched patients who also had baseline MRI variables recorded. Overall, 4054 treatment discontinuations were recorded in 3059 patients. The patients receiving the lower interferon dosage were more likely to discontinue treatment than those with the higher dosage (25% vs. 20% annual probability of discontinuation, respectively). This was seen in discontinuations with reasons recorded as “lack of efficacy” (3.3% vs. 1.7%), “scheduled stop” (2.2% vs. 1.3%) or without the reason recorded (16.7% vs. 13.3% annual discontinuation rate, 22 µg vs. 44 µg dosage, respectively). Propensity score was determined by treating centre and disability (score without MRI parameters) or centre, sex and number of contrast-enhancing lesions (score including MRI parameters). No differences in clinical outcomes at two years (relapse rate, time relapse-free and disability) were observed between the matched patients treated with either of the interferon dosages. Treatment discontinuations were more common in interferon β-1a 22 µg SC thrice weekly. However, 2-year clinical outcomes did not differ between patients receiving the different dosages, thus replicating in a registry dataset derived from “real-world” database the results of the pivotal randomised trial. Propensity score matching effectively minimised baseline covariate imbalance between two directly compared sub-populations from a large observational registry.

Pre-choreographic elements: Scott deLahunta in conversation with Bertha Bermúdez

‘Pre-Choreographic Elements’ is a research project that evolved from the interdisciplinary project (Capturing) Intention initiated by dance company Emio Greco | PC and the Art and Development Research Group of the Amsterdam School of the Arts in 2005 (see article by Bermúdez in this issue, pp. 61–81.). ‘Pre-Choreographic Elements’ refers to the ‘pre-phase of choreography, where the content is being created, shaped and tested but not yet part of the selection and ordering process choreography implies’. In this dialogue, deLahunta talks to Bermúdez about the current state of this research.

Anne Scott Wilson : Video & photography exhibition

Solo Exhibition, Framed Photograhs and Video installations as part of the 'Head On Photography Festival'

Anne Scott Wilson : Insideout #2 exhibition

Solo Exhibition with catalogue essay by Elizabeth Day, video installation; inkjet prints; paintings

'Scott's aired a couple of things' : back to back theatre rehearse Ganesh versus the third Reich

 This chapter tracks the creation of Back to Back Theatre’s 2011 performance, Ganesh Versus the Third Reich, based on first-hand observation of the final stages in devising and refining the work. Ganesh traces two parallel narrative strands – that of an imagined journey of the Hindu God into the dark heart of Nazi Germany to reclaim the sacred Hindu symbol of the swastika, and the narrative which constantly threatens to engulf the Ganesh story – the fraught relations between a group of disabled artists and their non-disabled director as they negotiate the process of making the work.

The focus of this chapter is the development of a single scene from the performance work, Ganesh Versus the Third Reich, tracing it’s evolution through periods of creative development and rehearsal. The stark contrast between the working practices observed on the studio floor and the brutally knowing and parodic representation of power relations in rehearsal seen in the performance work testifies to the peculiar and productive self-reflexivity that generates the work of Back To Back Theatre. An account and analysis of both real and fictional rehearsals reveal how Back to Back’s creative processes position members of the ensemble “perceived to have intellectual disabilities” as entirely legitimate professional artists, while claiming the authority of ‘outsider artists’ to challenge perceptions and representations of disability.

Collaborative authorship in film production: Walter Murch and film editing

Filmmaking is frequently cited as the most collaborative of all arts, yet for the most part, mainstream and scholarly literature have received films as the creative voice of just one artist – the director. The reasons for this are many: general ignorance of how films are made; the hijacking of film theory by literary theory, and the continuing popularity of the myth of the Romantic Artist as solitary genius are some of them. The case for collaborative authorship has gained momentum since the 1980s as studies on the production of individual films, actors, production companies and the history of the film industry as a whole have proliferated and drawn attention to the disparities between how films are perceived and how they are actually made. This article analyses collaboration in film production culture through examination of the role of the film editor. Concentrating specifically on the film/sound editor and mixer Walter Murch, it examines his role as a collaborative author in his early work with director Francis Ford Coppola and his later work with English director Anthony Minghella.

Magical realism and irony's 'edge': rereading magical realism and Kim Scott's Benang

Magical realism has been the subject of much earnest theorising, implicating the narrative mode in postcolonial projects of cultural regeneration not only in Latin America but around the world. The claim that its hybrid vision simultaneously transgresses and supplements Western ratiocinative epistemologies has seen the mode become over-determined and dismissed as a postcolonial cliche. Rarely noted, however, is the ironic nature of the literary mode. Yet the trademark representation of the magical in a realist narrative is marked by a conspicuous incongruity, which is not only necessary to magical realism's aesthetic effect but which also provides a strong incentive for ironic readings. This paper will reread magical realism through Kim Scott's Benang in order to recognise the ironic incongruity at play in magical realism and to revitalise the mode's 'edge'.

A canção experimental de Walter Franco

Este artigo analisa as características de experimentação e criatividade em composições de Walter Franco, nos discos Ou não (1973) e Revolver (1975). Quatro aspectos serão observados: a letra, os elementos musicais (instrumentação e arranjos), as relações entre letra, arranjo e performance, e o design das capas dos discos em diálogo com a natureza conceitual das canções.