Comedy, Contagion, and Confinement in Bo Burnham’s Inside

Bo Burnham’s Inside was filmed by the former YouTube star, stand-up comedian, and director entirely alone in his guest house during the height of the COVID-19 pandemic and released on Netflix. The comedy special is a mixture of skits, songs, and monologues loosely stitched together that question the role of comedy, provide a critique of the current socio-cultural moment, and give the viewer a glimpse into Burnham’s mind. Inside and The Inside Outtakes both engage with the themes associated with outbreak narratives and explore current social questions regarding privilege, accountability, consumption, and capitalism. Like other works of comedy, Inside takes a snapshot of the cultural climate while extending the traditions of outbreak narratives into new media forms. Inside spans many genres and media categories, a fulfills multiple roles for both Burnham and the viewer. It is a manifestation of the restlessness of quarantine, a critique of capitalism and the creator economy, a commentary on political and social issues, a realization of privilege, a warning about the power of technology and media, and an exploration of the existential crisis born from these conditions. Inside and The Inside Outtakes exist within a very specific temporal moment, and the interior space Burnham creates allows for an analysis of how cultural changes to comedy, societal movements, the digital age, and the individual are all intertwined. The consideration of how each of these elements relates to each other then allows for an exploration of the potential way forward from the current moment

The Association between Daytime Napping and Cognitive Functioning in Chronic Fatigue Syndrome

OBJECTIVES The precise relationship between sleep and physical and mental functioning in chronic fatigue syndrome (CFS) has not been examined directly, nor has the impact of daytime napping. This study aimed to examine self-reported sleep in patients with CFS and explore whether sleep quality and daytime napping, specific patient characteristics (gender, illness length) and levels of anxiety and depression, predicted daytime fatigue severity, levels of daytime sleepiness and cognitive functioning, all key dimensions of the illness experience. METHODS 118 adults meeting the 1994 CDC case criteria for CFS completed a standardised sleep diary over 14 days. Momentary functional assessments of fatigue, sleepiness, cognition and mood were completed by patients as part of usual care. Levels of daytime functioning and disability were quantified using symptom assessment tools, measuring fatigue (Chalder Fatigue Scale), sleepiness (Epworth Sleepiness Scale), cognitive functioning (Trail Making Test, Cognitive Failures Questionnaire), and mood (Hospital Anxiety and Depression Scale). RESULTS Hierarchical Regressions demonstrated that a shorter time since diagnosis, higher depression and longer wake time after sleep onset predicted 23.4% of the variance in fatigue severity (p <.001). Being male, higher depression and more afternoon naps predicted 25.6% of the variance in objective cognitive dysfunction (p <.001). Higher anxiety and depression and morning napping predicted 32.2% of the variance in subjective cognitive dysfunction (p <.001). When patients were classified into groups of mild and moderate sleepiness, those with longer daytime naps, those who mainly napped in the afternoon, and those with higher levels of anxiety, were more likely to be in the moderately sleepy group. CONCLUSIONS Napping, particularly in the afternoon is associated with poorer cognitive functioning and more daytime sleepiness in CFS. These findings have clinical implications for symptom management strategies

Investigation of the relationship between phenylalanine in venous plasma and capillary blood using volumetric blood collection devices

Measurement of plasma and dried blood spot (DBS) phenylalanine (Phe) is key to monitoring patients with phenylketonuria (PKU). The relationship between plasma and capillary DBS Phe concentrations has been investigated previously, however, differences in methodology, calibration approach and assumptions about the volume of blood in a DBS sub‐punch has complicated this. Volumetric blood collection devices (VBCDs) provide an opportunity to re‐evaluate this relationship. Paired venous and capillary samples were collected from patients with PKU (n = 51). Capillary blood was collected onto both conventional newborn screening (NBS) cards and VBCDs. Specimens were analysed by liquid‐chromatography tandem mass‐spectrometry (LC–MS/MS) using a common calibrator. Use of VBCDs was evaluated qualitatively by patients. Mean bias between plasma and volumetrically collected capillary DBS Phe was −13%. Mean recovery (SD) of Phe from DBS was 89.4% (4.6). VBCDs confirmed that the volume of blood typically assumed to be present in a 3.2 mm sub‐punch is over‐estimated by 9.7%. Determination of the relationship between plasma and capillary DBS Phe, using a single analytical method, common calibration and VBCDs, demonstrated that once the under‐recovery of Phe from DBS has been taken into account, there is no significant difference in the concentration of Phe in plasma and capillary blood. Conversely, comparison of plasma Phe with capillary DBS Phe collected on a NBS card highlighted the limitations of this approach. Introducing VBCDs for the routine monitoring of patients with PKU would provide a simple, acceptable specimen collection technique that ensures consistent sample quality and produces accurate and precise blood Phe results which are interchangeable with plasma Phe

Home-body/Kitchen Table Solo Show (2020 – 23) exhibited in 'Rupture, Rapture: Womxn in Collage'

Home-body/Kitchen Table Solo Show, is a composite installation of a series of works made during the pandemic - from within sixty weeks of shielding: In this context, one type of interior is the shell - a networked container maintained by labour and producing waste, reaching for community and receiving shopping. Another interior is the body within, navigating complex dependencies and desires. These works were all made on the edges of a kitchen table and draw on Mendelson's, often positive, experiences of the home-as-skin. A new, painted platform was produced for this exhibition, allowing the 'kitchen table' itself to fold into the work. ‘Rupture, Rapture: Womxn in Collage’ is a publication, residency and survey exhibition. 25 August - 23 September 2023 Patricia Fleming Gallery, Glasgow 'Rupture, Rapture: Womxn in Collage' brings together new and existing works, alongside special commissions to showcase collage in an expanded field, incorporating multimedia, sculpture, sound and performance art. Displaying over twenty collage works by 14 womxn artists, this exhibition challenges the notion of collage as a fixed category or form—instead revealing collage as a feminist praxis of transformation, rupture, and collision. Commissioned works will be presented by 16NSt resident artists’ Edie Baker, Gabrielle Lockwood Estrin, and Hannan Jones, developed in-situ at Patricia Fleming Gallery, along with a collage installation and performance from Jen DeNike (16th Sep), exhibiting the artist’s work in Scotland for the first time. New and historic work will be shown by Sam Ainsley, Claire Barclay, Barbara F. Kendrick, Janie Nicoll, Kate V. Robertson, and Catherine Street. Significant existing works will be displayed by Louise Hopkins, Zoë Mendelson, Victoria Morton, and Alberta Whittle. Curated by Aga Paulina Młyńczak and Nell Cardozo with support from Kelly Rappleye (16NSt Curatorial Collective), Sam Ainsley (artist and former Head of Glasgow School of Art’s MFA) and artist Janie Nicoll, this survey exhibition hosted by Patricia Fleming Gallery displays a diverse repertoire of over twenty collage works, several of which have never been shown before. By putting multimedia sculptural installations together with paper works, Młyńczak and Cardozo aim to expand the notion of what contemporary collage can do. Displaying work from womxn artists at various stages in their careers who use expanded collage processes, this exhibition aims to create an inter-generational feminist dialogue. 16NSt’s Rupture, Rapture: Womxn in Collage project comprises an emerging artists’ residency and publication alongside this exhibition to trace an alternative, feminist lineage of collage in everyday practices by womxn and queer communities, which have traditionally been refused art historical recognition, from scrapbooking to collage poetry. These homegrown acts of cultural transformation inform the ethos of cross-media experimentation and re-assemblage of everyday material that is shared across the works in this exhibition. PUBLICATION Accompanying the exhibition will launch a limited-release publication ‘RUPTURE, RAPTURE’, featuring rarely-seen collage works by Maud Sulter alongside a critical survey of contemporary womxn’s collage in Scotlan

Training future generations to deliver evidence-based conservation and ecosystem management

1. To be effective, the next generation of conservation practitioners and managers need to be critical thinkers with a deep understanding of how to make evidence-based decisions and of the value of evidence synthesis. 2. If, as educators, we do not make these priorities a core part of what we teach, we are failing to prepare our students to make an effective contribution to conservation practice. 3. To help overcome this problem we have created open access online teaching materials in multiple languages that are stored in Applied Ecology Resources. So far, 117 educators from 23 countries have acknowledged the importance of this and are already teaching or about to teach skills in appraising or using evidence in conservation decision-making. This includes 145 undergraduate, postgraduate or professional development courses. 4. We call for wider teaching of the tools and skills that facilitate evidence-based conservation and also suggest that providing online teaching materials in multiple languages could be beneficial for improving global understanding of other subject areas.Peer reviewe

Convalescent plasma in patients admitted to hospital with COVID-19 (RECOVERY): a randomised controlled, open-label, platform trial

SummaryBackground Azithromycin has been proposed as a treatment for COVID-19 on the basis of its immunomodulatoryactions. We aimed to evaluate the safety and efficacy of azithromycin in patients admitted to hospital with COVID-19.Methods In this randomised, controlled, open-label, adaptive platform trial (Randomised Evaluation of COVID-19Therapy [RECOVERY]), several possible treatments were compared with usual care in patients admitted to hospitalwith COVID-19 in the UK. The trial is underway at 176 hospitals in the UK. Eligible and consenting patients wererandomly allocated to either usual standard of care alone or usual standard of care plus azithromycin 500 mg once perday by mouth or intravenously for 10 days or until discharge (or allocation to one of the other RECOVERY treatmentgroups). Patients were assigned via web-based simple (unstratified) randomisation with allocation concealment andwere twice as likely to be randomly assigned to usual care than to any of the active treatment groups. Participants andlocal study staff were not masked to the allocated treatment, but all others involved in the trial were masked to theoutcome data during the trial. The primary outcome was 28-day all-cause mortality, assessed in the intention-to-treatpopulation. The trial is registered with ISRCTN, 50189673, and ClinicalTrials.gov, NCT04381936.Findings Between April 7 and Nov 27, 2020, of 16 442 patients enrolled in the RECOVERY trial, 9433 (57%) wereeligible and 7763 were included in the assessment of azithromycin. The mean age of these study participants was65·3 years (SD 15·7) and approximately a third were women (2944 [38%] of 7763). 2582 patients were randomlyallocated to receive azithromycin and 5181 patients were randomly allocated to usual care alone. Overall,561 (22%) patients allocated to azithromycin and 1162 (22%) patients allocated to usual care died within 28 days(rate ratio 0·97, 95% CI 0·87–1·07; p=0·50). No significant difference was seen in duration of hospital stay (median10 days [IQR 5 to >28] vs 11 days [5 to >28]) or the proportion of patients discharged from hospital alive within 28 days(rate ratio 1·04, 95% CI 0·98–1·10; p=0·19). Among those not on invasive mechanical ventilation at baseline, nosignificant difference was seen in the proportion meeting the composite endpoint of invasive mechanical ventilationor death (risk ratio 0·95, 95% CI 0·87–1·03; p=0·24).Interpretation In patients admitted to hospital with COVID-19, azithromycin did not improve survival or otherprespecified clinical outcomes. Azithromycin use in patients admitted to hospital with COVID-19 should be restrictedto patients in whom there is a clear antimicrobial indication