Histopathological grading of pediatric ependymoma: reproducibility and clinical relevance in European trial cohorts

<p>Abstract</p> <p>Background</p> <p>Histopathological grading of ependymoma has been controversial with respect to its reproducibility and clinical significance. In a 3-phase study, we reviewed the pathology of 229 intracranial ependymomas from European trial cohorts of infants (2 trials - SFOP/CNS9204) and older children (2 trials - AIEOP/CNS9904) to assess both diagnostic concordance among five neuropathologists and the prognostic utility of histopathological variables, particularly tumor grading.</p> <p>Results</p> <p>In phase 1, using WHO criteria and without first discussing any issue related to grading ependymomas, pathologists assessed and independently graded ependymomas from 3 of 4 trial cohorts. Diagnosis of grade II ependymoma was less frequent than grade III, a difference that increased when one cohort (CNS9204) was reassessed in phase 2, during which the pathologists discussed ependymoma grading, jointly reviewed all CNS9204 tumors, and defined a novel grading system based on the WHO classification. In phase 3, repeat independent review of two cohorts (SFOP/CNS9904) using the novel system was associated with a substantial increase in concordance on grading. Extent of tumor resection was significantly associated with progression-free survival (PFS) in SFOP and AIEOP, but not in CNS9204 and CNS9904. Strength of consensus on grade was significantly associated with PFS in only one trial cohort (AIEOP). Consensus on the scoring of individual histopathological features (necrosis, angiogenesis, cell density, and mitotic activity) correlated with PFS in AIEOP, but in no other trial.</p> <p>Conclusions</p> <p>We conclude that concordance on grading ependymomas can be improved by using a more prescribed scheme based on the WHO classification. Unfortunately, this appears to have utility in limited clinical settings.</p

Does artistic research mean aping scholarship?

Cet article rappelle la différence fondatrice qui situe l’art en dehors du savoir, comme un excès irréductible et une recherche non utilitaire. Mais que pourrait être une recherche qui ne vise pas le savoir ? Pour répondre à cette question, il convient d’abandonner le modèle académique qui voudrait transformer le chercheur en art en docte proférant des commentaires pédagogiques et historiques, en virtuose des nouvelles technologies et des réseaux, ou en zélote de la culture du projet. Face à ces impasses, les institutions à venir de la recherche en arts doivent donner lieu à des formes de transmission fidèles à la singularité de l’expérience artistique. Parmi elles : « l’oeuvre- mémoire ».This article reminds us of the fundamental distinction that places art outside knowledge, an irreducible kind of superfluity involving research with no utilitarian purpose. But what is research if the aim is not knowledge? To answer this question, we need to abandon the academic model that seeks to turn artistic research into the scholarly production of pedagogical and historical commentaries, and artists into virtuoso performers with new technologies and networks, or zealots of the “project” cult. To find a way out of the impasse, future artistic research institutions must develop ways of transmitting knowledge that keep faith with the singularity of the artistic experience. One of these ways is the production of artwork as a “memoir”

Absence de corrélation entre la masse et l'activité enzymatique de deux enzymes majoritaires (lipase et trypsine) de différents sucs pancréatiques humains. Incidence sur les études d'adaptation

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What are we (re)searching for?

Cet article interroge l’impératif à faire de la recherche comme un symptôme dans la mutation en cours de l’organisation sociale. Dans cette perspective, il apparaît, sous son angle idéologique, comme un des discours qui structurent les échanges sociaux sous l’égide de la knowledge economy. Gommant la séparation entre les institutions et les activités, l’assimilation de la recherche et de l’innovation dévitalise les pratiques et désapproprie les communautés tant universitaires qu’artistiques. Face à ce danger, il convient d’imaginer de nouvelles formes de collectifs s’incarnant dans un concept inédit de laboratoire dont une esquisse est ici tentée.This article discusses the compulsion to consider research as a symptom of the transformations taking place in the organisation of society. From this point of view, this appears, ideologically speaking, to be akin to the discourse that is currently structu ring society in the name of the “knowledge economy”. By blurring the distinction between institutions and activities, the conflation of research and innovation is devitalising practice and disem powering communities, both academic and artistic. This is a danger that must be faced by inventing new collective forms of research, embodied in a novel laboratory concept that we outline in this article

Setting stages for research on live art

Cet article rappelle en quoi l’organisation de la recherche est indissociable de celle de la production. À l’encontre de cette acception, il souligne que la pratique artistique, qui est moins une production d’oeuvres qu’un projet de vie, est mue par la nécessité de ne pas délier l’activité de recherche du travail social et socialisant de l’art. En témoigne la pédagogie des écoles d’art où les rapports de force de la scène de l’art vivant se rejouent, mais à l’état latent et sans autre enjeu qu’artistique. Sur cette scène pédagogique et néanmoins artistique, ce n’est pas la production d’un savoir qui prime mais les jugements esthétiques pris dans un dispositif commun de perception et d’inscription.This article discusses how the organisation of artistic research is inseparable from the organisation of artistic production. The author takes a dissenting view by stressing that artistic practice, which is not merely a matter of producing artwork but a lifetime project, is driven by the necessity of not dissociating research activity from the social and socialising work that art performs. Reflecting this are the educational methods applied in art schools, which bring the power struggles of live art performances into play but in latent form, and with no issue at stake other than art itself. In staging these educational but also artistic productions, what counts is not the production of knowledge but the aesthetic judgments made within a common scheme of perception and inscription

Concentration de trypsine plus élevée dans les sérums de nouveau-nés que dans les sérums d'adultes. Existe-t-il un phénomène d'adaptation dans la vie prénatale 7

International audienc