The development of thirty self-administering and self-scoring elaborative thinking exercises

Thesis (Ed.M.)--Boston Universit

{} Interval The Waiting Room

Framing and spacing are pictorial conventions that create intervals, often inadvertently forming part of the dialogue between the viewer and the work of art. This collaboration between five artists asks what happens when the cuts of image and spacing become the focus of attention, when compositional decisions expand into the space, activating responses to both imagery and context. Interval [ ] reflects on the momentary encounter, caught within or cut by the limit of rectangular support, viewfinder, picture space or film reel. The five artists will work collaboratively in the space, presenting works to be seen as components and supports for each other, negotiating how one work frames or cuts across another. As the collective installation for Interval [ ] takes shape, the set-up process will be documented as part of a live event and played back into the space. What constitutes the work, how to assess the arena of influence of one element to another will be approached as an open question, attention shifting between image, apparatus, space and medium. The edits, interruptions and inter-dependencies between frame and interval, between set-up and viewpoint become evident, offering a basis for discussion and comment between artists and audience

{} Interval

Framing and spacing are pictorial conventions that create intervals, often inadvertently forming part of the dialogue between the viewer and the work of art. This collaboration between five artists asks what happens when the cuts of image and spacing become the focus of attention, when compositional decisions expand into the space, activating responses to both imagery and context. {} Interval reflects on the momentary encounter, caught within or cut by the limit of rectangular support, viewfinder, picture space or film reel. The five artists will work collaboratively in the space, presenting works to be seen as components and supports for each other, negotiating how one work frames or cuts across another. As the collective installation for {} Interval takes shape, the set-up process will be documented as part of a live event and played back into the space. What constitutes the work, how to assess the arena of influence of one element to another will be approached as an open question, attention shifting between image, apparatus, space and medium. The edits, interruptions and inter-dependencies between frame and interval, between set-up and viewpoint become evident, offering a basis for discussion and comment between artists and audience

stop gap

A collaboration between Nicky Hamlyn, Conor Kelly, Joan Key, and Jost Münster. Between 27 February and 1 March 2017, the Herbert Read Gallery at UCA Canterbury was used to develop an install event 'stop gap' operating around the boundaries of still and moving image, considering framing and spacing as a shared context, particularly the breaks and cuts in space and duration that these imply. During ‘stop gap’ the artists involved occupied the space at different times, creating a to and fro of contact and encouraging an exchange of ideas about the concept of 'exhibition' as improvisation. ‘stop gap’ values how interim solutions can produce crossovers and inter-dependencies, how chance identifications reveal productive glitches in the overlays and gaps between works and between intentions. A makeshift resolution of works was open to the public for a single day. The gallery space framed this resolution momentarily

Outcomes from elective colorectal cancer surgery during the SARS-CoV-2 pandemic

This study aimed to describe the change in surgical practice and the impact of SARS-CoV-2 on mortality after surgical resection of colorectal cancer during the initial phases of the SARS-CoV-2 pandemic

Interval [ ] stop-gap

A collaboration between Nicky Hamlyn, Conor Kelly, Joan Key, and Jost Münster. Between 27 February and 1 March 2017, the Herbert Read Gallery at UCA Canterbury was used to develop an install event 'stop gap' operating around the boundaries of still and moving image, considering framing and spacing as a shared context, particularly the breaks and cuts in space and duration that these imply. During ‘stop gap’ the artists involved occupied the space at different times, creating a to and fro of contact and encouraging an exchange of ideas about the concept of 'exhibition' as improvisation. ‘stop gap’ values how interim solutions can produce crossovers and inter-dependencies, how chance identifications reveal productive glitches in the overlays and gaps between works and between intentions. A makeshift resolution of works was open to the public for a single day. The gallery space framed this resolution momentarily

Interval [ ] still : now

Interval [ ] still : now at Tintype Gallery London is part of an ongoing research project shared by Conor Kelly, Moyra Derby, Nicky Hamlyn, Joan Key, and Jost Münster who have developed a model of collective, experimental set up and install. Interval implies a break or pause, a spatial or temporal in-betweenness, and the research is motivated by the potential for cross cuts, edits, and interruptions between works that operate as components within the expanded frame of a space. The set-ups are conceived as discursive and provisional, accessed as a pause in a sequence of possibilities. The Interval [ ] research approaches framing and spacing as shared convention between film and painting, and framing as a consequence of the architectural and durational containment of work through exhibition. The exhibition was accompanied by a publication with writing by the artists and text interventions by Matthew de Pulford and Sharon Morris

Is stroke incidence increased in survivors of adult cancers? A systematic review and meta-analysis

Purpose: Existing research hints that people living with and beyond cancer are at an increased risk of stroke. However, there is insufcient evidence to appropriately inform guidelines for specifc stroke prevention or management for cancer patients. We conducted a systematic review and meta-analysis to describe and quantify stroke incidence in people living with and beyond cancer. Methods: Medline, CINAHL, and EMBASE were searched for epidemiological studies comparing stroke incidence between cancer and non-cancer patients. Reviewers independently extracted data; random-efects meta-analyses and quality assessment were performed. Results: Thirty-six studies were narratively synthesised. Meta-analysis was conducted using seven studies. Methodological quality was high for most studies. Study populations were heterogeneous, and the length of follow-up and risk factors varied. There was a variation in risk between diferent cancer types and according to stroke type: pancreatic (HR 2.85 (95% CI 2.43–3.36), ischaemic) (HR 2.28 (95% CI 1.43–3.63), haemorrhagic); lung (HR 2.33 (95% CI 1.63–3.35), ischaemic) (HR 2.14 (95% CI 1.45–3.15), haemorrhagic); and head and neck (HR 1.54 (95% CI 1.40–1.69), haemorrhagic) cancers were associated with signifcantly increased incidence of stroke. Risk is highest within the frst 6 months of diagnosis. Narrative synthesis indicated that several studies also showed signifcantly increased incidence of stroke in individuals with colorectal cancer, breast cancer, ovarian cancer, nasopharyngeal cancer, leukaemia, and myeloma, and those who have received radiotherapy for head and neck cancers and platinum-based chemotherapy may also have higher stroke incidence. Conclusions: Stroke incidence is signifcantly increased after diagnosis of certain cancers. Implications: for Cancer Survivors Cardiovascular risk should be assessed during cancer survivorship care, with attention to modifying shared cancer/cardiovascular risk factors