Biodiversity patterns in the managed and unmanaged silver fir-beech forests in the western Pyrenees: towards sustainable use.

149 p.La explotación forestal está incrementándose en todo el mundo, siendo bien conocido su impacto negativo en la biodiversidad. El concepto de "gestión forestal sostenible" ha irrumpido con fuerza en la silvicultura moderna con el objetivo de reconciliar la;; necesidades socio-económicas y de conservación. En este contexto, la presente tesis supone una contribución al conocimiento general sobre el impacto de la gestión forestal en la biodiversidad. En concreto, se estudia por primera vez la diversidad de plantas vasculares, briófitos y líquenes de los hayedo-abetales del Pirineo occidental. Nuestros resultados indican que el manejo forestal influye en la riqueza y composición de los especies de los tres grupos analizados. Además del manejo forestal, el clima y la presencia , abundancia y tamaño de claros forestales también resultaron ser factores importantes para la riqueza y composición de especies. Los resultados sugieren que las plantas vasculares y los briófitos responden de forma diferente ante las variables ambientales y se recomienda estudiar las por separado en cuanto de estudios de la biodiversidad

Biodiversity patterns in the managed and unmanaged silver fir-beech forests in the western Pyrenees: towards sustainable use.

149 p.La explotación forestal está incrementándose en todo el mundo, siendo bien conocido su impacto negativo en la biodiversidad. El concepto de "gestión forestal sostenible" ha irrumpido con fuerza en la silvicultura moderna con el objetivo de reconciliar la;; necesidades socio-económicas y de conservación. En este contexto, la presente tesis supone una contribución al conocimiento general sobre el impacto de la gestión forestal en la biodiversidad. En concreto, se estudia por primera vez la diversidad de plantas vasculares, briófitos y líquenes de los hayedo-abetales del Pirineo occidental. Nuestros resultados indican que el manejo forestal influye en la riqueza y composición de los especies de los tres grupos analizados. Además del manejo forestal, el clima y la presencia , abundancia y tamaño de claros forestales también resultaron ser factores importantes para la riqueza y composición de especies. Los resultados sugieren que las plantas vasculares y los briófitos responden de forma diferente ante las variables ambientales y se recomienda estudiar las por separado en cuanto de estudios de la biodiversidad

Mergers, Removals, Evacuations: Reordering and Reconstituting Image in Collage

My work across different media – performance, video, photography, collage, sculpture, and installation – often deals with the precarious relationship between a human body and a set of objects, space, landscape or built environment. In this paper I will zoom in on a very small and specific area of the work, focusing on the dissolution and discombobulation of the figure as it is enacted and performed in my image based collage works, discussing how collage perform this disassembly, and re-assembly, of body-as-object / body-as-image differently than the photographic works. A scholarly essay in which Horvat uses their collage works to think through the politics and poetics of collage, placing their figurative works in collage in historical and theoretical frameworks, with a particular focus on collage’s ability to dismantle and re-imagine the body. A bilingual journal; article published in both English and Croatia

Surroundings

In Surroundings, Vlatka Horvat's solo exhibition at Renata Fabbri which works across all of the gallery’s spaces, Horvat approaches the idea of horizon line as spatial limit and border whilst at the same time exploring its powerful and contradictory metaphorical status as aspirational destination. In works manifested in different forms and media – altered photographic image, collage, sculpture, and fragile site-responsive material interventions – she renders the horizon as an edge of space and visibility, and as a sign or site of future potential and action. Horvat’s approach begins with a new series of collage works titled End in Sight. In each of them, the artist cuts parts of the image that contain the horizon and relocates them over lone human figures standing in natural landscapes, connecting the cut horizon lines to their counterpart on the other side of the figure. The new, longer horizon line produced via this procedure is no longer interrupted with the presence of the figure, but rather leaves the figures interrupted, obscured or even blanked out. Multiplying and extending the land and sky to “repair” the caesura enacted by human presence, Horvat’s work poses the horizon line as a “replacement” for the eyes; it takes the place of the eyes, rather than being a destination for the eyes. This “takeover” of the landscape upon the human figure further draws attention to the symbiotic relation between the natural setting and living beings inhabiting it, whilst pointing to the problematic aspects of our presence in landscape as well as our “lostness” in it. A similar contradiction lies at the heart of At Some Length, a fragile sculptural intervention which Horvat uses to connect the front and back spaces of the upstairs gallery. Made from scraps of string and elastic crudely knotted together to form a single line, the work follows the path of the existing walls of the room, a frail marking of – and on – an already existing solid spatial barrier. Ambiguous in purpose and intention, Horvat’s intervention is at the same time an improvised measure of the space and a rudimentary territorial marking or fence reminiscent of barbed wire – however materially inadequate for that purpose. It is also a simple dividing line, separating the room into what lies above and below this temporary division – a crude landscape drawing conjuring spatial expanse and distance on the walls of the gallery. In the other collage works in the show – grouped under the name Tree Line – Horvat intervenes repeatedly on an image depicting trees at a waterline of a lake, their forms reflected perfectly in water below. This uncanny already doubled horizon line is subjected to a series of diverse interventions which at times emphasize and at other times obscure or render illegible the strip of the horizon. The procedure of using the line as a both a means of connecting and of separating is used again in the set of two sculptural works titled Set Right in which Horvat first cuts up wooden tables, removing certain parts from them – the table top in one instance and a leg in another – and then performs the gesture of “repairing” the missing parts of these objects with cardboard strips – once again using a temporary material, decidedly inadequate for the job. In this process the tables are altered from functional everyday objects into non-utilitarian ones. The line used to “repair” or complete them creates here a field of action that is simultaneously material and imaginary, as the lines extend, re-frame and re-imagine the tables as hollow 3-dimensional line drawings in space, marking out the boundaries of newly created enterable spaces. Throughout Surroundings Horvat works and reworks the line as a compositional element central to framing and making readable human presence in space, approaching the line both as a means of tracing our presence and as a trace left by our presence. In addition to the compositional significance of the line – its function to delineate space, demarcate limits and boundaries, and trace trajectories – the show also focuses on the line as a common metaphor for continuity, infinity and distance and as a sign of future, of possibility, and of the end

Exit Taxonomy

“Exit Taxonomy” is a text based around a maverick taxonomy of types of exists, investigating departures and acts of leaving, as they pertain to both personal and political realms. Mapping out a decidedly incomplete system of classification of departures both voluntary and enforced, the text draws from a range of references and events from the news and current events, from memory and personal experience, from fiction and cinema, from the popular culture, in order to engage questions of access, freedom, belonging, choice, as well questions of personal and social responsibility

Through and Through

Responding to the unique entrance space of the Nadežda Petrović Art Gallery, Vlatka Horvat’s new site-specific work Through and Through repeats and amplifies elements of the building’s architecture to create an installation centering the experience of the visitor as they negotiate and move through a transformed environment. In its playful reiteration of spatial forms that echo the numerous doors and openings already present in the space, Horvat’s work creates a dysfunctional repertoire of additional portals and entrances – though largely unusable as such – amplifying the space of the entry hall as a zone that is neither here nor there, neither outside nor properly inside, in which the transitory actions of entering, exiting, and passing through are brought to the fore and playfully messed with. In Horvat’s installation, the ubiquitous elements of built space – namely doors, doorframes, and other architectural openings – are explored as both material structures with function (supporting, allowing access, framing view from the inside outward and from the outside in) and as metaphorical propositions in the sense that they frame and limit intellectual viewpoint and ideas. Horvat’s sculptural installations frequently transform spaces by reworking or re-organizing them, or by intervening in them with temporary gestures and materials. Working with ‘what is already there’ is part of Horvat’s methodology, which relies on an economy of means and a certain pull towards what the artist calls ‘unnecessary gesture’ – a redundant and excessive act of repeating, doubling, or mirroring some aspect of the environment so as to both highlight and reimagine the spatial and social relations operating in it. Through and Through is a commission for Gestures, Signs of Life: the 31st Memorial of Nadežda Petrović – the Čačak biennial in Čačak, Serbia, 1 October - 13 November 2022. Curated by Sinisa Ilic and Bojan Dzordzev

Promjene boje lakirane trešnjevine i javorovine u interijeru

Drvo je materijal koji se mnogo upotrebljava u interijeru ponajprije zbog svojih estetskih svojstava: boje i teksture. Nažalost, drvo je fotokemijski nestabilan supstrat koji mijenja boju čak i u interijeru pod utjecajem difuzne svjetlosti, što je rezultat fotooksidacije lignina. Prozirne prevlake koje ističu prirodnu ljepotu drva ne mogu dobro štititi drvo od promjene boje ukoliko nisu modificirane odgovarajućom vrstom i količinom svjetlosnih stabilizatora. U ovom radu željeli smo ustanoviti koliko se mijenja boja lakiranog drva trešnjevine i javorovine u interijeru pri realnom izlaganju svjetlosti koja prolazi kroz prozorsko staklo i pridonosi li zaštitna folija koja ne propušta ultraljubičastu svjetlost dodatnoj zaštiti lakiranih uzoraka od diskoloracije. Ustanovili smo da dva upotrijebljena laka daju sasvim različite rezultate na trešnjevini i javorovini i da je dvokomponentni PU lak bolji za zaštitu trešnjevine, a da jednokomponentni vodeni PU lak daje mnogo bolje rezultate na javorovini. Zaštitna folija koja ne propušta ultraljubičasto zračenje smanjila je diskoloraciju uzoraka lakiranih dvokomponentnim PU lakom, posebno na javorovini

Sestrinska skrb za onkološkog pacijenta u Klinici za onkologiju - Kliničkog bolničkog centra Zagreb Nursing care for oncologic patient in the clinical department of Oncology of the Clinical hospital center Zagreb

Dilema o uporabi odgovarajućeg protokola u liječenju onkološkog bolesnika, od početne pojave simptoma, vremena potrebnog za dijagnostiku, te do početka liječenja i praćenja tijeka liječenja važno je zbog brojnih čimbenika, kako medicinskih, tako i psiholoških, socijalnih i etičkih. U radu opisujemo protokol zbrinjavanja onkoloških bolesnika od strane medicinskih sestara/tehničara od trenutka verificiranja dijagnoze do trenutaka završetka liječenja i provođenja kontrolnih pregleda, tj. palijativnog zbrinjavanja bolesnika na Klinici za onkologiju Kliničkog bolničkog centra Zagreb. U svakom stadiju liječenja bolesnika opisuje se rad medicinskih sestara/tehničara te njihova učinkovitost za poboljšanje i pravovremeno reagiranje na tjelesna i psihološka zbivanja u bolesnika. Nadalje, opisuje se kako je liječenje onkoloških bolesnika utemeljeno na uključivanju svih članova multidisciplinarnog zdravstvenog tima u čijem su sastavu stručnjaci različitih znanstveno-stručnih grana (npr. patolozi, radiolozi, kirurzi, liječnici onkolozi, psiholozi te medicinske sestre). Provođenje metoda zdravstvene njege u bolesnika s malignim bolestima zahtijeva usustavljeni, cjeloviti i individualizirani sestrinski pristup bolesniku uz primjenu specifičnih sestrinskih postupaka u odnosu na primjenu terapije, te edukaciju bolesnika kao i članove obitelji. Sestrinske intervencije kod onkološkog bolesnika potrebno je primjenjivati u svim stadijima bolesti, od akutne faze do terminalnog stadija bolesti. Novost u liječenju onkoloških bolesnika primjena je takozvanih „pametnih lijekova“ za liječenje malignih bolesti. U klinici za onkologiju Kliničkog bolničkog centra Zagreb primjenjuje se oralna terapija za liječenja karcinoma dojke, bubrega, prostate, debelog crijeva, jetre, GIST-a, NET-a, melanoma, sarkoma i tumore mozga. Nakon inicijalnog liječničkog pregleda onkologa, medicinska sestra/tehničar daje pacijentu terapiju koju bolesnik uzima u kućnom režimu liječenja tijekom 4 tjedna. Od posebnog je značaja educirati pacijenta i članove obitelji o načinu uzimanja i skladištenju lijeka, prepoznavanju i tretiranju nuspojava te zbrinjavanju ambalaže. U radu se opisuje ustroj onkološke poliklinike i osnove metode rada, te obavljanje sestrinskih intervencija u odnosu na primjenu terapije i edukaciju pacijenta i članove obitelji tijekom liječenja

Depression, Anxiety and Cognitive Dysfunction in Patients with Type 2 Diabetes Mellitus – A Study of Adult Patients with Type 2 Diabetes Mellitus in Osijek, Croatia

im of the study was to determine the rate of depression and anxiety in the patients with diagnosed Type 2 Diabetes mellitus (DM), and also to determine the state of the congnitive functions in patients with Type 2 Diabetes mellitus compared with the control group. Study was designed as a epidemiological cross sectional study, sample consisted of 108 patients, 66 of the patients were diagnosed with Type 2 Diabetes mellitus, and 42 were control group. All of them were interviwed by psychiatrist and tested through clinical interview with Hamilton depression rating scale, Hamilton Anxiety rating scale, Mini mental state examination and questionnaire about sociodemografic data. Results show that group of patients with DM were statistically significat more depressed than the control group of the patients (p=0.035). Pathological anxiety measured by Hamilton Anxiety Rating Scale (HAM-A) appeared in 34 DM patients and 7 of the patients in control group, which is also statistically significant difference (p=0.002). Evaluation of the congnitive status done with Mini Mental State Examination (MMSE showed us tha patients with DM presented more cognitive dysfunctions compared with the control group. We can conclude that the high prevalence of psychiatric disorders in diabetic patients points to the need for greater investment in appropriate diagnostic evaluation of patients that consider mental issues