Comparison of Anthropometric Measurements of Abdominal Obesity as Predictors of Cardiometabolic Risk Factors: NHANES 2011-2014

Background It has been well established that screening tools for cardiometabolic diseases are less useful among obese populations as risk of these diseases is already high. However, research is lacking in regard to efficient screening tools for cardiometabolic diseases among normal weight and overweight populations. Objective This study compared the predictive strengths of body mass index (BMI), waist circumference (WC), waist-to-height ratio (WHtR), sagittal abdominal diameter (SAD), and SAD-to-height ratio (SADHtR) with respect to risk of cardiometabolic disorders in normal and overweight U.S. populations. Design This cross-sectional study utilized data from the 2011-2014 National Health and Nutrition Examination Survey. Participants/setting The sample included non-pregnant adults with a normal weight or overweight BMI status (≥ 20 years; n = 6482). Main outcome measures Each anthropometric measure was assessed for predicting risk of the following cardiometabolic disorders: hypertension (HTN), pre-diabetes, diabetes, high total cholesterol, low high-density lipoprotein cholesterol (HDL-C), high non-HDL-C, and high apolipoprotein B. Statistical analyses performed Simple and multiple logistic regression analyses compared the odds ratio of each anthropometric measure for each cardiometabolic disorder. Results When analyzed in separate models, BMI, WC, WHtR, SAD, and SADHtR identified all cardiometabolic risks. In simultaneous models with abdominal obesity measures, BMI no longer identified cardiometabolic risks (ORs \u3c1.0), except low HDL-C. Among normal weight and overweight men, WHtR and SADHtR were stronger measures of cardiometabolic risk except low HDL-C. With normal weight and overweight women, WHtR and SADHtR were stronger measures of risk for hypertension and diabetes, while all of the abdominal obesity measures were similar in assessment of the remaining cardiometabolic risks. Conclusion In normal weight and overweight adults, anthropometric measures of abdominal obesity, especially those including a factor of height, are better predictors of cardiometabolic risk than BMI and should be a primary screening tool in this population

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¿Por qué aprender pensamiento artístico? Principios de la Educación Artística

My presentation collage looks at image productions that were individually (but also collectively) developed by my students within the concept of art education during their studies for a degree in Art Education. This is combined with the search for the semantic content of the terms "thought", "aesthetic thought" and "artistic thought". Where these aspects are concerned, I am interested in the question as to how artistic art education differs from other concepts. On the one hand, other concepts eliminate the mediation of art because there is apparently nothing to learn and therefore nothing to teach about art (see Ehmer et al.) but on the other hand, they legitimise the existence of art lessons in schools by reducing them to display procedures focusing on image analysis and/or the pragmatic examination of images (Bering, Niehoff et al.) or favour the everyday aesthetic experiences of children and young people without reaching more in-depth and independent transformational processes as a result. The ultimate question that needs to be asked is what are the educational potentials and methods of art education that focuses on training artistic thought? “If you don't want to think, you're out!” (himself) (Joseph Beuys, 1977, documenta 6 in Kassel, Germany) (Image: Beuys card)Mi texto collage analiza producciones de imágenes que fueron desarrolladas individualmente (pero también colectivamente) por mi alumnado dentro del concepto de educación artística durante sus estudios para obtener la licenciatura en Educación Artística. Esto se combina con la búsqueda del contenido semántico de los términos “pensamiento”, “pensamiento estético” y “pensamiento artístico”. En lo que respecta a estos aspectos, me interesa la cuestión de cómo la educación artística artística difiere de otros conceptos. Por un lado, otros conceptos eliminan la mediación del arte porque aparentemente no hay nada que aprender y por lo tanto nada que enseñar sobre arte (ver Ehmer et al.), pero por otro lado, legitiman la existencia de lecciones de arte en las escuelas al reducir mostrarles procedimientos centrados en el análisis de imágenes y/o el examen pragmático de imágenes (Bering, Niehoff et al.) o favorecer las experiencias estéticas cotidianas de niños y jóvenes sin llegar a procesos transformacionales más profundos e independientes. La última pregunta que debe plantearse es ¿cuáles son los potenciales educativos y los métodos de la educación artística que se centran en la formación del pensamiento artístico?