Validation of a molecular and pathological model for five-year mortality risk in patients with early stage lung adenocarcinoma

Introduction: The aim of this study was to validate a molecular expression signature [cell cycle progression (CCP) score] that identifies patients with a higher risk of cancer-related death after surgical resection of early stage (I-II) lung adenocarcinoma in a large patient cohort and evaluate the effectiveness of combining CCP score and pathological stage for predicting lung cancer mortality. Methods: Formalin-fixed paraffin-embedded surgical tumor samples from 650 patients diagnosed with stage I and II adenocarcinoma who underwent definitive surgical treatment without adjuvant chemotherapy were analyzed for 31 proliferation genes by quantitative real-time polymerase chain reaction. The prognostic discrimination of the expression score was assessed by Cox proportional hazards analysis using 5-year lung cancer-specific death as primary outcome. Results: The CCP score was a significant predictor of lung cancer-specific mortality above clinical covariates [hazard ratio (HR) = 1.46 per interquartile range (95% confidence interval = 1.12–1.90; p = 0.0050)]. The prognostic score, a combination of CCP score and pathological stage, was a more significant indicator of lung cancer mortality risk than pathological stage in the full cohort (HR = 2.01; p = 2.8 × 10−11) and in stage I patients (HR = 1.67; p = 0.00027). Using the 85th percentile of the prognostic score as a threshold, there was a significant difference in lung cancer survival between low-risk and high-risk patient groups (p = 3.8 × 10−7). Conclusions: This study validates the CCP score and the prognostic score as independent predictors of lung cancer death in patients with early stage lung adenocarcinoma treated with surgery alone. Patients with resected stage I lung adenocarcinoma and a high prognostic score may be candidates for adjuvant therapy to reduce cancer-related mortality

Okiek Portraits: Représentation, Mediation, and Interpretation in a Photographic Exhibition.

Abstract This paper is part of a larger study of the multiple mediations and interpretations involved in developing and travelling a photographie exhibition that focussed on Okiek people in Kenya, 'Okiek Portraits'. It focuses on Okiek viewings and interpretations of the exhibition itself and of the photographs shown, relating their reactions and commentaries to the history of photography among the Okiek and in Kenya more generally.Résumé Portraits okiek: représentations, médiations, et interprétations, d'une exposition de photos. — Cet article fait partie d'une étude plus ample sur les multiples médiations et interprétations à l'œuvre dans l'élaboration et les déplacements d'une exposition de photos intitulée « Okiek Portraits » portant sur cette population du Kenya. Il met l'accent sur les perceptions et interprétations données par les Okiek de l'exposition et des photographies, et lie leurs réactions et commentaires à l'histoire de la photographie parmi cette population et plus généralement au Kenya.Kratz Corinne A. Okiek Portraits: Représentation, Mediation, and Interpretation in a Photographic Exhibition.. In: Cahiers d'études africaines, vol. 36, n°141-142, 1996. Images. pp. 51-79

Are the Okiek really Masai ? or Kipsigis ? Or Kikuyu ?

C. A. Kratz—Les Okiek sont-ils réellement Masai ? ou Kipsigis ? ou Kikuyu ? Étude des procédés d'auto-identification d'un groupe de chasseurs-collecteurs, les Okiek (plus connus sous le sobriquet péjoratif de Dorobo), aujourd'hui éparpillés parmi les Masai, Kipsigis et Kikuyu dont ils ont adopté certains traits culturels et même, dans une large mesure, les langues. En dépit de la diversité découlant de ces emprunts, et de la date reculée de leur dispersion initiale (c. 1000 A.D.), les Okiek préservent un sentiment d'appartenance commune résultant à la fois de la conservation de thèmes propres (notamment sur le plan rituel) et d'une sorte de volonté collective de contraste avec leurs voisins.Kratz Corinne A. Are the Okiek really Masai ? or Kipsigis ? Or Kikuyu ?. In: Cahiers d'études africaines, vol. 20, n°79, 1980. pp. 355-368

Red textures and the work of juxtaposition

Simon Gush's evocative work Red is an installation, an exhibit, a film, a website, and a provocation to think about what these different forms convey and do, and how they do so. What kinds of engagement, work and knowledge production are involved in curating, designing and creating work in different formats, each of which combines varied media and forms of expression? This article considers the design and interpretive possibilities of Red's different forms, paying particular attention to juxtaposition as a fundamental technique in designing and constructing exhibits, films and websites. The analysis examines the layerings, interactions, timings and textures involved and draws in other exhibitions to highlight the ways that Red and history museums approach their work and relations to time, history and historiography

The ones that are wanted: communication and the politics of representation in a photographic exhibition

The Okiek people of Kenya's forested highlands have a long history of hunting, honey gathering, and trading with their Maasai and Kipsigis neighbors; several decades ago, they also began farming and herding. This book follows a traveling exhibition of anthropologist Corinne Kratz's photographs of the Okiek through showings at seven venues, including the National Museum in Nairobi and the Smithsonian Institution in Washington, D.C. Kratz tells the story of the exhibition--the stereotypes it sought to challenge, how commentaries by Okiek people were incorporated, and different ways that viewers in Kenya and the United States understood it. In addition to presenting wonderful images of a little-known people, this inviting book explores the exhibition medium itself, focusing on the complexities and possibilities of cultural representation. Walking a fine line between the photographic intimacy of a family album and the ethnographic distance of documentary photography, The Ones That Are Wanted reproduces the exhibition in full, with its vibrant color photographs, multilingual captions, and lively commentary. Throughout, Kratz incorporates insightful reflections on her changing involvement with the exhibition as anthropologist, photographer, and curator, and she provides perceptive discussions of such topics as photography in Kenya, stereotypes, and the post-1970s proliferation of the politics of representation