Fortnight

Fortnight is a two-week long, fully immersive, experience based in the interactions and communications of daily life. Up to 200 participants sign up to receive messages that are sent to their mobile phones, email, and home address; these messages contain a series of poetic nudges that encourage those participating to question their sense of place. Participants also receive daily invitations to visit locations throughout their city where they can pause to reflect on what it means to be here now. Fortnight enables the experience of “theatre” to penetrate beneath a seemingly brittle aesthetic surface of performance, deep into the consciousnesses of our participants as they begin to interact with and perceive world around us as the performance itself; the place where we act out our own daily lives. In Fortnight, the spectator becomes participant; the journey becomes narrative. Fortnight therefore subverts the notion of an audience, in which each spectator’s perspective is forced to examine not the situation and setting of performers on a stage, but rather the situation and setting of our own sense of place and the meaning we apportion to our everyday lives. Fortnight uses various forms of ubiquitous technology such as: Radio Frequency Identification (aka, RFID tags of the type contained in key fobs), which are used in badges sent to each participant that allow them to interact with real-world “portals” to trigger certain effects in their surroundings; QR technology (in the form of barcodes on posters that reveal additional hidden messages, should the participant choose to delve further; SMS messages; email; and, Twitter. Alongside this, older modes of communication such as handwritten letters, give Fortnight a decidedly low-fi aesthetic. Throughout Fortnight, participants are encouraged to explore the creative possibilities of pervasive and communicative media without reverting to mere technological fetishism. In Fortnight, each mode of communication is used not only for its functionality but also as symbols that bind the project and the participant together, rooting them to the here and now with the everyday tools of modern society. The mediated messages within Fortnight lead participants down a living, breathing rabbit hole where the familiar becomes unfamiliar and reality distorts. The project becomes an experience for the participant that is as immersive as their own life; creating an alternative reality, that not only co-exists alongside their own everyday realities, but also merges with them.This is a performance with shared responsibilities, reflecting the actions and consequences of our daily lives: what we put in, we get out

Studies on the pathogenesis of feline T-cell neoplasia

This study was concerned with two principal aspects of T-cell neoplasia in the cat. First, the role that T-cell growth factor (TCGF) had to play in the proliferation of neoplastic T-cells in vitro and secondly, the properties of the viruses associated with the feline thymic lymphosarcomas in this series. The first part of the work (Chapter Two) concerned the production of lymphocyte conditioned medium (Ly-CM) which provided a source of TCGF, or IL-2, as it is better known. This enabled the long-term culture of normal activated feline T-cells which were used in routine blastogenesis assays to determine the level of IL-2 in Ly-CM. The next chapter (Chapter Three) involved the establishment of neoplastic feline T-cell lines in vitro. The cells were derived from thymic lymphosarcomas and were cultured both with and without Ly-CM. Most of these primary cultures required this source of IL-2 for proliferation with two noticeable exceptions (designated T3 and T17) which were extensively studied in the following chapter. The experiments in Chapter Four were designed to determine the role of IL-2 in T-cell neoplasia. The evidence generated suggests that at least some neoplastic T-cell lines have an altered requirement for, or response to, IL-2' in vitro. Recent data from the study of human T-cell neoplasia suggests that enhanced IL-2 receptor expression may be fundamental to the alteration in the requirement for IL-2 observed with some of these cells. The strategy for the further characterisation of the growth requirements of neoplastic T-cells is discussed. In Chapter Five the nature of the viruses associated with the thymic lymphosarcomas and the resultant cell lines was determined. The frequent presence of a novel FeLV which has recombined with a cellular oncogene (c-myc) was reported and the in vitro transmission of these recombinant viruses (FeLV/myc) was demonstrated. The association of additional FeLV subgroups other than A with thymic lymphosarcoma in the series was also observed. The generation of these subgroups and their possible role in the development of neoplasia is discussed. Finally, in Chapter Six, the in vivo passage of the recombinant FeLV/myc virus from the T3 and F422 cell lines was described. These viruses, which originated from cells from thymic lymphosarcomas, rapidly produced the same tumours in susceptible animals. Furthermore, the cells isolated from these tumours readily established in culture without an exogenous source of IL-2. These cells continued to grow under the same conditions as do the parental T3 and F422 cell lines. The relationship between the enhanced expression of the myc oncogene and independence from an exogenous source of IL-2 for growth, is discussed in the light of recent evidence, and future experimental approaches are suggested

Health professional workforce education in the Asia Pacific

Objective. To design and implement an international and interprofessional Global Learning Partnership Model, which involves shared learning between academics and students from Universitas 21 network with other universities with United Nations Millennium Development Goal needs. Design. Two literature reviews were conducted to inform ethical aspects and curriculum design of the GLP model. Feedback from conference presentations and consultation with experts in education and public health has been incorporated to inform the current iteration of the GLP model. Intervention. The pilot group of 25 students from U21 universities and Kathmandu University, representing six health disciplines will meet in Nepal in April 2016 for a shared learning experience, including a one week university based workshop and three week community based experience.Outcome measures. A multi-phase, mixed method design was selected for the evaluation of the GLP model, utilising a combination of focus groups and questionnaires to evaluate the efficacy of the placement through student experience and learning outcomes in cultural competency, UN SDG knowledge, community engagement and health promotion skills. Results. The literature review demonstrated that cultural awareness and cultural knowledge were improved through participation in cultural immersion programs that incorporated preparatory workshops and clinical experiences. Data will be gathered in April 2006 and the results of the evaluation will be published in the future. Conclusions. The GLP model proposes a project around the fundamental concept of engagement and sharing between students and academics across universities and cultural contexts to build capacity through education, while capitalising on strengths of existing global health placements. Further the inclusion of host-country students and academics in this learning exchange will promote the establishment of an international and interprofessional network for ongoing health promotion

Fortnight [Manchester]

Fortnight is a two-week long, fully immersive, experience based in the interactions and communications of daily life. Up to 200 participants sign up to receive messages that are sent to their mobile phones, email, and home address; these messages contain a series of poetic nudges that encourage those participating to question their sense of place. Participants also receive daily invitations to visit locations throughout their city where they can pause to reflect on what it means to be here now. Fortnight enables the experience of “theatre” to penetrate beneath a seemingly brittle aesthetic surface of performance, deep into the consciousnesses of our participants as they begin to interact with and perceive world around us as the performance itself; the place where we act out our own daily lives. In Fortnight, the spectator becomes participant; the journey becomes narrative. Fortnight therefore subverts the notion of an audience, in which each spectator’s perspective is forced to examine not the situation and setting of performers on a stage, but rather the situation and setting of our own sense of place and the meaning we apportion to our everyday lives. Fortnight uses various forms of ubiquitous technology such as: Radio Frequency Identification (aka, RFID tags of the type contained in key fobs), which are used in badges sent to each participant that allow them to interact with real-world “portals” to trigger certain effects in their surroundings; QR technology (in the form of barcodes on posters that reveal additional hidden messages, should the participant choose to delve further; SMS messages; email; and, Twitter. Alongside this, older modes of communication such as handwritten letters, give Fortnight a decidedly low-fi aesthetic. Throughout Fortnight, participants are encouraged to explore the creative possibilities of pervasive and communicative media without reverting to mere technological fetishism. In Fortnight, each mode of communication is used not only for its functionality but also as symbols that bind the project and the participant together, rooting them to the here and now with the everyday tools of modern society. The mediated messages within Fortnight lead participants down a living, breathing rabbit hole where the familiar becomes unfamiliar and reality distorts. The project becomes an experience for the participant that is as immersive as their own life; creating an alternative reality, that not only co-exists alongside their own everyday realities, but also merges with them.This is a performance with shared responsibilities, reflecting the actions and consequences of our daily lives: what we put in, we get out

Fortnight [Bristol]

Fortnight is a two-week long, fully immersive, experience based in the interactions and communications of daily life. Up to 200 participants sign up to receive messages that are sent to their mobile phones, email, and home address; these messages contain a series of poetic nudges that encourage those participating to question their sense of place. Participants also receive daily invitations to visit locations throughout their city where they can pause to reflect on what it means to be here now. Fortnight enables the experience of “theatre” to penetrate beneath a seemingly brittle aesthetic surface of performance, deep into the consciousnesses of our participants as they begin to interact with and perceive world around us as the performance itself; the place where we act out our own daily lives. In Fortnight, the spectator becomes participant; the journey becomes narrative. Fortnight therefore subverts the notion of an audience, in which each spectator’s perspective is forced to examine not the situation and setting of performers on a stage, but rather the situation and setting of our own sense of place and the meaning we apportion to our everyday lives. Fortnight uses various forms of ubiquitous technology such as: Radio Frequency Identification (aka, RFID tags of the type contained in key fobs), which are used in badges sent to each participant that allow them to interact with real-world “portals” to trigger certain effects in their surroundings; QR technology (in the form of barcodes on posters that reveal additional hidden messages, should the participant choose to delve further; SMS messages; email; and, Twitter. Alongside this, older modes of communication such as handwritten letters, give Fortnight a decidedly low-fi aesthetic. Throughout Fortnight, participants are encouraged to explore the creative possibilities of pervasive and communicative media without reverting to mere technological fetishism. In Fortnight, each mode of communication is used not only for its functionality but also as symbols that bind the project and the participant together, rooting them to the here and now with the everyday tools of modern society. The mediated messages within Fortnight lead participants down a living, breathing rabbit hole where the familiar becomes unfamiliar and reality distorts. The project becomes an experience for the participant that is as immersive as their own life; creating an alternative reality, that not only co-exists alongside their own everyday realities, but also merges with them.This is a performance with shared responsibilities, reflecting the actions and consequences of our daily lives: what we put in, we get out

Fortnight [Lancaster]

Fortnight is a two-week long, fully immersive, experience based in the interactions and communications of daily life. Up to 200 participants sign up to receive messages that are sent to their mobile phones, email, and home address; these messages contain a series of poetic nudges that encourage those participating to question their sense of place. Participants also receive daily invitations to visit locations throughout their city where they can pause to reflect on what it means to be here now. Fortnight enables the experience of “theatre” to penetrate beneath a seemingly brittle aesthetic surface of performance, deep into the consciousnesses of our participants as they begin to interact with and perceive world around us as the performance itself; the place where we act out our own daily lives. In Fortnight, the spectator becomes participant; the journey becomes narrative. Fortnight therefore subverts the notion of an audience, in which each spectator’s perspective is forced to examine not the situation and setting of performers on a stage, but rather the situation and setting of our own sense of place and the meaning we apportion to our everyday lives. Fortnight uses various forms of ubiquitous technology such as: Radio Frequency Identification (aka, RFID tags of the type contained in key fobs), which are used in badges sent to each participant that allow them to interact with real-world “portals” to trigger certain effects in their surroundings; QR technology (in the form of barcodes on posters that reveal additional hidden messages, should the participant choose to delve further; SMS messages; email; and, Twitter. Alongside this, older modes of communication such as handwritten letters, give Fortnight a decidedly low-fi aesthetic. Throughout Fortnight, participants are encouraged to explore the creative possibilities of pervasive and communicative media without reverting to mere technological fetishism. In Fortnight, each mode of communication is used not only for its functionality but also as symbols that bind the project and the participant together, rooting them to the here and now with the everyday tools of modern society. The mediated messages within Fortnight lead participants down a living, breathing rabbit hole where the familiar becomes unfamiliar and reality distorts. The project becomes an experience for the participant that is as immersive as their own life; creating an alternative reality, that not only co-exists alongside their own everyday realities, but also merges with them.This is a performance with shared responsibilities, reflecting the actions and consequences of our daily lives: what we put in, we get out

Big data and data repurposing – using existing data to answer new questions in vascular dementia research

Introduction: Traditional approaches to clinical research have, as yet, failed to provide effective treatments for vascular dementia (VaD). Novel approaches to collation and synthesis of data may allow for time and cost efficient hypothesis generating and testing. These approaches may have particular utility in helping us understand and treat a complex condition such as VaD. Methods: We present an overview of new uses for existing data to progress VaD research. The overview is the result of consultation with various stakeholders, focused literature review and learning from the group’s experience of successful approaches to data repurposing. In particular, we benefitted from the expert discussion and input of delegates at the 9th International Congress on Vascular Dementia (Ljubljana, 16-18th October 2015). Results: We agreed on key areas that could be of relevance to VaD research: systematic review of existing studies; individual patient level analyses of existing trials and cohorts and linking electronic health record data to other datasets. We illustrated each theme with a case-study of an existing project that has utilised this approach. Conclusions: There are many opportunities for the VaD research community to make better use of existing data. The volume of potentially available data is increasing and the opportunities for using these resources to progress the VaD research agenda are exciting. Of course, these approaches come with inherent limitations and biases, as bigger datasets are not necessarily better datasets and maintaining rigour and critical analysis will be key to optimising data use