Acceptance and Commitment Therapy as an Intervention for Adolescent Chronic Pain Related to Pectus Excavatum: A Case Study

The most common chest wall deformity, Pectus Excavatum (PE), is a congenital deformity in which the sternum and adjoining chest wall cave inwards toward the spine (Lawson et al., 2003). While corrective surgical procedures have been shown to have positive effects on the physical and psychosocial well-being of patients with PE (Krasopoulos, Dusmet, Ladas, & Goldstraw, 2006), often surgical procedures, such as those done to correct PE, can result in what is known as Chronic Post-Surgical Pain (CPSP). CPSP has been shown to have great bearing on the patient’s overall well-being (Weinrib et al., 2017), meaning that while the corrective surgery for PE may positively alter the aesthetic of the chest-wall deformity, there is a lot of physical and emotional recovery to be expected post-surgery. This case study begins by briefly reviewing chronic pain, PE, and the related surgical experiences. Then it focuses on the psychological aspects of an adolescent male’s chronic pain treatment during his recovery from PE corrective surgery and his progress towards a more fulfilling life using an Acceptance and Commitment Therapy approach

The Past, Present, and Groundbreaking Future of OH Megamasers

OH megamasers (OHMs) are luminous masers found in (ultra-)luminous infrared galaxies ([U]LIRGs). OHMs are signposts of major gas-rich mergers associated with some of the most extreme star forming regions in our universe. In the four decades since their discovery, only 120 OHM hosts have been detected at limited redshifts despite numerous searches in an order of magnitude more galaxies. However, the dominant OH masing line, occurring at 1667 MHz, can spoof the 1420 MHz neutral hydrogen (H I) line in untargeted surveys. H I surveys on next-generation radio telescopes, such as the Square Kilometre Array (SKA) and its precursors, will detect unprecedented numbers of OHMs. This surge in detections will not only fundamentally change the landscape of the known OHM population, but will also unlock our ability to implement OHMs as tracers of major mergers and extreme star formation on cosmic scales. Here, I present predictions for the number of OHMs that will be detected by these surveys, as well as novel methods for identifying these interlopers using a k-Nearest Neighbors machine learning algorithm. Preliminary data from H I surveys on precursor SKA telescopes is used to vet and strengthen these methods, resulting in five new OHM detections of sources originally classified as H I emission. I also present two new OHM detections from SKA precursors that showcase this upcoming revolutionary science &ndash; whether it be high quality measurements of the OH masing lines or shattering the record for highest redshift OHM detection. I also reexamine the underlying conditions required to steer a major merger on the path to producing an OHM, demonstrating that our previous theories are too simplistic to describe the full population of OHMs hosts. Lastly, I present a comprehensive catalog of all known OHMs and their host galaxies, including their IR and radio properties. This catalog and the inspection of relations between OHMs and their hosts serve as a consolidated, unified resource in the era of new OHM detections.</p

Re-engineered Hospital Discharge Program (RED)

Between September 2020 and November 2020, an extensive literature review was done to determine how discharge education among medical-surgical patients can be improved. Results showed that there should be an introduction of discharge education from the start of a patient’s admission. Further, there needs to be greater understanding of specific roles within discharge and utilization of discharge material so as to improve patient satisfaction and self- perceived readiness for discharge. All efforts need to be placed to ensure that patients receive the best quality care and are not readmitted within 30 days of discharge

The practice of community archaeology in the UK: a model for best practice based upon case studies from Dorset and Cambridgeshire.

Archaeology undertook a process of definition and exclusivity in order to develop as a discipline. It justified its increasing control and management of the archaeological resource as being on behalf of the public. This has been challenged by the concept of community archaeology, which was originally defined as a collaborative process, where non-archaeologists are considered equal partners in the research process. In the UK local archaeology societies have been interpreted as community archaeology. They developed in parallel to the profession and are traditionally managed by and for volunteers, some of whom have considerable archaeological experience. The term community archaeology has also been used to describe a much wider range of projects, many of which have been stimulated by professional organisations wishing to demonstrate impact. These usually, but not always, aim to engage the community through participation. There has been some theoretical discussion about community archaeology. This has predominantly revolved around definition but little research has taken place into the practice occurring within the UK. This has resulted in a lack of published guidance. This PhD thesis will start to fill this gap. It considers the concept of community archaeology and its relationship with professional archaeology. In particular it focuses upon the concept of the volunteer and the local archaeology society. The research used a qualitative approach to understand current practice. Interviews with volunteers from local archaeology societies identified that they conduct archaeological research for a range of reasons. Primarily these are site accessibility and personal interest however volunteers are also motivated by a sense of wider purpose and they desire to conduct their research to professional standards. The thesis compares this to interviews with professional archaeologists, who value these societies for the support that they provide to the archaeological profession. Case study projects were used as a second methodology to explore the practice of community archaeology in the UK upon theoretical guidance, and in particular the concept of collaboration in. Volunteers in archaeology look towards professional archaeologists to provide guidance, identifying them as experts. They also require a range of different archaeological experiences. Relationships between the public, experienced volunteers and professional archaeologists were demonstrated to be complex and these categories are not exclusive. The research concludes that community archaeology has previously been described as a bottom up or collaborative practice, this research demonstrates that the practice has evolved and that now many examples conform to the Authorised Heritage Discourse. This has created a lack of guidance; in response this PhD presents a model of best practice for professional and volunteer archaeologists. This will ensure that community archaeology is practiced to the maximum benefit of all involved

Frameworks of representation: A design history of the District Six Museum in Cape Town

Philosophiae Doctor - PhDSince 1994, the District Six Museum, in constructing histories of forced removals from District Six, Cape Town, commenced as a post-apartheid memory project which evolved into a memorial museum. Design has been a central strategy claimed by the museum in its process of making memory work visible to its attendant publics evolving into a South African cultural brand. Co-design within the museum is aesthetically infused with sensitively curated exhibitions and a form of museumisation, across two tangible sites of engagement, which imparts a unique visual language. The term design became extraordinarily popular in contemporary Cape Town, where the city was - in 2014 -the World Design Capital. Yet at the same time as design was being inscribed into the public imaginary, it was simultaneously curiously undefined although influential in shifting representational aesthetics in the city. This research seeks to ask questions about this proliferation of interest in design and to examine this through a close reading of the work of the District Six Museum situated near District Six. In particular, micro and macro design elements are explored as socio-cultural practice in re-imagining community in the city that grew out of resistance and cultural networks. Various design strategies or frameworks of representation sought to stabilize and clarify individual and collective pasts enabling and supporting ex-residents to reinterpret space after loss, displacement and separation and re-enter their histories and the city. Post-apartheid museum design modes and methodologies applied by the District Six Museum as museumisation disrupts conventional historiographies in the fields of art, architectural and exhibition design, where the focus is placed on temporal chronologies, in a biographic mode profiling examples of works and designers/artists. Instead, the research contextualises the work of design as making in a more open sense, of exploring the very constructedness of the museum as a space of method, selection, process and representation thereby asking questions about this reified term design as method and practice. The designing ways of the District Six Museum contribute to understanding idioms mediated through design frameworks allowing for a departure from the limited ways design history has been written. Through an unlayering of projects, practices and an examination of archival case studies, exhibition curation, the adaptive reuse of buildings and through institutional rebranding my argument is that the particularities of the claims to design work at the District Six Museum provide a rich case for relating to other contemporaneous processes of making apartheid’s spatial practices visible as projects such as this claim community. Therefore seeking to demystify how this community museum ‘making’ has been fashioned through an investment in various design disciplines, forms and practices revealing the inherent complexity in doing so

From family business to public museum: the transformation of the sacks futeran buildings into the homecoming centre of the district six Museum

Magister Artium - MAThrough a grant from the Atlantic Philanthropies Foundation the District Six Museum Foundation Trust purchased the Sacks Futeran buildings in 2002 with a view to creating new spaces of engagement that worked with exhibitions, issues of social justice and District Six returnees. The Futeran family, as a gesture of philanthropic donation, sold the building below market value thus enabling the museum to take ownership. This related directly to civic public giving that the work of the District Six Museum entails and was consistent with an understanding of community museums. Acquiring, transforming and museumising the set of five interconnected Sacks Futeran buildings to create the District Six Homecoming Centre has influenced and extended the notion of civic public giving in the museum work of the District Six Museum in relation to District Six returnees and the public. The examination of a history in and through buildings and more specifically the transformation in use, design, purpose and naming in this complex of buildings associated with a family business, E. Sacks Futeran & Co., is the purpose of this research. The oral histories of Martin and Gordon Futeran reveal the origins of their family wholesale clothing and fabric business established in 1906 by their great grandfather Elias Sacks and by extension the Jewish histories of District Six. The apartheid denial of ‘home’ within the Cape Town city bowl, resulting in forced removals of the inhabitants of District Six and the formation of the District Six Museum as a transactive community museum model on the heritage landscape of post-apartheid South Africa is examined. With reference to architectural materiality, the set of buildings as transitional space is ‘mapped’ as it has become the Homecoming Centre of the District Six Museum.Rennie Scurr Adendorff Architects blended older histories of the site with architectural aesthetic and technical expertise, and the Museum’s visions, philosophies and concepts were an integral part of the redevelopment. Over a number of years the Sacks Futeran buildings were restored and internally reconfigured and have been developed to dovetail with existing methodologies supporting the broader land restitution process. Through its spaces, a museum community is being nurtured by means of activism, notions of citizenship transforming District Six, the city and community museum practice in the process. The Fugard Theatre is an integral part of the Homecoming Centre and these buildings are experienced as a multi-functional cultural landmark within the District Six Cultural Heritage Precinct. By harnessing memory and materiality this study is relevant as a means of constituting historical urban fabric and a sensitivity of reconstructing a sense of place