“Fragile Possibilities”: The Role of the Artist’s Book in Public Art

Writing during the millennium, not long after the installation of Antony Gormley’s The Angel of the North, artist and publisher Simon Cutts criticised the dominance of monumentalism within the field of public art. Decrying the lack of critical engagement offered by public sculpture, he called for an alternative approach, focussed upon process rather than product. Almost two decades later, it could be argued that mainstream understandings of public art have expanded to incorporate more ephemeral approaches, such as performance, sound art and social interventions. Within this context, the artist’s book has come to occupy a significant role within the production, dissemination and interpretation of such work. This has been accompanied by a growing interest in the artist’s book as a public artwork in its own right. These two distinct yet interrelated approaches form the subject of our essay. Drawing on examples of artists’ books held in the Special Collections at Manchester Metropolitan University and the library collections at Henry Moore Institute as well as from our own curatorial practice, we argue that, far from ancillary artefacts, artists’ books play a pivotal role within the production of public art and provide an important space in which to critically engage with the complexities of place

THE EXPANDED CITY - STAGE TWO

For 10 years In Certain Places has focused on and shaped developments within the city centre of Preston. The Expanded City is a three-stage programme of artistic research, interventions and events, designed to inform a series of planned infrastructure projects on the outskirts of Preston. Part of Preston’s ‘City Deal’ – a central government initiative which aims to encourage economic growth by addressing strategic infrastructure challenges – the scheme includes the creation of over 17,000 houses as well as new roads and amenities. In the first stage of The Expanded City project (2015-2016) commissioned artists Olivia Keith, Gavin Renshaw, Emily Speed and duo Ian Nesbitt and Ruth Levene investigated the physical and cultural topography of the outskirts of Preston, ‘deep mapping’ the areas marked for growth. The artists share an interest in boundaries, routes, edges and the urban/rural binary, and work across a range of media, including film, photography and performance. This second phase running from 2017 until 2018 was a continuation of the artists' active research and saw the project expand with a series of Network events which brought external perspectives from experts and local communities directly into the development of the artists’ work. These included; Ruth Levene and Ian Nesbitt's 'Precarious Landscape Bus Tour' with archaeologist Bob Johnston; Gavin Renshaw's 'Routes in, Routes Out' in conversation event with cycling journalist Jack Thurston; Olivia Keith two week residency at the Final Whistle Cafe in Cottam culminating in a workshop 'Traces of Place'; Emily Speed's in conversation event with architect Lee Ivett on the topic of playspace 'What do we need in a Space for Play?'; and Lauren Velvick's 'Open House' event, an informal evening of music and discussion about the politics and practicalities of housing, leading to the creation of an 'Open House' publication. The second phase featured the 'Lie of the Land' symposium, a day of artworks, presentations and conversations, which drew on research undertaken by the artists to explore how our everyday lives are shaped by the ownership, management and development of land. The symposium featured talks by Peter Hetherington – journalist and author of the book 'Whose Land is Our Land: The use and abuse of Britain’s forgotten acres', and Julia Heslop – a Newcastle-based artist whose self-build housing project, 'Protohome' (2016), examined participatory alternatives to mainstream housing provision. The event also included a bus tour to sites in and around Preston, during which The Expanded City artists presented their research into issues of housing, cycling infrastructure and the changing landscape. The symposium was accompanied by 'The Expanded City Map' created by artist Claire Tindale. The map geographically locates and gives details of the main research insights generated through the projects by the commissioned artists This phase saw the finalisation by The Decorators of two pieces emerging from their research the 'Learning from Preston' report and the 'Garstang Road Stories' audio artwork. (https://podtail.com/en/podcast/the-decorators-on-air/garstang-road-stories/) Ruth Levene and Ian Nesbitt's research culminated in May 2018 with them curating 'Notes from a Precarious Landscape' – a community exhibition curated by in a vacant house in a new development in Cottam, North Preston, which included contributions from residents of Preston and its surrounding villages. The exhibition explored the ways in which the land around the city is changing or has changed in the past. Emily Speed’s research in phase two of The Expanded City culminated in the project ‘Model Village?’ in June 2018, during which she worked with members of the public, including local residents and school pupils of all ages to construct a temporary model village on the site of a housing development. Participants were asked ‘What would your dream place to live or play in look like?’ and had the opportunity to use coloured clay to build their ideal home, and make a mark on the village by creating, extending, squashing or customising its buildings, trees, parks and streets. Gavin Renshaw's research in this phase concluded with the production of a cycling map for Preston which collates routes, information relevant to cyclists, such as storage, topography and traffic black spots, and existing cycle infrastructure within a single, visual inventory. Olivia Keith's project 'Traces of Place' involved a two-week residency at the Final Whistle Café in Cottam during the summer of 2017, in which she collated memories and contributions from local people.. As a direct result of her work and the conversations hosted, Olivia was invited to contribute to the 'Streets of Change: Beattie’s Preston and Beyond' exhibition at the Harris Museum and Art Gallery, where she created 'Setting in Place: The Making of a Jellied Map of Nether Bartle' a performance installation in two separate venues, Bartle Hall and Harris Museum & Art Gallery, Preston. Another outcome from her research was the creation of a linocut 'Nether Bartle map' as a prompt for discussions around naming and place. The Expanded City has been developed in response to an invitation from Preston City Council, to inform a programme of infrastructure projects on the outskirts of the city proposed by a £430m City Deal scheme. The City Deal scheme aims to deliver new jobs and housing, by addressing strategic transport, environmental, community and cultural infrastructure challenges

Effect of angiotensin-converting enzyme inhibitor and angiotensin receptor blocker initiation on organ support-free days in patients hospitalized with COVID-19

IMPORTANCE Overactivation of the renin-angiotensin system (RAS) may contribute to poor clinical outcomes in patients with COVID-19. Objective To determine whether angiotensin-converting enzyme (ACE) inhibitor or angiotensin receptor blocker (ARB) initiation improves outcomes in patients hospitalized for COVID-19. DESIGN, SETTING, AND PARTICIPANTS In an ongoing, adaptive platform randomized clinical trial, 721 critically ill and 58 non–critically ill hospitalized adults were randomized to receive an RAS inhibitor or control between March 16, 2021, and February 25, 2022, at 69 sites in 7 countries (final follow-up on June 1, 2022). INTERVENTIONS Patients were randomized to receive open-label initiation of an ACE inhibitor (n = 257), ARB (n = 248), ARB in combination with DMX-200 (a chemokine receptor-2 inhibitor; n = 10), or no RAS inhibitor (control; n = 264) for up to 10 days. MAIN OUTCOMES AND MEASURES The primary outcome was organ support–free days, a composite of hospital survival and days alive without cardiovascular or respiratory organ support through 21 days. The primary analysis was a bayesian cumulative logistic model. Odds ratios (ORs) greater than 1 represent improved outcomes. RESULTS On February 25, 2022, enrollment was discontinued due to safety concerns. Among 679 critically ill patients with available primary outcome data, the median age was 56 years and 239 participants (35.2%) were women. Median (IQR) organ support–free days among critically ill patients was 10 (–1 to 16) in the ACE inhibitor group (n = 231), 8 (–1 to 17) in the ARB group (n = 217), and 12 (0 to 17) in the control group (n = 231) (median adjusted odds ratios of 0.77 [95% bayesian credible interval, 0.58-1.06] for improvement for ACE inhibitor and 0.76 [95% credible interval, 0.56-1.05] for ARB compared with control). The posterior probabilities that ACE inhibitors and ARBs worsened organ support–free days compared with control were 94.9% and 95.4%, respectively. Hospital survival occurred in 166 of 231 critically ill participants (71.9%) in the ACE inhibitor group, 152 of 217 (70.0%) in the ARB group, and 182 of 231 (78.8%) in the control group (posterior probabilities that ACE inhibitor and ARB worsened hospital survival compared with control were 95.3% and 98.1%, respectively). CONCLUSIONS AND RELEVANCE In this trial, among critically ill adults with COVID-19, initiation of an ACE inhibitor or ARB did not improve, and likely worsened, clinical outcomes. TRIAL REGISTRATION ClinicalTrials.gov Identifier: NCT0273570

Creative arts and resilient communities

This editorial serves to outline key themes emerging through the articles presented in this volume. As we all navigate conflicts and challenges of various proportions, the question of resilience-building is of particular interest to socially engaged creative practitioners. Working in diverse geographical and virtual locations across the fields of theatre, textile craft, curatorial practices and cultural leadership, authors here explore these themes through their work with communities: art as a practice of cultural leadership points us towards social cohesion; engagement with art strengthens attachment to place uprooted by ecological disaster; imaginative and creative practices, whether material or performative, force us to consider marginalized forms of knowledge and expertise

Guaranteed entry, transition and academic literacy

Recent changes within Swinburne have seen a closer collaboration develop between the VET and HEd sectors. Under the proposed Guaranteed Entry Scheme (GES), increasing numbers of TAFE Diploma students will articulate into 2nd year Undergraduate Degree courses. Existing orientation programs aim to support the transition of students entering university, however, anecdotal evidence and recent research findings (see, for example, Tinto, 2008; 2009) suggest that gaining access to 'new' academic discourse communities is one thing; negotiating membership and participation is quite another. This presentation gives our reflections on the development of a pilot program for transitioning pathways students at Lilydale in August 2010. The program aimed to introduce students to the academic literacy demands of university, and to the culture of academic learning. We also discuss implications for future such programs. Given that the first intake of students will commence in semester 1, 2012, issues of providing transition support will become increasingly important

Spaces of reconnection

In this editorial we pick up again the theme of ‘connection’. Over the last year, the disconnections from our creative communities provoked by the COVID-19 pandemic have loomed large on our horizon: how do we set about reconnecting? Articles presented in this volume examine these disconnections and explore the ways artists, designers, curators, photographers, gamers, dancers and others draw upon expanded approaches to creativity, initiating imaginative and resourceful ways to reconnect with their audiences and communities