Effect of remote ischaemic conditioning on clinical outcomes in patients with acute myocardial infarction (CONDI-2/ERIC-PPCI): a single-blind randomised controlled trial.

BACKGROUND: Remote ischaemic conditioning with transient ischaemia and reperfusion applied to the arm has been shown to reduce myocardial infarct size in patients with ST-elevation myocardial infarction (STEMI) undergoing primary percutaneous coronary intervention (PPCI). We investigated whether remote ischaemic conditioning could reduce the incidence of cardiac death and hospitalisation for heart failure at 12 months. METHODS: We did an international investigator-initiated, prospective, single-blind, randomised controlled trial (CONDI-2/ERIC-PPCI) at 33 centres across the UK, Denmark, Spain, and Serbia. Patients (age >18 years) with suspected STEMI and who were eligible for PPCI were randomly allocated (1:1, stratified by centre with a permuted block method) to receive standard treatment (including a sham simulated remote ischaemic conditioning intervention at UK sites only) or remote ischaemic conditioning treatment (intermittent ischaemia and reperfusion applied to the arm through four cycles of 5-min inflation and 5-min deflation of an automated cuff device) before PPCI. Investigators responsible for data collection and outcome assessment were masked to treatment allocation. The primary combined endpoint was cardiac death or hospitalisation for heart failure at 12 months in the intention-to-treat population. This trial is registered with ClinicalTrials.gov (NCT02342522) and is completed. FINDINGS: Between Nov 6, 2013, and March 31, 2018, 5401 patients were randomly allocated to either the control group (n=2701) or the remote ischaemic conditioning group (n=2700). After exclusion of patients upon hospital arrival or loss to follow-up, 2569 patients in the control group and 2546 in the intervention group were included in the intention-to-treat analysis. At 12 months post-PPCI, the Kaplan-Meier-estimated frequencies of cardiac death or hospitalisation for heart failure (the primary endpoint) were 220 (8·6%) patients in the control group and 239 (9·4%) in the remote ischaemic conditioning group (hazard ratio 1·10 [95% CI 0·91-1·32], p=0·32 for intervention versus control). No important unexpected adverse events or side effects of remote ischaemic conditioning were observed. INTERPRETATION: Remote ischaemic conditioning does not improve clinical outcomes (cardiac death or hospitalisation for heart failure) at 12 months in patients with STEMI undergoing PPCI. FUNDING: British Heart Foundation, University College London Hospitals/University College London Biomedical Research Centre, Danish Innovation Foundation, Novo Nordisk Foundation, TrygFonden

Subvertising: Word Works

The nine word works included in this issue of Kunapipi are examples of my explorations in what is sometimes called \u27visual poetry\u27 to indicate that the way the poem is embodied is essential to its meaning. It is, after all, being looked at on the page, not listened to per se, and this provides an opportunity for the poet to ask the eye to dance, leaving the ear at the wall. My own written poetry, in contrast, is lyrical, diverse in style as well as aim, and meant to be heard, at least on the readers\u27 inner ear if not spoken out loud. In the case of these to-be-voiced poems, line arrangement is an indication of the rhythms of oral delivery and has meaning as a kind of enforced hesitation. If you say: \u27the form restricts and forms so you fit my body when we love like never any other\u27 in the same bland monotonal run-on you might use to read someone a sentence from a technical manual, you have missed much of the poem. The linebreaks encourage rehearing with a slower point of view. I\u27ve included \u27The Poem Considered as a Lover\u27 because it\u27s a poem about poetry, as well as an \u27illustrated poem\u27 which (and this may confuse you) is different from a purely \u27visual poem\u27 because it can live without the picture

Poems

MANGROVE CREEK, MANGROVE CREEK REVISITED, FRIDAY — THE RIDGE, BOWERBIRD, THE ARTISTS\u27 CAM

South Australian Poems

Port Julia, Rapid Bay, Gliding near Gawler, Cape Jervis, Wild hops, the Flinders Ranges and Hackne

Word art works : visual poetry and textual objects

University of Technology, Sydney. Faculty of Humanities and Social Sciences.NO FULL TEXT AVAILABLE. Access is restricted indefinitely. The hardcopy may be available for consultation at the UTS Library.NO FULL TEXT AVAILABLE. Access is restricted indefinitely. ----- This exegesis concentrates upon select pieces from a wide range of practice in a field which I have named word art work, and attempts to convey some of the complexity of relationships between visual and verbal aspects of textual objects. After a broad introduction to the word as art, a personal background is established to an interest in concrete poetry which began in the late 1960s. I explain the move from placing framed poems on a gallery wall (1970) to putting a poetry book on wheels (1973) and carving epigrams into scraps of polished granite (1976), and then look at how variations of a single work have made one into many with qualitative differences; how photography has been an important ingredient in my working between media; how I came to see and say with signs, using the standardised formats of public signage to make word art works; and how the 'abjectness' of materials and scale affects and effects textuality in a wide variety of social arenas. By the end of the exegesis I hope to have explained how inscribing complete short poems into large basalt crystals (2007) is both a leap into new practice and a return to my beginnings. The exegesis ends with a discussion of new media poetry/art through websites (1998) and digital animated poems (2004-2006). Coming into art through poetry - that is, through an intense engagement with language itself - I bring a kind of 'literary looking' into the construction of art works. In attempting to elucidate and contextualise the place of both materiality and variation in the development of my own body of work I necessarily engage with the photography as both document and deed, and use it to form yet other kinds of visual poetry. My interest has been to see if some of the innate qualities of poetic language (density, potency, poignancy, memorability, and so on) could be 'translated' into objects which integrate and embody text. This doctorate is practice-based. The many new and original works which I have made as my research are given critical explanation, context and interpretation in this exegesis, which hopefully adds fresh insights to the field of word and image studies

Local produce: Some 'transnational' currents in materiality, art and economy

While the history of art is dominated by aesthetic attitudes relating to materiality, the theme of transnationalism provides the opportunity to reflect upon the increasingly “global” nature of materials and their broader role in the political, spatial and environmental economies of the industrialised world. Materials, viewed as resources, are increasingly “embodied” with values relating to the environmental cost of their extraction, the energy required in the manufacturing process and their relative availability to a commercial market. Newcastle, a mid sized industrial city on the east coast of Australia, has, amongst its achievements, the distinction of being one of the largest coal exporting ports in the Southern Hemisphere. It also exports over 50 000 tonnes of aluminium per annum. The residual effects of this industry are everywhere, from the gigantic tankers that enter and exit the harbour on an hourly basis, to the intricate traces of infrastructure and industry that extend like ribbons into the rich natural resources of the Hunter Valley immediately to the north. This paper will look at a series of art installations which directly engage themes relating to materials, place and export. The projects deal with aluminium, as a locally produced resource which, as well as requiring vast amounts of energy to manufacture, is in a constant state of transit as it moves between global economies all across the planet. Central to the local economy of Newcastle but consumed across the planet, the paper will look at the way that aluminium opens up new territories for thinking about materiality in art, its “embodied” environmental energies and the economic and transnational contexts which implicate and distribute it

The Boundary Rider : 9th Biennale of Sydney

A number of texts examine such issues as the nature of a biennale and the problem of thematic unity, "bricolage" in the art and culture of Latin America, the border as a cultural concept, and the influence of imperial-colonial relations in Australian history and art. Includes brief curatorial responses to the exhibited works and performances as well as some artists' statements. Biographical notes. Approx. 300 bibl. ref