Prediction and observation of post-admission hematoma expansion in patients with intracerebral hemorrhage

Post-admission hematoma expansion in patients with intracerebral haemorrhage (ICH) comprises a simultaneous major clinical problem and a possible target for medical intervention. In any case, the ability to predict and observe hematoma expansion is of great clinical importance. We review radiological concepts in predicting and observing post-admission hematoma expansion. Hematoma expansion can be observed within the first 24 hours after symptom onset, but predominantly occurs in the early hours. Thus capturing markers of on-going bleeding on imaging techniques could predict hematoma expansion. The spot sign observed on CTA is believed to represent on-going bleeding and is to date the most well investigated and reliable radiological predictor of hematoma expansion as well as functional outcome and mortality. On non-contrast CT, the presence of foci of hypoattenuation within the hematoma along with the hematoma-size is reported to be predictive of hematoma expansion and outcome. Because patients tend to arrive earlier to the hospital, a larger fraction of acute ICH-patients must be expected to undergo hematoma expansion. This renders observation and radiological follow-up investigations increasingly relevant. Transcranial duplex sonography has in recent years proven to be able to estimate hematoma volume with good precision and could be a valuable tool in bedside serial observation of acute ICH patients. Future studies will elucidate, if better prediction and observation of post-admission hematoma expansion can help select patients, who will benefit from haemostatic treatment

Grundbilledets geometri. Perspektiv- og sandhedskonstruktion i tre af Eckersbergs romerske tegninger

The Geometry of the True Image. Construction of Perspective and Truth in Three of Eckersberg’s Roman DrawingsDanish painter C.W. Eckersberg published two perspective treatises 1833 and 1841. The 1833 treatise in particular contains important theoretical reflections on the use of perspective in painting. A central concept in Eckersberg’s perspective theory is the concept of grundbilledet – the fundamental image, or “the true image”. Earlier interpretations of this concept have focused either on Eckersberg’s interest in the natural sciences or the coinciding contemporary translation of Plato’s concept of “the idea”. Eckersberg’s Roman prospects, painted during his stay in Rome from 1813-1816, are often mentioned in passing in relation to his perspective theory, which wasn’t conceptualised until 20 years later. But – as has already been pointed out by others – the foundation of the later theory of perspective was probably laid during his years in Rome and his previous stay in Paris from 1810-1813. I suggest that this particular group of images and their insistence on architectonic and geometric shapes can help us shed light on Eckersberg’s later theory. In Eckersberg’s paintings, the application of perspective construction goes hand in hand with a detailed observation of nature; the perspective construction ultimately aims at correcting the sensual perception. So do we find the key to an understanding of Eckersberg’s idea of the true image in the abstract, geometric forms that he cultivates in these architectural studies? I investigate this question by comparing three of Eckersberg’s Roman drawings with his perspective theory and contemporary French theories on perspective and architecture.

Kunstnerkritikeren. Johan Rohde, maleriet og kritikken: Kunstnerkritikeren. Johan Rohde, maleriet og kritikken

Artiklen her udforsker, hvordan Rohde posi- < Johan Rohde: En mand der betragter en buste, 1894, litografi. Kobberstiksamlingen, Statens Museum for Kunst. Foto: SMK. PERISKOP NR. 21 2019 36 Signe Havsteen tionerer sig i forhold til forestillingen om henholdsvis maleren og kritikeren, og hvordan hans engagement som kritiker også farvede samtidens opfattelse af ham som maler. (Diskussionen vedrørende kunstneren som kritiker var ikke enestående for Johan Rohde på dette tidspunkt. Oscar Wilde udgav nogenlunde samtidig essayet ”The Critic as Artist” (1891), hvori han leverer et forsvar for det, man kunne kalde en “kritikkens æstetik” (Wilde 2007))

When is a Metaphor? Art Psychotherapy and the Formation of the Creative Relationship Metaphor

It is a widely debated subject whether a patient with a diagnosis of major depression and a history of psychosis is able to use and comprehend metaphors. There are a number of studies that indicate that metaphor comprehension with this population is very reduced. However, within the context of psychotherapy metaphor is poorly defined and the concept is often applied inconsistently in academic literature. This thesis examines a commonly reported occurrence of metaphor formation in art psychotherapy and in particular, examines a type of metaphor that offers a novel perspective about interpersonal relationships called the creative relationship metaphor. This thesis aims to develop a definition of a form of metaphor that is helpful in clinical practice and understand the clinical formation of this metaphor in art psychotherapy. The first part of the thesis develops a new metaphor type, called the ‘creative relationship metaphor’ (CRM), beginning with a psycholinguistic perspective. 2 3 In summary, the key characteristics of the CRM being developed is that it is: • An interpersonal event • An image based representation which is cognitively mapped • Context dependent • A novel way of perceiving the person, thing or event The hypothesis that patients diagnosed with severe mental health issues can produce CRMs is tested through two analyses. The first analysis focuses on the defining features of the creative relationship metaphor and the second analysis focuses on the therapist’s influence on metaphor formation. In the clinical examples, the increased capacity to reflect on significant relationships is linked to the formation of the CRM. These results offer preliminary evidence suggesting that there are specific in-session interventions that support the development of the CRM in the assessment context

KULTUREL DYNAMIK I OPLEVELSESBYRUMMET – EN ANALYSE AF BRANDTS KLÆDEFABRIK

CULTURAL DYNAMIC IN THE URBAN EXPERIENCE SCAPE – AN ANALYSIS OF BRANDTS KLÆDEFABRIKBrandts Klædefabrik (Brandt’s Textile Mill) is a cultural cluster in the city of Odense, Denmark. The cultural experiences available at Brandts Klædefabrik cover a wide field and are relevant for people of all levels of education and all ages, embracing as they do not only fine culture but also triviality and excitement. Brandts Klædefabrik is therefore a culturally inclusive place, although its symbolic power is dominated by a cultural and economic elitetrying to maintain an exclusively controlled social and physical order in the urban space. However, Brandts Klædefabrik is part of a city which contains a wide range of cultural groups: a Danish cultural elite, immigrants, homeless people and drug addicts. In this cultural multiplicity Brandts Klædefabrik is a cultural cluster and an urban entertainment district which does not include marginalised groups. Paradoxically, the attempt to maintainan exclusive order to satisfy an audience with buying power runs against the creative profile of the area, in which cultural and social multiplicity are important values. The area around Brandts Klædefabrik is a public space; but if it is going to be a public domain and the scene of cultural exchanges between different groups in the city, it needs to become more culturally inclusive. Brandts Klædefabrik may turn into a public domain if a cultural dynamic and multiplicity are given the chance to unfold there

Trediveårskrigen (1618-1648)

Intet resum