31st Annual Meeting and Associated Programs of the Society for Immunotherapy of Cancer (SITC 2016) : part two

Background The immunological escape of tumors represents one of the main ob- stacles to the treatment of malignancies. The blockade of PD-1 or CTLA-4 receptors represented a milestone in the history of immunotherapy. However, immune checkpoint inhibitors seem to be effective in specific cohorts of patients. It has been proposed that their efficacy relies on the presence of an immunological response. Thus, we hypothesized that disruption of the PD-L1/PD-1 axis would synergize with our oncolytic vaccine platform PeptiCRAd. Methods We used murine B16OVA in vivo tumor models and flow cytometry analysis to investigate the immunological background. Results First, we found that high-burden B16OVA tumors were refractory to combination immunotherapy. However, with a more aggressive schedule, tumors with a lower burden were more susceptible to the combination of PeptiCRAd and PD-L1 blockade. The therapy signifi- cantly increased the median survival of mice (Fig. 7). Interestingly, the reduced growth of contralaterally injected B16F10 cells sug- gested the presence of a long lasting immunological memory also against non-targeted antigens. Concerning the functional state of tumor infiltrating lymphocytes (TILs), we found that all the immune therapies would enhance the percentage of activated (PD-1pos TIM- 3neg) T lymphocytes and reduce the amount of exhausted (PD-1pos TIM-3pos) cells compared to placebo. As expected, we found that PeptiCRAd monotherapy could increase the number of antigen spe- cific CD8+ T cells compared to other treatments. However, only the combination with PD-L1 blockade could significantly increase the ra- tio between activated and exhausted pentamer positive cells (p= 0.0058), suggesting that by disrupting the PD-1/PD-L1 axis we could decrease the amount of dysfunctional antigen specific T cells. We ob- served that the anatomical location deeply influenced the state of CD4+ and CD8+ T lymphocytes. In fact, TIM-3 expression was in- creased by 2 fold on TILs compared to splenic and lymphoid T cells. In the CD8+ compartment, the expression of PD-1 on the surface seemed to be restricted to the tumor micro-environment, while CD4 + T cells had a high expression of PD-1 also in lymphoid organs. Interestingly, we found that the levels of PD-1 were significantly higher on CD8+ T cells than on CD4+ T cells into the tumor micro- environment (p < 0.0001). Conclusions In conclusion, we demonstrated that the efficacy of immune check- point inhibitors might be strongly enhanced by their combination with cancer vaccines. PeptiCRAd was able to increase the number of antigen-specific T cells and PD-L1 blockade prevented their exhaus- tion, resulting in long-lasting immunological memory and increased median survival

Teachers' experience with the inclusion of ceramics in fine arts class

This master's thesis deals with the field of sculpture, more precisely with ceramics, as a part of the subject of fine arts in Slovenian primary schools. The curriculum (UN za likovno vzgojo, 2011) for subject in primary education in which are included pupils from year 5 or 6 – 14 or 15, divides the subject of fine arts into two areas – two-dimensional art forms (painting, drawing, graphics, graphic design) and three-dimensional design (sculpture, architecture). This master's thesis focuses on the field of sculpture. Clay is one of the most frequently used sculptural materials in the first years of primary school education, as the projects are most easily produced with soft sculpture materials. In the upper grades students also encounter other, more complex ways of shaping and processing clay, including making of ceramics. The curriculum for fine arts in Slovenian primary schools (UN za likovno vzgojo, 2011) envisages the making of ceramics in both 5th and 7th grade of primary school education, but the actual implementation of teaching contents related to ceramics depends on the teacher, as well as the conditions in primary schools. Design, firing and decorating techniques require both general and specific knowledge, which the art teacher acquires through education and/or his own research. In addition to knowledge of procedures in the field of ceramics design, material conditions such as tools, materials and spatial adjustments have to be met; these conditions represent a large financial burden and can vary greatly from school to school. The research, presented in the second part of thesis, was conducted among the fine arts teachers in Slovenian primary schools, with the intention of finding out what is the practice of including ceramics and clay design into the class of fine arts. Furthermore, I was interested in the general spatial conditions in Slovenian schools; which conditions hinder, limit, or encourage teachers to implement teaching content in the field of clay and ceramics design

Processes of decorating fired clay

In this thesis I have focused on painting of ceramics, researching different painting processes and techniques of Fired Clay. I explored various processes of decorating ceramics and made a number of tests. I researched the ingredients of glazes and also focused on certain substances which may in point, be hazardous to health in their use. Ceramics has developed parallel to human development since prehistoric times. The fact that the first ceramics found in Neolithic era were already decorated with various clays says a lot about the development of this art. To demonstrate this in practice, I have prepared a project for the art class and chose one of the techniques of decorating fired clay

Teachers\u27 experience with the inclusion of ceramics in fine arts class

Magistrsko delo obravnava področje kiparstva, natančneje oblikovanja gline in keramike v okviru predmeta likovne umetnosti v osnovnih šolah. V uvodnem delu so predstavljene splošne informacije o predmetu likovna umetnost (LUM), ki ga učni načrt (UN za likovno vzgojo, 2011) za OŠ razdeljuje na dve področji – oblikovanje na ploskvi (slikarstvo, risanje, grafika in grafično oblikovanje) in oblikovanje v tridimenzionalnem prostoru (kiparstvo, arhitektura). Glina kot kiparski material se uporablja vse od 1.–9. razreda, saj omogoča različne načine oblikovanja in obdelave ter uporabe pri pouku LUM. Učni načrt za likovno umetnost v OŠ (UN za likovno vzgojo, 2011) predvideva obravnavo keramike tako v 5. razredu kot tudi v 7. razredu OŠ, vendar pa je dejanska izvedba vsebin, vezanih na keramiko, precej odvisna tako od učitelja kot izvedbenih pogojev na osnovnih šolah. Z vključevanjem oblikovanja gline in izdelovanja keramike učenci krepijo občutek za razporejanje oblik v tridimenzionalnem prostoru, razvijajo motorične spretnosti ter spoznavajo likovne tehnike in z njimi povezane pojme. Za tehnike oblikovanja, žganje in okraševanje so potrebna nekatera splošna znanja kot tudi določena specifična znanja, ki jih likovni pedagog pridobi skozi izobraževanje in/ali lastno raziskovanje. Za področje oblikovanja keramike so poleg poznavanja postopkov potrebni tudi materialni pogoji, kot so orodja, materiali in prostorske prilagoditve, ki lahko predstavljajo velik finančni zalogaj in se lahko od šole do šole močno razlikujejo. Empirični del magistrskega dela vsebuje analizo odgovorov, ki sem jih pridobila z izvedbo raziskave, ki se navezuje na izkušnje pedagogov z vključevanjem vsebin s področja keramike in oblikovanja gline pri predmetu LUM. Na anketni vprašalnik so odgovarjali učitelji slovenskih osnovnih šol, ki v 5. razredu ali na višji stopnji poučujejo likovno umetnost. Izkušnje pedagogov z izvajanjem vsebin vezanih na keramiko, njihove ocene lastne kompetentnosti za na področju oblikovanja gline, ter mnenja o pogojih za izvajanje teh vsebin na šoli sem predstavila in primerjala z izkušnjami učiteljev po svetu, ki so jih v svojih raziskavah predstavili različni avtorji. Raziskava omogoča pregled stanja na področju keramike v slovenskih osnovnih šolah.This master\u27s thesis deals with the field of sculpture, more precisely with ceramics, as a part of the subject of fine arts in Slovenian primary schools. The curriculum (UN za likovno vzgojo, 2011) for subject in primary education in which are included pupils from year 5 or 6 – 14 or 15, divides the subject of fine arts into two areas – two-dimensional art forms (painting, drawing, graphics, graphic design) and three-dimensional design (sculpture, architecture). This master\u27s thesis focuses on the field of sculpture. Clay is one of the most frequently used sculptural materials in the first years of primary school education, as the projects are most easily produced with soft sculpture materials. In the upper grades students also encounter other, more complex ways of shaping and processing clay, including making of ceramics. The curriculum for fine arts in Slovenian primary schools (UN za likovno vzgojo, 2011) envisages the making of ceramics in both 5th and 7th grade of primary school education, but the actual implementation of teaching contents related to ceramics depends on the teacher, as well as the conditions in primary schools. Design, firing and decorating techniques require both general and specific knowledge, which the art teacher acquires through education and/or his own research. In addition to knowledge of procedures in the field of ceramics design, material conditions such as tools, materials and spatial adjustments have to be metthese conditions represent a large financial burden and can vary greatly from school to school. The research, presented in the second part of thesis, was conducted among the fine arts teachers in Slovenian primary schools, with the intention of finding out what is the practice of including ceramics and clay design into the class of fine arts. Furthermore, I was interested in the general spatial conditions in Slovenian schoolswhich conditions hinder, limit, or encourage teachers to implement teaching content in the field of clay and ceramics design

Practices of fatherhood after the divorce

Diplomska naloga govori o praksah očetovanja po razvezi zakonske zveze. Razveza neizogibno prinese spremembe tudi v praksah starševanja. Po razvezi se spremeni delovanje in organizacija družine, vzpostavijo pa se tudi nova starševska razmerja in razvezana starša morata uskladiti vprašanja glede starševanja in vzgajanja. Spremembe v porazveznem starševanju so lahko zahtevne in zapletene za očete, saj njihovo vlogo, v nasprotju z dokaj jasnimi družbenimi pričakovanji glede materinstva, v pozni modernosti zaznamuje pluralizacija očetovskih podob. Poleg tega očetom težavo pri izvajanju porazvezne starševske prakse predstavlja tudi dejstvo, da v večini primerov dobijo vlogo nerezidenčnega starša, saj je v Sloveniji po razvezi več kot 80 odstotkov otrok dodeljenih materam. Očetom se s tem stik z otroki bolj omeji, kar jim lahko predstavlja težavo pri ponovnem navezovanju in vzpostavljanju odnosa z otroki. Ugotovitve drugih avtorjev sem preverila s pomočjo osebnih intervjujev. Intervjuvala sem deset razvezanih očetov, ki imajo vsaj enega otroka iz prejšnje zakonske zveze in imajo z njim redne stike. Želela sem izvedeti, kako se prakse očetovanja spremenijo po razvezikakšne morebitne spremembe so, na kakšne načine se izražajo, kakšen vpliv imajo nanje, so te spremembe skozi oči očetov dobre ali slabe in kakšne prakse očetovanja očetje razvijejo po razvezi. Očetje nekatere spremembe zaznavajo pozitivno, druge negativno. K bolj enakomerni porazdelitvi starševskih nalog očetje po razvezi ne prispevajo, saj so ženske bolj obremenjene, kot so bile pred razvezo, čas, ki ga očetje po razvezi preživijo s svojimi otroki, pa je bolj koristno preživet, kot je bil pred razvezo.The bachelor’s thesis discusses the practices of fatherhood after the divorce. The divorce brings changes in the practices of parenthood too inevitably. After the divorce, the functioning and organization of the family change. New parental relationships are established too and the divorced parents have to synchronize questions regarding parenthood and upbringing. The changes in the post-divorce parenthood can be challenging and complicated for the fathers, as their role is marked by pluralization of fatherly images in postmodernity, contrary to quite clear social expectations regarding the maternity. In addition, fathers face the problem in performing post-divorce parental practice in the form of the fact that in most cases they are given a role of a nonresidential parent, as more than 80 percent of children are assigned to mothers after the divorce in Slovenia. Thus, the contact with children becomes more limited for the fathers which can represent a problem in reestablishing the relationship with children. I tested the ascertainments of other authors by means of personal interviews. I interviewed ten divorced fathers who have at least one child from the previous marriage and have regular contacts with them. I wished to ascertain how the practices of fatherhood change after the divorce, what possible changes there are, in which ways they appear, what influence they have on them, whether these changes are good or bad through the eyes of the fathers, and what practices of fatherhood the fathers develop after the divorce. The fathers sense some of the changes positively, others negatively. Fathers do not contribute to more even distribution of parental duties because the women are more strained as they were before the divorce. The time the fathers spend with their children after the divorce is more beneficially spent as it was before the divorce

Kiparstvo in grafika, razstava likovnih del študentov Likovne pedagogike PeF UL

Razstavljena dela študentov Likovne pedagogike Pedagoške fakultete UL vzpostavljajo med ostalimi tudi ekološko refleksijo družbe in sedanjosti z zavestjo recikliranja in vnovične uporabe zavrženih in spregledanih polizdelkov, embalaže ipd

mentor: Mirko Bratuša, izr. prof.

Razstavo študentskih del pri predmetoma Osnove keramike in Kreativna keramika v študijskem letu 2012/13 sta 9. 10. 2013 otvorila vodja galerije Andrej Brumen Čop, doc. in mentor Mirko Bratuša, izr. prof

Razstava študentskih del pri predmetoma Osnove keramike in Kreativna keramika v študijskem letu 2012/13; mentor: Mirko Bratuša, izr. prof.

Razstavo študentskih del pri predmetoma Osnove keramike in Kreativna keramika v študijskem letu 2012/13 sta 9. 10. 2013 otvorila vodja galerije Andrej Brumen Čop, doc. in mentor Mirko Bratuša, izr. prof

mentor prof. Zdenko Huzjan

Ustvarjalne vaje, ki jih razstavljamo tokrat, se navezujejo na ameriški Informel srede 20. stoletja, ko je J. Pollock že upošteval slikanje v robove in komuniciral s postopki slikanja po celotni površini z enakimi napetostmi

Gestualno slikanje in ritual postopkov slikanja (kapljanje, razlivanje, prelivanje, prelivanje z odtiskovanjem, smeri, žarenje barve in sledi); mentor prof. Zdenko Huzjan

Ustvarjalne vaje, ki jih razstavljamo tokrat, se navezujejo na ameriški Informel srede 20. stoletja, ko je J. Pollock že upošteval slikanje v robove in komuniciral s postopki slikanja po celotni površini z enakimi napetostmi