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The structure of the human body and its parts is of obvious relevance in medicine, but it has also played a role in art. Accurate observation of surface or external anatomy is essential in both disciplines, and its understanding has been enhanced by knowledge of what is found beneath the skin, the internal anatomy, usually based on dissection. The role of anatomy in art in general, and in academies of art in particular, is the theme of this paper. The revival of dissection in 14th‐century Italy was, if not causative, at least coincidental with the Renaissance. In 1563, Vasari founded the Accademia del Disegno in Florence, with una Anatomia included in its regulations. As a liberal art taught by university graduates, anatomy helped raise the status of painters and sculptors from artisans to artists and from guild to academy. Anatomy teaching was required in subsequent academies in Rome (1593) and Paris (1648), where the pattern of drawing from drawings, from casts, and from life was established and a Professor of Anatomy appointed in 1777. Anatomy was central to two of the Academy's most important genres, history painting and portraiture. The Academy system, with its emphasis on anatomy, spread to other European cities and to the Caribbean and the Americas from the 17th to the 19th centuries. This paper is concerned with the role of anatomy in the founding of art academies in general, while its companion paper, 'A Tale of Two Cities', considers the cases of the academies in London and Dublin in particular. [ABSTRACT FROM AUTHOR]

Luhmann's general systems theory is based on the concept of autopoietic closed systems. However, social changes, globalization and digitization currently constitute factors of change that require a critical review of this theory. Although moving in the functionalist and systemic tradition, this paper aims to address the problem not of system reproduction but of system transformation, with the focus shifting from the system to its boundaries. This paper considers the use of binary codes for the communicative boundaries of systems, suggesting that rigid ‘binary codes’ be replaced by a communication code that includes shades between the two extremes, or better: a trade‐off relation. The goal is to align the system to the necessary sustainable development, according to environmental changes. Methodologically, the discussion begins with a concrete example of three partial systems: the legal system, art and mass media. The paper then proposes a logical demonstration and an artistic demonstration through the interpretation of the artworks of M.C. Escher. © 2018 John Wiley & Sons, Ltd. [ABSTRACT FROM AUTHOR]

An introduction to articles in the issue is presented on topics including the need for systems science to overcome its fragmented condition and to deepen its scientific foundations, phenomenological foundations of systems engineering and systems science, and principles from humanities that have relevance for thinking about systems.

Many studies, across various disciplines, have confirmed that artistic and cultural programs can significantly improve the experience of persons with dementia. While drawing on this data, this paper takes a different angle. It asks what lessons art practiced in the context of dementia care can teach us, as thinkers, carers, policymakers, friends, and all those with the interests of people with dementia at heart. It then argues that these lessons are threefold: firstly, they teach a strikingly actual lesson on the contemporary theories of rationality; secondly, and most importantly, they are a valuable lesson about what we owe each other, about the meaning of solidarity, citizenship, and the fundamental features of a decent society, and thirdly, they give an unusual insight into the theory of art and its meaning in the constitution of solidarity. All of these arguments amount to the conclusion that social practices of solidarity can be salutary both to persons with dementia, and also to the paradoxes of contemporary healthcare and some of the maladies of today's society. Fulfilment of the duties of solidarity (for example, by introducing participatory art programs in dementia care settings) does not require major financial expense. It does, however, require a lot of moral imagination, for which this paper advocates., (© 2020 John Wiley & Sons Ltd.)

Context: Participatory arts‐based methods such as photovoice, drama and music have increasingly been used to engage young people who are exposed to psychosocial risks. These methods have the potential to empower youth and provide them with an accessible and welcoming environment to express and manage difficult feelings and experiences. These effects are, however, dependent on the way these methods are implemented and how potential ethical concerns are handled. Objective: Using the current literature on arts‐based health research as a foundation, this paper examines ethical issues emerging from participatory arts methods with young people with traumatic experiences. Results: We present a typology covering relevant issues such as power, accessibility, communication, trust and ownership, across the domains of partnership working, project entry, participation and dissemination. Drawing on our extensive clinical and research experiences, existing research and novel in‐practice examples, we offer guidance for ethical dilemmas that might arise at different phases of research. Conclusion: Adequate anticipation and consideration of ethical issues, together with the involvement of young people, will help ensure that arts methods are implemented in research and practice with young people in a fair, meaningful and empowering way. Patient or Public Contribution: The issues reviewed are largely based on the authors' experience conducting participatory research. Each of the projects referenced has its own systems for PPI including, variously, consultations with advisory groups, coproduction, youth ambassadors and mentor schemes. One of the coauthors, Josita Kavitha Thirumalai, is a young person trained in peer support and has provided extensive input across all stages. [ABSTRACT FROM AUTHOR]

Colour grading is an essential step in movie post‐production, which is done in the industry by experienced artists on expensive edit hardware and software suites. This paper presents a review of the advances made to automate this process. The review looks in particular at how the state‐of‐the‐art in optimal transport and deep learning has advanced some of the fundamental problems of colour transfer, and how far are we still from being able to automatically grade images. [ABSTRACT FROM AUTHOR]

In spite of the recent advancements of deep learning based techniques, automatic photo aesthetic assessment still remains a challenging computer vision task. Existing approaches used to focus on providing a single aesthetic score or category ("good" or "bad") of photograph, rather than quantifying "goodness" or "badness". The existing algorithms often ignore the importance of different attributes contributing to the artistic quality of the photograph. To obtain the human‐interpretability of aesthetic score of photo, we advocate learning the aesthetic attributes alongwith the prediction of the general aesthetic score. We propose a multi‐task deep CNN, that collectively learns aesthetic attributes alongwith a general aesthetic score for the photograph. To understand the mathematical representation of the attributes in the proposed model, a visualization technique is proposed using back propagation of gradients. These visualization of attributes correspond to the location of objects in the images in order to find out which part of an image "triggers" the classification outcome, thus providing the insights about the model's understanding of these attributes. This paper proposes an aesthetic feature vector based on the relative foreground position of the object in the image. The proposed aesthetic features outperform the state‐of‐art methods especially for Rule of Thirds attribute. [ABSTRACT FROM AUTHOR]

Anatomy played a significant role in the establishment of academies in art, initially in Italy and France, and then more widely in Europe and the Americas. This paper considers the role of anatomy in two such academies, the Royal Academy of Arts in London, and the Royal Hibernian Academy of Arts in Dublin. In both cases, anatomy teaching for art students was formalised by the appointment of a Professor of Anatomy, positions that continue to this day. The first Professor of Anatomy in the RA, William Hunter, set the standard by delivering lectures, carrying out dissections and producing écorchés. Some of his successors have published anatomy books specifically for artists, but their enthusiasm has varied. Unlike the continuity of the RA, the RHA has only had bespoke premises from 1826 to 1916, and from 1985 onwards, and its Schools or School have operated from 1826 to 1942, and from 2008 onwards. Anatomy teaching was a casualty of the decline of the formal art academy in the 20th century, but the fortunes of both are reviving in the early 21st century. [ABSTRACT FROM AUTHOR]

Situated in the context of recent geographical engagements with ‘landscape’, this paper combines ‘morphological’ and ‘iconographic’ landscape interpretations to examine how urban forms were perceived in late medieval Europe. To date, morphological studies have mapped the medieval city either by classifying urban layouts according to particular types, or by analysing plan forms of particular towns and cities to reveal their spatial evolution. This paper outlines a third way, an ‘iconographic’ approach, which shows how urban forms in the Middle Ages conveyed Christian symbolism. Three such ‘mappings’ explore this thesis: the first uses textual and visual representations which show that the city was understood as a scaled-down world - a microcosm - linking city and cosmos in the medieval mind; the second ‘mapping’ develops this theme further and suggests that urban landscapes were inscribed with symbolic form through their layout on the ground; while the third looks at how Christian symbolism of urban forms was performed through the urban landscape in perennial religious processions. Each of these ‘mappings’ points to the symbolic, mystical significance urban form had in the Middle Ages, based on religious faith, and they thus offer a deepened appreciation of how urban landscapes were represented, constructed and experienced at the time. [ABSTRACT FROM AUTHOR]

Copyright of Tropical Medicine & International Health is the property of Wiley-Blackwell and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Canadian Geographer is the property of Wiley-Blackwell and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Introduction: Treat‐all is being implemented in several African settings, in accordance with 2015 World Health Organisation guidelines. The factors known to undermine adherence to antiretroviral therapy (ART) may change in the context of Treat‐all, where people living with HIV (PLHIV) increasingly initiate ART at earlier, asymptomatic stages of disease, soon after diagnosis. This paper aimed to examine the asymptomatic PLHIV's experiences engaging with early ART initiation under the Treat‐all policy, including how they navigate treatment‐taking over the longer term. Methods: A longitudinal qualitative study was conducted within a Médecins Sans Frontières/Ministry of Health Treat‐all pilot in Shiselweni, southern Eswatini. The Treat‐all pilot began in October 2014, adopted into national policy in October 2016. Participants were recruited purposively to include newly diagnosed, clinically asymptomatic PLHIV with a range of treatment‐taking experiences, and healthcare workers (HCW) with various roles. This analysis drew upon a sub‐sample of 17 PLHIV who had been on ART for at least 12 months, with mean 20 months on ART at first interview, and who undertook three interviews each. Additionally, 20 HCWs were interviewed once. Interviews were conducted from August 2016 to September 2017. Data were analysed thematically using coding, drawing upon principles of grounded theory, and aided by Nvivo 11. Results: It was important for PLHIV to perceive the need for treatment, and to have evidence of its effectiveness to motivate their treatment‐taking, thereby supporting engagement with care. For some, coming to terms with a HIV diagnosis or re‐interpreting past illnesses as signs of HIV could point to the need for ART to prevent health deterioration and prolong life. However, others doubted the accuracy of an HIV diagnosis and the need for treatment in the absence of symptoms or signs of ill health, with some experimenting with treatment‐taking as a means of seeking evidence of their need for treatment and its effect. Viral load monitoring appeared important in offering a view of the effect of treatment on the level of the virus, thereby motivating continued treatment‐taking. Conclusions: These findings highlight the importance of PLHIV perceiving need for treatment and having evidence of the difference that ART is making to them for motivating treatment‐taking. Patient support should be adapted to address these concerns, and viral load monitoring made routinely available within Treat‐all care, with communication of suppressed results emphasized to patients. [ABSTRACT FROM AUTHOR]

This article is critical of 'bioethics' as it is widely understood and taught, noting in particular an emphasis given to philosophical justification, reason and rationality. It is proposed that 'balancing' bioethics be achieved by giving greater weight to practice and the aesthetic: Defined in terms of sensory perception, emotion and feeling. Each of those three elements is elaborated as a non-cognitive capacity and, when taken together, comprise aesthetic sensitivity and responsiveness. This is to recognise the aesthetic as a productive element in bioethics as practice. Contributions from the philosophy of art and aesthetics are drawn into the discussion to bring depth to an understanding of 'the aesthetic'. This approach is buttressed by philosophers - including Foucault and 18th century German philosophers (in particular Kant) - who recognized a link between ethics and aesthetics. The article aims to give substance to a claim that bioethics necessarily comprises a cognitive component, relating to reason, and a non-cognitive component that draws on aesthetic sensibility and relates to practice. A number of advantages of bioethics, understood to explicitly acknowledge the aesthetic, are proffered. Having defined bioethics in conventional terms, there is discussion of the extent to which other approaches to bioethics (including casuistry, virtue ethics, and narrative ethics) recognize aesthetic sensitivity in their practice. It is apparent that they do so to varying extents although not always explicitly. By examining this aspect of applied ethics, the paper aims to draw attention to aesthetic sensitivity and responsiveness as integral to ethical and effective health care. [ABSTRACT FROM AUTHOR]

Background: A high incidence of children with congenital heart disease (CHD) was found in Saudi Arabia (SA). International literature reports that children with CHD exhibit behavioural and emotional issues due to experiencing hospitalisation and clinical treatments combined with a dearth of qualitative understanding of the experiences of younger children with CHD. Therefore, the aim was to explore the behaviour and emotions of 4–10‐year‐olds with CHD in SA through children's accounts of their own experiences and parental proxy reports of children's behaviour and emotions. Methods: Charmaz's constructivist grounded theory (GT) approach was used. Twenty single semi‐structured interviews of 10 child/parent dyads were undertaken at a hospital clinic in SA. Children's interviews were combined with an arts‐based approach using drawings, pictures and faces of emotions (emojis). Constant comparison analysis was undertaken. Consolidated Criteria for Reporting Qualitative Research guidelines was followed in reporting this study. Findings: A substantive GT: children's behavioural and emotional reactions towards stressors related to living with CHD was developed and provides new insights into children's and parents' perceptions of the children's behavioural and emotional reactions to living with CHD in SA. The theory proposes that children's reactions to living with CHD relate to medical treatment stressors, sociocultural stressors and physical change stressors. Several further factors influenced children's responses to these stressors. Conclusion: Children and parents in SA contributed to a new understanding of the relationship between CHD and children's behavioural and emotional reactions. In addition, findings support the need for early assessment of behaviour and emotions among children with CHD and the application of preventative and supportive measures for the children and their families in SA. Patient or Public Contribution: Before the research commenced, the developmental appropriateness of the proposed arts‐based data collection tools was tested with three healthy children aged 6–9 years old; the tools were then revised accordingly before the interviews were undertaken. [ABSTRACT FROM AUTHOR]

This paper offers an ethnographic exploration of the assertion of a 'Barkindji style' art: why this matters and to whom it matters. Focusing particularly on the Darling River area of Wilcannia and on the period from the 1980s to the present, the increasing interest in art-making by local Aboriginal people is considered. Through a dialogue with artists, artworks, and others, the work examines the changing form, design and content of art and the rote of art in defining ideas of Barkindji Aboriginal culture and tradition. Invocations by key cultural brokers to produce work that is seen to 'belong to us' is explored in terms of the cultural, political, and personal work that this involves; particularly as this intersects with ideas of artistic freedoms versus artistic direction by cultural brokers. The paper discusses the personal considerations and tensions that come to bear in the processes connected with production of art and its making. In so doing, this paper engages with, and extends, the work of Tacon et al. (2003), Cooper (1994), Kleinert (1994) and Morphy (2001) as this pertains to art 'styles' and material culture from what is widely referred to as south-eastern Australia. [ABSTRACT FROM AUTHOR]

The aim of this paper is to explore an organizational issue of gender inequality in labour, represented in visual arts, and illustrated by critical artistic practice of Lucy McKenzie, Julita Wójcik and Mary Kelly. The paper seeks alternatives to patriarchal constructions of the gendered identity at work and the associated notions of the idealized managerial masculinities. I attend to working strategies and art making processes that reflect managerial otherness. The artists discussed engage in relational activities that have replaced dominant masculine values of managing and producing by a focus on collectivism, play and relational transmission. Work here is envisaged as a political and cultural category that alters a meaning of value and is considered crucial in formation of identity and a lifestyle choice. The paper reflects on invisibility of alternative ways of working, contributing to on-going multidisciplinary debate, challenging disadvantage and discrimination at work context and a disproportionate participation and representation of women in arts, management and in society as a whole. In a dim corner of my room for longer than my fancy thinks A beautiful and silent Sphinx has watched me through the shifting gloom. Inviolate and immobile she does not rise she does not stir For silver moons are naught to her and naught to her the suns that reel (From The Sphinx by Oscar Wilde) [ABSTRACT FROM AUTHOR]

In this paper I have drawn a brief picture to map the nature of management in modern high-tech organizations from the viewpoint of critical systems thinking. First, I point out the difference between science and art. Then, following Jackson's classification of different systems approaches such as modernism and postmodernism, I connect modernism with objectivism and collective subjectivism, and postmodernism with individual subjectivism. Through clarifying three ways of knowing/understanding the world and introducing a new knowledge systems model of modern high-tech corporations, I argue that in the knowledge age, management is both a science and an art. Objects under consideration belonging to different parts of reality require different approaches to deal with. The purpose of this article is to give a brief explanation of why management is both a science and an art, and to inspire further debate and discussion on the essence of management among academics and practitioners. Copyright © 2008 John Wiley & Sons, Ltd. [ABSTRACT FROM AUTHOR]

The present paper examines risk, return and the prospects for portfolio diversification among major painting and financial markets over the period 1976–2001. The art markets examined are Contemporary Masters, French Impressionists, Modern European, 19th Century European, Old Masters, Surrealists, 20th Century English and Modern US paintings. The financial markets comprise US Treasury bills, corporate and government bonds and small and large company stocks. In common with the published literature in this area, the present study finds that the returns on paintings are much lower and the risks much higher than conventional investment markets. Moreover, while low correlations of returns suggest that opportunities for portfolio diversification in art works alone and in conjunction with equity markets exist, the construction of Markowitz mean-variance efficient portfolios indicates that no diversification gains are provided by art in financial asset portfolios. However, diversification benefits in portfolios comprised solely of art works are possible, with Contemporary Masters, 19th Century European, Old Masters and 20th Century English paintings dominating the efficient frontier during the period in question. JEL classification: C61 D81; G11 [ABSTRACT FROM AUTHOR]

Objectives: To investigate the relationship between prior coronavirus disease 2019 (COVID‐19) infection in females and subsequent treatment outcomes of assisted reproductive technology (ART). Methods: A systematic literature review was carried out up to 16 December 2022, in PubMed, Web of Science, EMBASE, and Cochrane Library. Random‐effect models were adopted to estimate the pooled effects as mean differences (MDs) or odds ratios (ORs). I2 statistic and Egger's test were applied to assess heterogeneity and publication bias, respectively. Results: After screening 1480 records, 15 cohort studies totalling 1905 cycles were included in this meta‐analysis. In a comparison of previously COVID‐19‐infected versus uninfected women, no significant differences were observed in the primary outcomes of the retrieved oocytes number (MD = 0.06; 95% confidence interval [CI]: ‐0.75–0.88; I2 = 0) and clinical pregnancy rate (OR = 0.96; 95% CI: 0.74–1.24; I2 = 0). Pooled analyses of other predefined outcomes, which encompassed four cycle characteristics, six laboratory indicators and four pregnancy results, also showed no adverse effects of prior COVID‐19 infection. Most outcomes remained consistent after further sensitivity and subgroup analyses, and no significant publication bias was observed. Conclusions: Our work provides the first systematic evidence that COVID‐19 infection history in females may have no measurable detrimental impact on the subsequent ART cycle. More data are needed to assess the live birth outcome and the optimal time interval from infection to assisted reproduction. [ABSTRACT FROM AUTHOR]

Context: In vitro fertilisation (IVF) is now a common assisted reproductive technology (ART) procedure globally, with 8 million children alive today having been conceived utilising IVF. For many patients, IVF is a difficult experience with many discontinuing treatment because of emotional, relationship and financial stress, or intolerable physical side effects of hormone treatments. Design and Participants: A qualitative study, in which 31 professionals and 25 patients from the ART sector in Australia were interviewed. The interviews were analysed using codebook thematic analysis. Results: Our data indicates there are 'silences' within the therapeutic relationship of IVF, which may limit the capacity for patients to prepare emotionally, financially, or medically for the procedure, and may contribute to psychological distress and dissatisfaction with care. These 'silences' include what the patient 'is not told' by their clinician or 'does not hear' and what the patient feels they 'cannot say'. Discussion: Drawing upon the work of Jay Katz, Charis Thompson, and Miles Little on 'silences' and performance in clinical practice, we argue that although IVF is a complex and multifaceted procedure that is often conducted in a commercial setting, the clinical and therapeutic relationship between doctor and patient remains pivotal to the experiences of patients. The 'silences' within this relationship may impact negatively on decision‐making, and on the delivery and experience of care. Conclusions: Careful attention to the realities of IVF treatment in the clinic room (and awareness of the performances that hide them) should allow for more present and compassionate care. Such care may leave patients more satisfied with their experience and their choices, regardless of treatment outcomes. Patient or Public Contribution: This article draws on interviews with patients who had undergone or were currently undergoing IVF, as well as a range of representatives from the ART community (including reproductive medicine specialists, general practitioners, fertility nurses, counsellors, administrators in ART businesses and embryologists). [ABSTRACT FROM AUTHOR]

Introduction: It is increasingly recognised by UK researchers and population health advocates that an important impetus to effective policy action to address health inequalities is activation of public dialogue about the social determinants of health and how inequalities might be addressed. The limited body of existing scholarship reaches varying conclusions on public preferences for responding to health inequalities but with consensus around the importance of tackling poverty. Young people's perspectives remain underexplored despite their increasingly visible role in activism across a range of policy issues and the potential impact of widening inequalities on their generation's health and wellbeing. Methods: Six groups of young people (39 in total) from two UK cities (Glasgow and Leeds) were engaged in online workshops to explore views on health inequalities and potential solutions. Inspired by calls to employ notions of utopia, artist–facilitators and researchers supported participants to explore the evidence, debating solutions and imagining a more desirable society, using visual and performance art. Drawing together data from discussions and creative outputs, we analysed participants' perspectives on addressing health inequalities across four domains: governance, environment, society/culture and economy. Findings: Proposals ranged from radical, whole‐systems change to support for policies currently being considered by governments across the United Kingdom. The consensus was built around embracing more participatory, collaborative governance; prioritising sustainability and access to greenspace; promoting inclusivity and eliminating discrimination and improving the circumstances of those on the lowest incomes. Levels of acceptable income inequality, and how best to address income inequality were more contested. Individual‐level interventions were rarely presented as viable options for addressing the social inequalities from which health differences emanate. Conclusion: Young people contributed wide‐ranging and visionary solutions to debates around addressing the enduring existence of health inequalities in the United Kingdom. Their reflections signal support for 'upstream' systemic change to achieve reductions in social inequalities and the health differences that flow from these. Public Contribution: An advisory group of young people informed the development of project plans. Participants shaped the direction of the project in terms of substantive focus and were responsible for the generation of creative project outputs aimed at influencing policymakers. [ABSTRACT FROM AUTHOR]

For Chinese font images, when all their strokes are replaced by pattern elements such as flowers and birds, they become flower–bird character paintings, which are traditional Chinese art treasures. The generation of flower–bird painting requires professional painters' great efforts. How to automatically generate these paintings from font images? There is a huge gap between the font domain and the painting domain. Although many image‐to‐image translation frameworks have been proposed, they are unable to handle this situation effectively. In this study, a novel method called font‐to‐painting network (F2PNet) is proposed for font‐to‐painting translation. Specifically, an encoder equipped with dilated convolutions extracts features of the font image, and then the features are fed into the domain translation module for mapping the font feature space to the painting feature space. The acquired features are further adjusted by the refinement module and utilised by the decoder to obtain the target painting. The authors apply adversarial loss and cycle‐consistency loss to F2PNet and further propose a loss term, which is called recognisability loss and makes the generated painting have font‐level recognisability. It is proved by experiments that F2PNet is effective and can be used as an unsupervised image‐to‐image translation framework to solve more image translation tasks. [ABSTRACT FROM AUTHOR]

Systems architecture has been considered as both an art and a science. The systems architect uses heuristics, stories, and models to communicate complex architectural concepts to stakeholders. Since the earliest times, master building architects have developed their skills broadly across the technical, business, and fine art domains. Why should engineering be different? Principles and practices of systems architecture are exhibited in the creation of film scores, fine arts, and building architecture. Why not teach art as a core skill of the systems architect? In this work, we explore a formal competency model linking art, systems thinking, and systems architecture. We associate competencies across these domains with the concept of elegant design. We explore formal education in the arts as a way to bridge the communication problems that technical architects have with their stakeholders. The goal is to improve the competencies of systems architects and systems thinkers by bringing the methods of the art studio class to systems education. [ABSTRACT FROM AUTHOR]

Introduction: Secondary distribution of HIV self‐tests (HIVST) by HIV‐negative pregnant women to male partners increases men's testing rates. We examined whether this strategy promotes male partner testing for pregnant women living with HIV (PWLHIV). Methods: We conducted an open‐label individually randomized trial in Kampala, Uganda, in which PWLHIV ≥18 years who reported a partner of unknown HIV status were randomized 2:1 to secondary distribution of HIVST for male partner(s) or standard‐of‐care (SOC; invitation letter to male partner for fast‐track testing). Women were followed until 12 months post‐partum. Male partners were offered confirmatory HIV testing and facilitated linkage to antiretroviral treatment (ART) or oral pre‐exposure prophylaxis (PrEP). Using intention‐to‐treat analysis, primary outcomes were male partner testing at the clinic and initiation on PrEP or ART evaluated through 12 months post‐partum (ClinicalTrials.gov, NCT03484533). Results: From November 2018 to March 2020, 500 PWLHIV were enrolled with a median age of 27 years (interquartile range [IQR] 23–30); 332 were randomized to HIVST and 168 to SOC with 437 PWLHIV (87.4%) completing 12 months follow‐up post‐partum. Of 236 male partners who tested at the clinic and enrolled (47.2%), their median age was 31 years (IQR 27–36), 45 (88.3%) men with HIV started ART and 113 (61.1%) HIV‐negative men started PrEP. There was no intervention effect on male partner testing (hazard ratio [HR] 1.04; 95% confidence interval [CI]: 0.79–1.37) or time to ART or PrEP initiation (HR 0.96; 95% CI: 0.69–1.33). Two male partners and two infants acquired HIV for an incidence of 0.99 per 100 person‐years (95% CI: 0.12–3.58) and 1.46 per 100 person‐years (95% CI: 0.18%–5.28%), respectively. Social harms related to study participation were experienced by six women (HIVST = 5, SOC = 1). Conclusions: Almost half of the partners of Ugandan PWLHIV tested for HIV with similar HIV testing rates and linkage to ART or PrEP among the secondary distribution of HIVST and SOC arms. Although half of men became aware of their HIV serostatus and linked to services, additional strategies to reach male partners of women in antenatal care are needed to increase HIV testing and linkage to services among men. [ABSTRACT FROM AUTHOR]

Copyright of Plants, People, Planet is the property of Wiley-Blackwell and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

ABSTRACT Human uterus transplantation (UTx) is currently under investigation as a treatment for uterine infertility. Without a uterus transplant, the options available to women with uterine infertility are adoption or surrogacy; only the latter has the potential for a genetically related child. UTx will offer recipients the chance of having their own pregnancy. This procedure occurs at the intersection of two ethically contentious areas: assisted reproductive technologies (ART) and organ transplantation. In relation to organ transplantation, UTx lies with composite tissue transplants such as face and limb grafts, and shares some of the ethical concerns raised by these non-life saving procedures. In relation to ART, UTx represents one more avenue by which a woman may seek to meet her reproductive goals, and as with other ART procedures, raises questions about the limits of reproductive autonomy. This paper explores the ethical issues raised by UTx with a focus on the potential gap between women's desires and aspirations about pregnancy and the likely functional outcomes of successful UTx. [ABSTRACT FROM AUTHOR]

Many recent articles argue that participants who seroconvert during HIV prevention trials deserve treatment when they develop AIDS, and there is a general consensus that the participants in HIV/AIDS treatment trials should have continuing post-trial access. As a result, the primary concern of many ethicists and activists has shifted from justifying an obligation to treat trial participants, to working out mechanisms through which treatment could be provided. In this paper I argue that this shift frequently conceals an important assumption: that if there is an obligation to supply treatment, then any party who could provide it may be prevailed upon to discharge the obligation. This assumption is false. The reasons why trial participants should get ART affect who has the duty to provide it. We should not burden governments with the obligations of sponsors, nor researchers with the obligations of the international community. And we should not deprive a group of treatment because their need is less salient than that of research participants. Insisting otherwise may lead to people being wrongfully deprived of access to antiretrovirals. [ABSTRACT FROM AUTHOR]

Facial reconstruction is employed in the context of forensic investigation and for creating three-dimensional portraits of people from the past, from ancient Egyptian mummies and bog bodies to digital animations of J. S. Bach. This paper considers a facial reconstruction method (commonly known as the Manchester method) associated with the depiction and identification of the deceased from skeletal remains. Issues of artistic licence and scientific rigour, in relation to soft tissue reconstruction, anatomical variation and skeletal assessment, are discussed. The need for artistic interpretation is greatest where only skeletal material is available, particularly for the morphology of the ears and mouth, and with the skin for an ageing adult. The greatest accuracy is possible when information is available from preserved soft tissue, from a portrait, or from a pathological condition or healed injury. [ABSTRACT FROM AUTHOR]

Sustained scholarly interest in the malanggan carvings of New Ireland has achieved consensus regarding the social, political, and economic functions of the ceremonies in which they are used but inconclusive interpretations of the iconography of the art objects themselves continue. This paper finds an interpretation of recurring motifs in a reexamination of early reports, published and unpublished, of former burial customs. The perspective presented here supports but cannot confirm informants' insistence that the carvings are not religious but just pictures. No conclusions are reached regarding pre- or post-Christian beliefs in general, but doubt is cast on their role in malanggan art. Some theoretical implications and further research directions are suggested. [ABSTRACT FROM AUTHOR]

Introduction: The Uganda Ministry of Health recommends facility‐ and community‐based differentiated antiretroviral therapy (DART) models to support person‐centred care for eligible clients receiving antiretroviral therapy (ART). Healthcare workers assess client eligibility for one of six DART models upon initial enrolment; however, client circumstances evolve, and their preferences are not routinely adjusted. We developed a tool to understand the proportion of clients accessing preferred DART models and compared the outcomes of clients accessing preferred DART models to the outcomes of clients not receiving preferred DART models. Methods: We conducted a cross‐sectional study. A sample of 6376 clients was selected from 113 referrals, general hospitals and health centres purposely selected from 74 districts. Clients receiving ART accessing care from the sampled sites were eligible for inclusion. Healthcare workers interviewed clients (caretakers of clients under 18), over a 2‐week period between January and February 2022 using a client preference tool to elicit whether clients were receiving DART services through their preferred model. Treatment outcomes of viral load test, viral load suppression and missed appointment date were extracted from clients' medical files before or immediately after the interview and de‐identified. The descriptive analysis determined the interaction between client preferences and predefined treatment outcomes by comparing outcomes of clients whose care aligned with their preferences to outcomes of clients whose care misaligned with their preferences. Results: Of 25% (1573/6376) of clients not accessing their preferred DART model, 56% were on facility‐based individual management and 35% preferred fast‐track drug refills model. Viral load coverage was 87% for clients accessing preferred DART models compared to 68% among clients not accessing their preferred model. Viral load suppression was higher among clients who accessed the preferred DART model (85%) compared to (68%) clients who did not access their preferred DART model. Missed appointments were lower at 29% for clients who accessed preferred DART models compared to 40% among clients not enrolled in the DART model of their choice. Conclusions: Clients who accessed their preferred DART model have better clinical outcomes. Preferences should be integrated throughout health systems, improvement interventions, policies and research efforts to ensure client‐centred care and client autonomy. [ABSTRACT FROM AUTHOR]

Introduction: Implementation of patient‐centred care (PCC) practices in HIV treatment depends on healthcare workers' (HCWs) perceptions of the acceptability, appropriateness and feasibility of such practices (e.g. use of intentional, metric‐driven activities to improve patient experiences). Methods: We applied rapid, rigorous formative research methods to refine a PCC intervention for future trial. In 2018, we conducted focus group discussions (FGDs) with 46 HCWs purposefully selected from two pilot sites. We elicited HCW perceptions of HIV service delivery, HCW motivation and perceived value of patient experience measures intended to improve PCC. FGDs utilized participatory methods to understand HCW responses to patient‐reported care engagement challenges and Scholl's PCC Framework principles (e.g. seeing a patient as a unique person), enablers (e.g. care coordination) and activities (e.g. patient involvement). Our rapid analysis used analytic memos, thematic analysis, research team debriefs and HCW feedback to inform time‐sensitive trial implementation. Results: While HCWs nearly universally identified with and supported principles of PCC in both facilities, they raised practical barriers given the practice environment. HCWs described motivation to help patients, attached value to seeing positive health outcomes and the importance of teamwork. However, HCWs reported challenges with enablers needed to deliver PCC. HCWs cited a work culture characterized by differential power dynamics between cadres and departments restricting HCW autonomy and resource access. Barriers included inflexibility in accommodating individual patient needs due to high patient volumes, limited human resources, laboratory capacity, infrastructure and skills translating patient perspectives into practice. HCW motivation was negatively influenced by encounters with "difficult patients," and feeling "unappreciated" by management, resulting in cognitive dissonance between HCW beliefs and behaviours. However, the enactment of PCC values also occurred. Results suggested that PCC interventions should reduce practice barriers, highlighting the value of mentors who could help HCWs dynamically engage with health system constraints, to facilitate PCC. Conclusions: While HCWs perceived PCC principles as acceptable, they did not think it universally appropriate or feasible given the practice environment. Participatory and rapid methods provided timely insight that PCC interventions must provide clear and effective systems enabling PCC activities by measuring and mitigating relational and organizational constraints amenable to change such as inter‐cadre coordination. [ABSTRACT FROM AUTHOR]

Introduction: Clinical trials must include diverse participants to ensure the wide applicability of results. However, people from ethnic minorities are included in clinical trials at rates lower than expected given their share of the population. Working with South Riverside Community Development Centre (SRCDC), Talking Trials used public engagement to foster discussions around the underrepresentation of those from minority ethnic communities in clinical trials and to identify and address concerns surrounding trial participation. Methods: We conducted three workshops with 13 co‐researchers from minority ethnic backgrounds. We explored perceptions and understanding of clinical trials alongside participatory art activities to help move away from verbocentric methods of communication. These artworks formed an exhibition that was presented to the community, prompting further discussions and engagement. Findings: Co‐production workshops were an effective tool to introduce the public to trial research. With little knowledge of clinical trials at the beginning of the process, our co‐researchers formed a cohesive group, sharing initial fears and mistrust towards trials. As conversations progressed these attitudes clearly shifted. Artwork produced during the workshops was incorporated into an exhibition. Quotes and creative pieces from the group were included to reflect the themes identified. Presenting the exhibition at Riverside Festival enabled further engagement with a wider diverse community. The focus on co‐production helped build a network of individuals new to research and keen to become involved further. Conclusion: Inclusive and democratic co‐production, enriched by participatory art practices, provided a powerful means of enabling our group to create new insights and foster new relationships. Projects like Talking Trials can diversify the research process itself—for example, four co‐researchers have commenced lay research partner roles on trial management groups and a lay advisory group is in development. Patient or Public Contribution: Three members of staff at SRCDC were on the project delivery group and involved in the initial project design, subsequently helping to connect us with members of the Riverside community to work as co‐researchers. Two of the SRCDC staff are co‐authors of this manuscript. The project had 13 public co‐researchers guiding the direction of this research and creating the artwork displayed in the art exhibition. [ABSTRACT FROM AUTHOR]

Participation in many cultural activity systems, such as art worlds or scientific communities, is highly skewed toward an elite creating a pattern of activity that emphasizes rationality and repeated events. At the same time, the introduction of new works and participants in these systems promotes the opposite, that is, innovation. Rationality and innovative interests are usually approached and analyzed separately, but this article examines a social context in which they are jointly produced-concert music programming. To analyze the dominance of repertory, this paper documents concert programming over a single season and describes a model to illustrate the observed distribution of events. The skewed distribution of programming is then explained through reference to the aesthetic interests of concert artists, that is, composers and performers, and the congruence of a rationalized aesthetic to the recruitment of audiences and administrative rationality. [ABSTRACT FROM AUTHOR]

This study aims to evaluate the effect of different air computed tomography (CT) numbers of the image value density table (IVDT) on the retrospective dose calculation of head‐and‐neck (HN) radiotherapy using TomoTherapy megavoltage CT (MVCT) images. The CT numbers of the inside and outside air and each tissue‐equivalent plug of the "Cheese" phantom were obtained from TomoTherapy MVCT. Two IVDTs with different air CT numbers were created and applied to MVCT images of the HN anthropomorphic phantom and recalculated by Planned Adaptive to verify dose distribution. We defined the recalculation dose with MVCT images using both inside and outside air of the IVDT as IVDTMVCTinair${\mathrm{IVDT}}_{\mathrm{MVCT}}^{\mathrm{inair}}$ and IVDTMVCToutair${\mathrm{IVDT}}_{\mathrm{MVCT}}^{\mathrm{outair}}$, respectively. Treatment planning doses calculated on kVCT images were compared with those calculated on MVCT images using two different IVDT tables, namely, IVDTMVCTinair${\mathrm{IVDT}}_{\mathrm{MVCT}}^{\mathrm{inair}}$ and IVDTMVCToutair${\mathrm{IVDT}}_{\mathrm{MVCT}}^{\mathrm{outair}}$. The difference between average MVCT numbers ±1 standard deviation on inside and outside air of the calibration phantom was 65 ± 36 HU. This difference in MVCT number of air exceeded the recommendation lung tolerance for dose calculation error of 2%. The dose differences between the planning target volume (PTV): D98%, D50%, D2% and the organ at risk (OAR): Dmax, Dmean recalculated by IVDTMVCTinair${\mathrm{IVDT}}_{\mathrm{MVCT}}^{\mathrm{inair}}$ and IVDTMVCToutair${\mathrm{IVDT}}_{\mathrm{MVCT}}^{\mathrm{outair}}$ using MVCT images were a maximum of 0.7% and 1.2%, respectively. Recalculated doses to the PTV and OAR with MVCT showed that IVDTMVCToutair${\mathrm{IVDT}}_{\mathrm{MVCT}}^{\mathrm{outair}}$ was 0.5%–0.7% closer to the kVCT treatment planning dose than IVDTMVCTinair${\mathrm{IVDT}}_{\mathrm{MVCT}}^{\mathrm{inair}}$. This study showed that IVDTMVCToutair${\mathrm{IVDT}}_{\mathrm{MVCT}}^{\mathrm{outair}}$ was more accurate than IVDTMVCTinair${\mathrm{IVDT}}_{\mathrm{MVCT}}^{\mathrm{inair}}$ in recalculating the dose HN cases of MVCT using TomoTherapy. [ABSTRACT FROM AUTHOR]

Inspired by ecological calendars, the Herbert F. Johnson Museum of Art organized the exhibition Art and Environmental Struggle to coincide with the international conference Rhythms of the Land: Indigenous Knowledge, Science, and Thriving Together in a Changing Climate, held at Cornell University in October 2021. The exhibition emphasized Indigenous ways of knowing and deployed the works of lesser‐known artists from around the world to build greater understanding of and empathy for their communities' often overlooked histories and perspectives. A collaboration of three Johnson Museum curators and an expert on global Indigenous art, the exhibition presented 20 works by artists responding to environmental challenges occurring in their countries and communities and was conceived as part of the program of conference events that culminated in the dance, music, and video work Blood, Water, Earth created and performed by Santee Smith. Emphasizing impacts of colonialism, neocolonialism, geopolitical forces, and industries, the artworks reveal the consequences of environmental damage on the food production, security, cultural independence, and general well‐being of communities who have contributed the least to the current crisis but feel its effects most acutely. The concept of struggle for environmental justice binds together all the visual artists represented in Art and Environmental Struggle. When viewed in the context of the ecological calendar model, the compelling ways in which visual and performing artists confront these topics through an expression of Indigenous ecological knowledge, environmental stewardship, and place‐rooted traditions, present a diverse but resilient perspective and offer a methodology of hope to address this most pressing of issues. Plain Language Summary: The Herbert F. Johnson Museum of Art's exhibition Art and Environmental Struggle was offered while the international conference Rhythms of the Land: Indigenous Knowledge, Science, and Thriving Together in a Changing Climate, took place at Cornell University in October 2021. The exhibition showed 20 works by artists from around the world, that convey Indigenous knowledge and build understanding of the environmental changes in their countries and communities. In conjunction with the conference and exhibition the dance performance Blood, Water, Earth was presented at Cornell by Santee Smith. These visual and performing artists' works reveal the serious effects of colonialism, industry, and environmental damage on the food security and cultural independence of their communities and address the struggle for environmental justice. Like the ecological calendar model, these artists' expressions of Indigenous ecological knowledge, tradition, and care for the environment present a diverse but hopeful outlook. Key Points: Like the ecological calendars of the Ecological Calendars for Climate Adaptation Project, contemporary art by Indigenous and place‐based artists visually encodes ecological knowledgeWorks of art both document the degradation of local environments and demonstrate resilience and hope in communities reclaiming agency and sovereigntyAn exhibition of art visualizing ecological knowledge allows viewers to learn from artists but also to create new knowledge via the relationship of works [ABSTRACT FROM AUTHOR]

This article describes the process educators at Cornell Botanic Gardens undertook to interpret the Ecological Calendar research project for public audiences. An ecological calendar is a way of keeping track of seasonal changes in a habitat. Many communities use and have used such calendars to coordinate their subsistence activities based on these seasonal events. Using interpretive and design planning processes, educators developed an exhibition in the Gardens' welcome center to help the visiting public understand what ecological calendars are, how they are used by communities most impacted by climate change, and their great potential for use by people around the world to adapt to increasing uncertainty associated with changes such as the increase in extreme weather events. To further help the public understand ecological calendars, two artists were invited to create art installations as part of the whole exhibition based on the research and knowledge from participating communities. Finally, project team members worked with educators to develop an environmental education activity that could be used at the Gardens and in primary and secondary schools to educate students about the value of ecological calendars and how to create them. The team was invited to submit a summary of their exhibition development process to this journal, as part of this special issue and to describe the process they took to communicate the ecological calendar research to a public audience. The process, which included an interdisciplinary team of scientists, Indigenous community members, artists, and educators' emphasized co‐creation and the benefits of including multiple voices and viewpoints. It also describes interpretation—a purposeful approach to communication that facilitates meaning and understanding—and offers an example of how this discipline can be used by the scientific community to help convey their work to public audiences. Plain Language Summary: This article describes the process educators at Cornell Botanic Gardens undertook to interpret the Ecological Calendar research project for public audiences. Interpretation is a communication process that reveals meanings and relationships through direct experience with objects, artifacts, sites, and landscapes. Using interpretive and design planning processes, educators developed an exhibition to help the visiting public understand what ecological calendars are, how they are used by communities most impacted by climate change, and their potential for use by people around the world to adapt to increasing uncertainty associated with climate change. The exhibition included a photographic narrative; glass case exhibits comprised of objects, photos, and narratives; and displays of ecological calendars. To further public understanding of the ecological calendars, two artists were invited to create art installations to provide a different interpretive perspective. Finally, research team members worked with educators to develop an education activity that could be used at the Gardens and in primary and secondary schools to educate students about the value of ecological calendars, how to create and use them. An evaluation of the exhibition showed that respondents understood what ecological calendars are, why communities were participating in the research project and the benefits of developing ecological calendars. Key Points: Interpretation, exhibit, art, and education are used at a botanic garden to help public audiences understand ecological calendarsEcological calendars and climate adaptation are explained through exhibition and art installations are used to provoke a different viewpointA prototype activity was developed for secondary school students to teach about ecological calendars [ABSTRACT FROM AUTHOR]

Objective: To describe the prevalence of HIV viral suppression and assess the factors associated with HIV viral suppression among persons receiving antiretroviral therapy (ART) in Malawi in 2021. Methods: Implementation study using routinely collected patient‐level HIV RNA‐PCR test result data extracted from the national Laboratory Management Information System (LIMS) database managed by the Department of HIV/AIDS in 2021. We calculated frequencies, proportions and odds ratios (OR) of HIV viral suppression with their associated 95% confidence intervals (95%CIs). We performed a random‐effects logistic regression to determine the risk factors associated with HIV viral suppression among ART patients, controlling for the spatial autocorrelation between districts and adjusting for other variables. Results: We evaluated 515,797 adults and children receiving ART and having a viral load test in 2021. Of these, 92.8% had HIV viral suppression. ART patients living in urban areas had lower likelihood of HIV viral suppression than those living in rural areas (adjusted OR [aOR] = 0.95, 95%CI: 0.92–0.99, p = 0.01). There was an increasing trend in HIV viral suppression with increasing ART duration. Routine VL monitoring samples were 39% more likely to have suppressed VL values than confirmatory HIV VL monitoring samples (aOR = 1.39; 95%CI: 1.34–1.43, p < 0.001). Conclusion: This is the first national analysis of Malawi HIV VL data from LIMS. Our findings show the need to particularly consider the urban residents, those below 20 years, males, those on ART for less than a year as well as those on specific ARV regimens in order to persistently suppress HIV VL and consequently achieve the goal of achieving HIV VL suppression by 2030. [ABSTRACT FROM AUTHOR]

Objective: To investigate whether accounting for past patient composition in evaluations of the association between public quality reports and patient selectivity changes findings and conclusions. Data Sources: Secondary data analysis of public reports of Assisted Reproductive Technology Clinic success rates between 2011 and 2018. Study Design: Two sets of fixed effects models, (1) a standard fixed‐effects model (FE) and (2) a dynamic panel model using structural equation modeling estimated with maximum‐likelihood (ML‐SEM) with one‐ and two‐year lagged patient characteristics, are compared. The outcome variables are patient composition features associated with success rates, including two age categories and eight diagnoses of infertility. Two‐year lagged success rates for any live birth and a singleton live birth are central predictor variables. Data Collection/Extraction Methods: Clinics with complete records for the 2011–2018 period were included (N = 303). Principal Findings: For live birth success rates, the two models show increases in the two‐year lagged success rate is associated with a reduction in (1) the transformed percentage of patients with endometriosis (FE: β = −0.006, SE = 0.002, p < 0.01; ML‐SEM: β = −0.005, SE = 0.002, p < 0.01) and (2) the percentage of patients with tubal diagnoses (FE: β = −0.090, SE = 0.017, p < 0.001; ML‐SEM: β = −0.064, SE = 0.027, p < 0.05). For singleton birth success rates, the models show positive associations between the two‐year lagged success rate and the percent of patients over 35 years old (FE: β = 0.219, SE = 0.033, p < 0.001; ML‐SEM: β = 0.095, SE = 0.047, p < 0.05). Overall, the FE models show numerous significant associations with the two‐year lagged success rate not observed in the ML‐SEM models. Thus, the preferred and theoretically appropriate model (ML‐SEM) and the more commonly used model (FE) yield different results. Conclusions: Researchers and policymakers should use models that account for past patient composition when evaluating the associations between quality reports and patient selectivity. [ABSTRACT FROM AUTHOR]

Background: Conversations about end of life rarely take place beyond healthcare spaces and in advance of imminent death. As the Canadian ageing population increases and new policies and options emerge for end‐of‐life choices, there will be an increasing need for supports for decision‐making on end of life. Time Moving was a participatory art exhibit created to engage participants in reflections on end‐of‐life experiences and the ways in which their perception of time fluctuated within these moments. Design: A participatory and constructivist approach informed decisions on exhibit design and analysis. The Time Moving exhibit was installed in a downtown university hall for 10 days during the 2019 annual DesignTO festival, open to all members of the public. The exhibit was used as the primary method of data collection. There were three prompts informed by concepts from prior work on time perception. Participants were invited to respond by drawing, writing or constructing. Outcome: There were over 120 contributions of participants over the duration of the Time Moving exhibit. These contributions revealed new insights related to temporal perception and end‐of‐life experiences. Participants shared their perception of time during end‐of‐life experiences in a variety of ways, revealing a diversity of perceptions of time beyond calendar and clock time, including time experienced as a spiral. Conclusions: The insights on time perception highlight opportunities for approaching dialogue on end of life and in grief support, and for exhibit as a mechanism for research and education. Patient or Public Contribution: As a public exhibit, over 120 people contributed ideas, personal stories, drawings and other creative outputs to the exhibit. An estimated 250 people visited the exhibit. [ABSTRACT FROM AUTHOR]

Introduction: The overarching goal of research on physical settings for individuals livingwith dementia is to identify associations between designed features within the built environment and outcomes of interest. Over the past three decades numerous environmental assessment tools have been developed in several countries, responding to a changing set of care industry values that increasingly prioritize a holistic, quality-of-life-driven person-centered care (PCC) model over a biomedical approach to long-term care (LTC) provision. This article reviews the diversity, constructs, strengths, and limitations of existing environmental assessment tools and identifies gaps for future tool development. Methods:Asystematic literature search was conducted using four databases (Medline, CINAHL, PsycInfo, and Avery Index) and terms related to health-care environments and assessment tools. Results: A total of 13 environmental assessment tools for people living with dementia within shared residential settings were identified. Evaluation of the environmental assessment tools includes a synthesis of published data for each tool's reliability, validity, ease of use, interpretability, strengths and weaknesses, as well as a comparison of various tool characteristics including date of development, country of origin, applicable care setting(s), number and variety of measures and underlying constructs, format, and descriptive versus evaluative content. Discussion: While the shift to person-centered values encompasses all aspects of care and care settings, the majority of person-centered definitions exclude the important role of the designed, physical environment. However, this review of environmental assessment tools clearly demonstrates that newer tools are embracing the full array of PCC values. In the United States, this is shown in the shift from tools designed to assess segregated dementia care settings to tools that integrate the needs and preferences both of individuals livingwith and without dementia. Next-generation tools need to specifically address the household model of design. [ABSTRACT FROM AUTHOR]

Background: At its earliest stages, mammalian embryonic development is apparently simple but vulnerable. The environment during the preimplantation period, which only lasts a couple of days, has been implicated in adult health, extending to such early stages the concept of the developmental origin of health and disease (DOHaD). Methods: In this review, we first provide a brief history of assisted reproductive technology (ART) focusing on in vitro culture and its outcomes during subsequent development mainly in mice and humans. Further, we introduce the “MEM mouse,” a novel type 2 diabetes mouse model generated by in vitro culture of preimplantation embryos in alpha minimum essential medium (αMEM). Main findings: The association between ART and its long‐term effects has been carefully examined for its application in human infertility treatment. The “MEM mouse” develops steatohepatitis and kidney disease with diabetes into adulthood. Conclusion: The close association between the environment of preimplantation and health in postnatal life is being clarified. The approach by which severe mouse phenotypes are successfully induced by manipulating the environment of preimplantation embryos could provide new chronic disease animal models, which we call “modified ART‐DOHaD” animal models. This will also offer insights into the mechanisms underlying their long‐term effects.The association between ART and its long‐term effects has been carefully examined for its application in human infertility treatment. The “MEM mouse” develops steatohepatitis and kidney disease with diabetes into adulthood. [ABSTRACT FROM AUTHOR]

Background: HIV‐positive individuals who maintain an undetectable viral load cannot transmit the virus to others. In 2012, an HIV population‐based survey was conducted in Ndhiwa sub‐county (Kenya) to provide information on the HIV local epidemic. We carried out a second survey 6 years after the first one, to assess progress in HIV diagnosis and care and differences in the HIV prevalence and incidence between the two surveys. Methods: A cross‐sectional, population‐based survey using cluster sampling and geospatial random selection was implemented in 2018, using the same design as 2012. Consenting participants aged 15–59 years were interviewed and tested for HIV at home. HIV‐positive individuals received viral load testing (viral suppression defined as <1000 copies/ml) and Lag‐Avidity EIA assay (to measure recent infection). The 90–90–90 UNAIDS indicators were also assessed. Results: Overall, 6029 individuals were included in 2018. HIV prevalence was 16.9%. Viral suppression among all HIV‐positive was 88.3% in 2018 (vs. 39.9% in 2012, p < 0.001). HIV incidence was 0.75% in 2018 vs. 1.90% in 2012 (p = 0.07). In 2018, the 90–90–90 indicators were 93%–97%–95% (vs. 60%–68%–83% in 2012). Conclusion: A two‐fold increase in the HIV viral load suppression rate along with a decreasing trend in incidence was observed over 6 years in Ndhiwa sub‐county. Achieving high rates of viral suppression in HIV populations that can lead to reducing HIV transmission in sub‐Saharan contexts is feasible. Nevertheless, we will need further efforts to sustain this progress. [ABSTRACT FROM AUTHOR]

The article discusses the use of visual arts, drama and movement in English language arts instruction. The inclusion of visual arts and drama is valuable to literacy teaching and development. Through the visual arts, students can explore and develop semiotic strategies for creating texts and writing compositions. Oral language can be developed through acting and drama. Students will familiarize themselves with words as it relates to emotions and experiences. Several simple art techniques can be employed by teachers in language arts instruction. They include drawing and painting and sculpture.

Objective: To assess the state of the retention in care of HIV patients in three health settings in Morrumbene, a rural district of Inhambane Province, Mozambique. We evaluated potential factors associated with early loss to follow‐up (LTFU), retention in care and ART adherence during the first year of follow‐up. Material and methods: Retrospective, cross‐sectional, observational study. We collected data on patients diagnosed with HIV infection in 2017 in two permanent clinics and one mobile clinic. Demographic, clinical, immunological and therapeutic data were retrieved up to December 31st, 2018. Data on follow‐up were collected at 6 and 12 months for medical visits and for ART adherence and analysed for factors associated with LTFU, retention in care and adherence to ART by Stata Version 14 and univariate and stepwise multiple unconditional logistic regression models. Results: In 2017, 960 patients were diagnosed with HIV infection. At 6‐month follow‐up, 49% attended the medical visit and 157 (25%) adhered to ART. After one year, 34% of patients were available for follow‐up, and only 72 patients adhered to ART. In multivariate analysis, factors associated with early LTFU were male sex (p = 0.036) and immediate prescription of ART (p = 0.064). Older age (p < 0.001) and being followed in the mobile clinic (p = 0.001) favoured retention in care. Advanced WHO status (p = 0.005) and being pregnant or breastfeeding showed a negative correlation with adherence to treatment (p = 0.068). Conclusions: Only one‐third of patients were available for follow‐up after one year, and only 13% adhered to ART. Young individuals, men and pregnant/breastfeeding women seem to be particularly at risk for LTFU and non‐adherence to treatment. [ABSTRACT FROM AUTHOR]

Background: The growing literature on Patient and Public Involvement and Engagement (PPIE) and dementia identifies specific problems related to the influence that involvement has on research outcomes, over‐reliance on family members as proxies and lack of representation of seldom‐heard groups. Adaptations to the PPIE process are therefore needed to make possible the involvement of a broader spectrum of people living with dementia. Objective: This study aimed to adapt the PPIE process to make participation in cocreation by people living with dementia accessible and meaningful across a spectrum of cognitive abilities. Design: Narrative elicitation, informal conversation and observation were used to cocreate three vignettes based on PPIE group members' personal experiences of dementia services. Each vignette was produced in both narrative and graphic formats. Participants: Nine people living with dementia and five family members participated in this study. Results: Using enhanced methods and outreach, it was possible to adapt the PPIE process so that not only family members and people with milder cognitive difficulties could participate, but also those with more pronounced cognitive problems whose voices are less often heard. Conclusions: Making creative adaptations is vital in PPIE involving people living with dementia if we wish to develop inclusive forms of PPIE practice. This may, however, raise new ethical issues, which are briefly discussed. Patient or Public Contribution: People with dementia and their families were involved in the design and conduct of the study, in the interpretation of data and in the preparation of the manuscript. [ABSTRACT FROM AUTHOR]

Background: Our study aimed to evaluate to what extent Zero2 Expo's 'Birthing a Better Future', a co‐created multimedia exhibition, was effective in raising awareness on the importance of the first 1001 days of life and explore what refinements would help to optimize the impact of future exhibitions. Methods: We conducted a mixed‐methods evaluation of the exhibition delivered in the John Radcliffe Hospital, Oxford. Through convenience sampling, 14 participants were selected to participate in 12 structured interviews and 19 participants completed a questionnaire. Interviews were thematically analysed alongside quantitative analysis of questionnaire responses through Likert scales. Results: The majority (78.6%, n = 11/14) of participants who completed the questionnaire either agreed or strongly agreed that the exhibition raised their awareness about the first 1001 days of life. This was supported by the analysis of interviews. The use of art was found to provoke an emotional engagement from participants. Participants felt that the length of the written pieces and location of the exhibition were important factors for designers to consider in future exhibitions. Conclusion: This study demonstrated that multimedia exhibitions, combining science with art, may be an effective way to raise awareness of public health messages. Engaging with key stakeholders will be an essential step in order to improve future public health exhibitions. Public Contribution: When designing the study, the public reviewed the study tools, which were refined based on their feedback. At every phase of the study, members of the public who are artists co‐created the exhibition content. [ABSTRACT FROM AUTHOR]

This reflective essay explores the role art can play in subsistence marketplaces, focusing particularly on its role in consumer‐entrepreneurship. Using informal field engagement in Mexico, Tanzania, and Native American tribes, in dialogue with the literature, it poses three questions as the basis for a research agenda: How can consumer‐entrepreneurs preserve art and heritage to sustain socioeconomic value? What transformative role does art play in subsistence marketplaces for the consumers and entrepreneurs involved? How can indigenous consumers and entrepreneurs protect their cultural identity and sovereignty through art? Directions for future research include the need to better understand the role of assemblages and intermediaries for artisan consumer‐entrepreneurs, an issue with evident policy implications. As indigenous and near‐indigenous societies seek identity, meaning, and cohesion in a turbulent world, art can preserve, transform, and assert. Special issue on Consumer Affairs in Subsistence Marketplaces [ABSTRACT FROM AUTHOR]