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To describe a series of paediatric orbital lymphoma patients in a single tertiary referral centre.A retrospective case-note search in the Oxford Eye Hospital of all patients under the age of 18 years with orbital lymphoma between 2010 and 2020. Demographic and clinical data were obtained, and a literature review was conducted.Five patients were identified with orbital lymphoma, mean age 48.2 ± 36 months (1-109 months), three were males. Clinical presentation included: ptosis, proptosis, lethargy, visual loss, and strabismus. Two patients had bilateral orbital disease and one patient was diagnosed within the first month of life. The tissue diagnosis revealed four cases of Burkitt's lymphoma and one case of T- lymphoblastic lymphoma. Central nervous system (CNS) sampling was also positive in the four cases of Burkitt's lymphoma. All patients were treated systemically for the lymphoma with chemotherapy. Complete remission was achieved in all cases post chemotherapy. Follow-up of 36.4 ± 18.9 months (10-61 months).This is the largest published case series of paediatric orbital lymphoma. We described a patient diagnosed within the first month of life and we believe this to have developed intra-uterine. In this series, patients were younger, had more bilateral disease and had better outcome than previously described. This rare condition should be considered in any child with an orbital mass, at any age. When managed appropriately, good outcomes can be achieved.

Supplementary Data from DIPG Harbors Alterations Targetable by MEK Inhibitors, with Acquired Resistance Mechanisms Overcome by Combinatorial Inhibition

The survival of children with diffuse intrinsic pontine glioma (DIPG) remains dismal, with new treatments desperately needed. In a prospective biopsy-stratified clinical trial, we combined detailed molecular profiling and drug screening in newly established patient-derived models in vitro and in vivo. We identified in vitro sensitivity to MEK inhibitors in DIPGs harboring MAPK pathway alterations, but treatment of patient-derived xenograft models and a patient at relapse failed to elicit a significant response. We generated trametinib-resistant clones in a BRAFG469V model through continuous drug exposure and identified acquired mutations in MEK1/2 with sustained pathway upregulation. These cells showed hallmarks of mesenchymal transition and expression signatures overlapping with inherently trametinib-insensitive patient-derived cells, predicting sensitivity to dasatinib. Combined trametinib and dasatinib showed highly synergistic effects in vitro and on ex vivo brain slices. We highlight the MAPK pathway as a therapeutic target in DIPG and show the importance of parallel resistance modeling and combinatorial treatments for meaningful clinical translation.Significance:We report alterations in the MAPK pathway in DIPGs to confer initial sensitivity to targeted MEK inhibition. We further identify for the first time the mechanism of resistance to single-agent targeted therapy in these tumors and suggest a novel combinatorial treatment strategy to overcome it in the clinic.This article is highlighted in the In This Issue feature, p. 587

We draw on 45 in-depth interviews and a large-scale survey we conducted, to examine loneliness among international students in Sydney and Melbourne within their accommodation. We discuss three feat...

Housing is a major concern for many international students. This is especially so in those countries where students are mostly dependent on the private market for their accommodation. Australia is one such country, and is one of the world's major destinations for international students. This article analyses governmental failure to address problems relating to international student housing affordability and conditions. Using theory on 'policy inaction' to frame the analysis, we draw on 20 interviews with policy stakeholders to explain the Australian government's reliance on: (1) market-based housing provision for international students, and (2) a longstanding policy preference not to provide support. Interviewees were widely critical of the lack of action to address international student housing problems and understood inaction in relation, rather than in opposition, to the dominance of market-based action in housing and higher education. However, analysis of stakeholder perspectives also illuminates how policy-making action benefiting some emerges as inaction for others left behind or overlooked by the status quo. The interview data points to the need for government to overhaul its policy framework, and in doing so, to collaborate with higher education providers in revising the market-based regulatory approach. The main implications for theory and policy are discussed.

Introduction: Wilms’ tumour is the most common childhood renal malignancy, with 5–10% of cases presenting bilaterally 1. However, there is currently no consensus between centres on optimal management of bilateral Wilms’ tumours. This is an international multi-centre case series comparing management and outcomes of bilateral Wilms’ tumours between low-income centres (LIC) and high-income centres (HIC). Methods: Patients with bilateral Wilms' tumour were identified from four tertiary referral centres internationally. Data were collected on baseline characteristics, disease status, treatment used and clinical outcomes. Results were compared between individual centres as well as between groups of low-income centres (LIC) and high-income centres (HIC). Results: Data were collected for forty patients. Most patients received preoperative chemotherapy ( n = 38, 95%). The most common surgical procedures were bilateral nephron-sparing surgery ( n = 10, 25%) and nephrectomy with partial nephrectomy ( n = 20, 50%). Ten-year survival after treatment was as follows: LIC's n = 13 (65%); HIC's n = 20 (100%) ( p = 0.01). Discussion: Ten-year survival was significantly higher in HIC's. Our results show this may be caused by patient factors such as later presentation with more advanced disease in low-income centres. This comparative case series is the first to report on a large number of cases from multiple international centres, and to compare key outcomes.

International students have emerged as a major cohort within Australia’s post-secondary education sector. Despite contributing substantially to the economy and community, they are expected to make their own way in Australia’s expensive private rental market. Drawing on two surveys—one conducted prior to Covid-19 and one fielded during the pandemic—as well as forty semi-structured in-depth interviews, the article examines strategies adopted by students to cope with high rents in Sydney and Melbourne. Drawing on the concept of risk, we argue that international students studying in these two cities must constantly manage the pressures of expensive and unstable rental housing. Access to decent accommodation often depends on finding and maintaining paid employment. Second, students adopt risky strategies to meet housing costs such as sharing bedrooms. These strategies reduce rents but invoke further challenges. Third, we find that due to the loss of paid employment, the Covid-19 pandemic has substantially increased the risks for international students dependent on the private rental sector. © 2021 Informa UK Limited, trading as Taylor & Francis Group.

Ocean warming is increasing the incidence, scale, and severity of global-scale coral bleaching and mortality, culminating in the third global coral bleaching event that occurred during record marine heatwaves of 2014-2017. While local effects of these events have been widely reported, the global implications remain unknown. Analysis of 15,066 reef surveys during 2014-2017 revealed that 80% of surveyed reefs experienced significant coral bleaching and 35% experienced significant coral mortality. The global extent of significant coral bleaching and mortality was assessed by extrapolating results from reef surveys using comprehensive remote-sensing data of regional heat stress. This model predicted that 51% of the world’s coral reefs suffered significant bleaching and 15% significant mortality, surpassing damage from any prior global bleaching event. These observations demonstrate that global warming’s widespread damage to coral reefs is accelerating and underscores the threat anthropogenic climate change poses for the irreversible transformation of these essential ecosystems.

Background Bevacizumab is increasingly used in children with pediatric low-grade glioma (PLGG) despite limited evidence. A nationwide UK service evaluation was conducted to provide larger cohort “real life” safety and efficacy data including functional visual outcomes. Methods Children receiving bevacizumab-based treatments (BBT) for PLGG (2009–2020) from 11 centers were included. Standardized neuro-radiological (RANO-LGG) and visual (logMAR visual acuity) criteria were used to assess clinical–radiological correlation, survival outcomes and multivariate prognostic analysis. Results Eighty-eight children with PLGG received BBT either as 3rd line with irinotecan (85%) or alongside 1st/2nd line chemotherapies (15%). Toxicity was limited and minimal. Partial response (PR, 40%), stable disease (SD, 49%), and progressive disease (PD, 11%) were seen during BBT. However, 65% progressed at 8 months (median) from BBT cessation, leading to a radiology-based 3 yr-progression-free survival (PFS) of 29%. Diencephalic syndrome (P = .03) was associated with adverse PFS. Pre-existing visual morbidity included unilateral (25%) or bilateral (11%) blindness. Improvement (29%) or stabilization (49%) of visual acuity was achieved, more often in patients’ best eyes. Vision deteriorated during BBT in 14 (22%), with 3-year visual-PFS of 53%; more often in patients’ worst eyes. A superior visual outcome (P = .023) was seen in neurofibromatosis type 1-associated optic pathway glioma (OPG). Concordance between visual and radiological responses was 36%; optimized to 48% using only best eye responses. Conclusions BBTs provide effective short-term PLGG control and delay further progression, with a better sustained visual (best > worst eye) than radiological response. Further research could optimize the role of BBT toward a potentially sight-saving strategy in OPG.

Introduction The proliferation of non-fungible tokens has transformed cryptocurrency artefacts into a legitimised art form now considered in mainstream art collecting as an emerging high-yield commodity based on scarcity. As photography was debated “of being art” in the late 19th century, video art in the 1960s, virtual reality in the 1990s, and augmented reality in the 2010s, NFT art is the next medium of artwork tied to emergent cultural forms. From the concept of “introducing scarcity from born-digital assets for the first time ever, NFTs or crypto or digital collectibles, as they are also referred to, have already shown glimpses of their potential'” (Valeonti et al. 1). Yet for NFT art, “numerous misconceptions still exist that are partly caused by the complexity of the technology and partly by the existence of many blockchain variants” (Treiblmaier 2). As the discussion of NFT art is still centred on questions of justifying the legitimacy of the medium and its financial trading, critical analysis outside of these key points is still limited to blogs and online articles as the mainstay of debate. To distance NFTs from a common assumption that they are in some form or another a populous digital fad, cryptocurrencies are intended primarily as currencies, even if they maintain some asset-like properties (Baur et al.). In a broader sense, NFTs have positioned digital art as a collectable staple as “the most common types are collectibles and artworks, objects in virtual worlds, and digitalised characters from sports and other games” (Dowling). As a point of origin "NFTs were originally developed using the Ethereum blockchain, [while] many other blockchain networks now facilitate trade and exchange of NFTs” (Wilson et al.). “Given NFTs link to underlying assets that are unique in some way and cannot be exchanged like for like” (Bowden and Jones), this article will consider how artists respond to this uniqueness, which separates the art as simply trading an artefact on a crypto platform, to instead consider a different approach that attests to legitimising the medium as a conceptual space. The concept of NFTs was first introduced in 2012 with Bitcoin’s “Colored Coins”, which referred to tokens that represent any type of physical asset “such as real estate properties, cars and bonds” (Rosenfeld). To that end, the origins of NFTs, as we know, attach themselves to rarities, much the same as any other luxury trading artefact. But where NFTs differ is, as a system, in the non-fungibility of their agency and, as an artefact, the singularity of their rarity and uniqueness. As an example in art, consider a Van Gogh painting where its rarity sustains its value, as there are only a certain number of Van Gogh paintings in circulation. Thus, the value of a Van Gogh painting in the domain of rarity is determined by its metadata with attention to the verification of the authenticity of the artefact and, among others, its subsequent details of the year it was painted. NFTs work along with the same premise: both the Van Gogh painting’s data and an NFT are non-fungible because they cannot be forged, but the painting is fungible because it can be forged. From here, there are two components to associate with NFT art. The first is the NFT, which is the data of a digital token registered on a blockchain. The second is the artefact associated with the NFT, which we know as NFT art. But the system by which NFTs exists as a blockchain is different from, say, buying shares listed in a stock market. Therefore, to find a conceptuality in NFT art, the idea of an NFT artwork as a singular tradable commodity needs to be rethought as not the artefact per se, but the effect of the condition brought about by a combination of the artefact, the currency, and nature of its transaction system. To think of these key points as an independent singularity dismantles any sense of a conceptual framework by which NFT art can exist beyond its form. As McLoughlin argues, “unlike the commercial gallery business model, NFTs are designed to cut out the need for art dealers, enabling artists to trade directly online, typically via specialist auction sites” (McLoughlin). With regards to the GLAM sector, the conceptuality of this disruption positions both the born-digital artefact and the system of trading of the artefact as inextricably linked together. Yet the way this link is considered, even by galleries and curators alike, invites further attention to see NFT art not as a fad, but as a beginning of an entirely new system of the digital genre. Background From an aesthetics perspective, recent hostility surrounding the acceptance of NFT art within the establishment has predictably taken issue with the low-brow nature of mainstream avatar-oriented NFT art; for example, Bored Ape Yacht Club and Cryptopunks not surprisingly have been at odds with “proper” art. More so, other artists who have used blockchain in their practice, including Kevin McCoy, Mitchel F. Chan, and Rhea Myers, contributed to early crypto art especially in the 2010s to be inclusive of the proliferation of NFT art as a fine arts medium. Yet despite these contributions, the polarising of NFT art within the art world, as Widdington asserts, has accounted for assumptions that NFT art is identified as being of populous kitsch, lowbrow images, where contemporary art is in opposition to the critique it subjectifies itself against. The art establishment’s disdain towards the aesthetics of NFTs is historically predictable. Early NFT art focussed on pop culture references that have significance within the crypto community (Pepe memes, collectible CryptoKitties), and similarly, in the 1980s, Jeff Koons forced the world of “high art” to confront and accept his works rejoicing in pop culture (Michael Jackson, Pink Panther; Widdington). A key point from Widdington’s claim can be attested for other art that came before Postmodernism, linked firmly to artists using identifiers as part of their studio practice. Moreover, the tying of artwork to a non-fungible identifier is not new. Sol LeWitt's Wall Drawing #793B Certificate (LeWitt) compounded his manifesto that “the idea becomes a machine that makes the art” (LeWitt). By adopting the practice that each of his artworks was accompanied by an authenticity certificate, where the identification code forced a fungible asset to be associated with a unique non-fungible asset, it is the ownership of a certificate of authenticity, or a smart contract on the blockchain in the case of an NFT, that makes the artist’s work unique and therein valuable (Widdington). The scarcity of born-digital assets drives demand for collecting NFT art and joins a financial aspect tied to the process of buying and selling crypto assets. This is obviously different from a crypto conceptuality which exists outside the process and thereby manifests in the idea of what intersects the process, and, in the case of NFT artworks, the subject of the image being traded. Just as LeWitt’s certificate of ownership was thought to raise questions about authenticity and uniqueness through abstract thinking, the concept of art derived from NFT art is fundamentally no different. Both use non-fungibility as a condition of their agency to first address what can be copied and what remains as unique. Second, the mechanism of a ledger that, for NFTs, is blockchain and, for a certificate of authenticity, is the assigned number of the unique identifier, regulates scarcity by using a system to define uniqueness. Adopting this manifesto invites a different way to consider NFT art when the main conversation about NFT art in popular journalism or blogging is a narrow discussion either about the legitimacy of NFTs as an authentic financial stock or about the amount of money they transact in collecting the artefacts. One such conceptuality is in the recent NFT artwork of Damien Hirst. NFT Art Damien Hirst’s The Currency “is composed of 10,000 NFTs linked to 10,000 individual spot paintings on paper” (Hawkins) which are inclusive of added security devices within the paper itself to make the physical asset unique. The purchaser can decide if they would like to own the NFT “or ... keep the physical work and relinquish rights to the blockchain-based artwork” (Goldstein). Perspectives of the project, despite the fact that “Hirst has become a renewed critical target in the left and left-liberal media” (White 197) for his NFT project, not to mention being lamented as “Thatcher’s Warhol” (Lemmey), range from indicating “greater fool theory” (Hawkins) to the questioning of a “responsibility to other NFT artists in the market” (Meyohas). However, discussion on the conceptuality created by The Currency, especially its ontology, is muted if not ignored altogether, which this article considers a fundamental oversight in any credible critical assessment of NFT art. Given that Hirst’s artwork has consistently been moulded around conceptual art, whereby the idea of art becomes the artwork not necessarily found in the hand-made aspect of the artefact itself, the idea of The Currency is to question the role and relationship of art and money through an allegory. One might argue that its conceptuality then affords the idea of the artwork being a currency in itself. It speaks to divisibility, just as the cryptocurrency used to purchase the artworks is divisible of its own tender. The disjuncture in this accord is that “NFTs are not currencies themselves, but rather more like records of ownership” (Cornelius 2). The dot paintings on paper are created as unique artefacts where their uniqueness makes them rare, and this uniqueness makes the rarity an increase in financial value. However, subverting this are Hirst’s physical creations, where the legal tender’s conceptuality is manufactured with watermarks, security embeds, and financial markings the same as traded bills. If this perspective is considered a concept, not a digital selling point, then The Currency prompts further debate on how NFT art can, on the one hand, disrupt the way we might think about the financial systems within cryptocurrencies, and on the other hand, fuel debate on how collecting art within traditional markets has been transformed through the emergence of cryptocurrencies. These once excluded forms of money, often thought of as scams, vapourware, and Ponzi schemes from collectable trade, now dwarf digital art auction sales at an exponential margin; see, for example, the recent Christie's sale of Beeple’s NFT art. When dissecting The Currency through a conceptuality, it is important to state that this is not the first time that artists have used currency to conceptualise social questions about money. At a system level, Marcel Duchamp created his work Monte Carlo Bond (Duchamp), which “advertised a series of bonds by which he claimed he would exploit a system he had developed to make money while at the roulette wheel in Monaco” (Russeth). At an artefact level, artist Mark Wagner “deconstructed dollar bills to make portraits of presidents, recreations of famous paintings and other collages” (Ryssdal and Hollenhorst). Most notoriously, “Jens Haaning was loaned 534,000 kroner ($116,106) in cash to recreate his old artworks using the banknotes [but] pocketed the money and sent back blank canvases with a new title: "Take the Money and Run" (ABC News). If anything, The Currency is merely one of many artists' responses in a long history of exploring art and money. Yet the conceptuality of Hirst’s tender lends itself to deploying a conceptual currency system that says more about the money transactions of the art world than it does about the art sold as a financial transaction. More so, a clever subversion by Hirst, whose ongoing thematic produces artworks about mortality, life, and death, places this thematic back on the purchasers of The Currency to decide if they will “kill” the tethered artwork; that is, if they accept the NFT and not the assigned NFT art, the artwork will be destroyed by an act of burning. Hirst’s conceptuality from The Currency forces the consumer to “play God” by deciding which component is destroyed or not, posing the moral question of how we value the immorality of destroying an artwork for the sake of profitability from a born-digital token. The twist at the end is that Hirst melds such a moral choice with “an experiment in the highly irrational economics of collectibles and blockchain technology” (Hawkins). While this article acknowledges that the extreme wealth of Hirst plays a determining factor in how The Currency has been received by the public, one might argue that such polarising opinions are of no value to the critical assessment of The Currency nor the conceptualities of NFT art when determining the mechanical aspects of the artworks. The same invalidation emerged in December 2021, when “a group of Wikipedia editors ... voted not to categorize NFTs as art—at least for now” (Artnews). This standpoint contradicts the New York Times, which referred to Beeple as the “third-highest-selling artist alive” after his Christie’s sale (Artnews). Bowden and Jones provide insight into this kind of hesitation in legitimising NFT art, saying that “the tension between innovation and incumbency also contributes to the scepticism that always surrounds such new technologies” (Bowden and Jones). Another example, Beautiful Thought Coins from Australian artist Shaun Wilson, is made up of 200 digital hand-drawn colour field NFT artworks that are an allegorical investigation into bureaucracy, emotion, and currency. “The project is complete with a virtual exhibition, digital art prints, art book, and a soundtrack of AI hosted podcasts exploring everything from NFTs to chihuahuas” (Lei). As with The Currency, Beautiful Thought Coins approaches a conceptuality about NFT art through its subject, but also in the embodiment of the currency embedded within the NFT digital ecosystem. Not surprisingly, the artwork depicts coins sharing a direct relationship to the roundel paintings of Jasper John and Peter Blake, but instead with the design proportions of the iconic Type C.1 roundels adopted by the Royal Air Force between 1942 and 1947. Merging these similarities between its pop-art heritage and historical references, the allegorical discussion in Beautiful Thought Coins centres around the pretext of bureaucracy that extends to the individual artwork’s metadata. As featured on its OpenSea sales window, each of the coins has substantial metadata that, when expanded to view, reveal a secondary narrative found in the qualities each NFT has linked to its identifier. Once compared with other tokens, these metadata expand into a separate story with the NFT artworks, using fictitious qualities that link directly to the titles of each artwork in the digital collection to describe how each of the coins is feeling. One might argue that in this instance, the linking of metadata narratives to the artworks functions as an ontological framework. Wilson’s coins draw similarly to philosophical questions raised by Cross, who asks “what, exactly, is the ontological status of an NFT in relation to the work linked to it?” (Cross). Likewise, in the exhibition catalogue of Beautiful Thoughts Coins, Church states that the ontology of this series appears to be linked to a conceptuality with more questions than answers about the ‘lifestyle’ bureaucracy attached to NFT art, where the branding of the artwork by a digital token will make you feel better with the promise to also make you potentially wealthy. (Church) When considering the nature of the artwork's divisibility, ontology plays a part in finding a link between its allegory and aesthetic. Given that each image of the roundels is identical, except for the colours that fill each of its four rings, the divisibility of the hue in the subject is likened to the divisibility of the cryptocurrency that purchases NFTs. Conclusion This article has discussed NFT art in the context of its emergent conceptuality. Through assessment of the crypto artwork of Hirst and Wilson, it has proposed a way of thinking about how this conceptuality can remove NFT art from a primary attachment to financial exchange, to instead give rise to considerations of the allegory surmounting both fungible and non-fungible artefacts linked to digital tokens. Both series of works draw allegorical commentary about the nature of currency. Hirst takes a literal approach to manufacture physical artworks as a mock currency linked to minted NFTs to discuss the transactions of money in art. Wilson manufactures digital artworks by creating images of coins linked to minted NFTs to discuss the transactions of AI-generated lifestyle bureaucracy controlling money. The assessment of both series has considered that each artist uses NFT art as modularity to represent their contexts, rather than a singularity lacking in conversation about the ontological implications of the medium. While NFT art is still in its infancy, this article invites a wider conversation about how artists can deploy crypto art in a conceptual space. It is by this factor that the plausibility of meaningful dialogue is active in determining the medium as a legitimised art form. At the same time, it explores the possibilities now and yet to come, to attest to defining a new dynamic art form, already changing the way artists think about their work as both a currency and a conceptual effect. References ABC News. “Danish Artist Takes Payment for Art, Sends Museum Blank Canvasses Titled Take the Money and Run.” 30 Sep. 2021. . ———. “What’s behind the NFT Digital Craze?” 19 Mar. 2021. . Aharon, David Y., and Ender Demir. “NFTs and Asset Class Spillovers: Lessons from the Period around the COVID-19 Pandemic.” Finance Research Letters (Oct. 2021). . Artnews. “Wikipedia Editors Have Voted Not to Classify NFTs as Art, Sparking Outrage in the Crypto Community.” 13 Jan. 2022. . Baur, Dirk. G., Kihoon Hong, and Adrian Lee. “Bitcoin: Medium of Exchange or Speculative Assets?” Journal of International Financial Markets, Institutions and Money 54 (2018): 117-89. Bowden, James, and Edward Thomas Jones. “NFTs Are Much Bigger than an Art Fad—Here’s How They Could Change the World.” The Conversation. 26 Apr. 2021. . Church, Doug. Minting Conceptuality: Beautiful Thought Coins, GBiennale, 2022. . The Conversation. “Damien Hirst Melds Art and NFT to Mess with Blockchain Investors.” 1 Sep. 2021. . Cross, Anthony. “Beeple and Nothingness: Philosophy and NFTS.” Aestheticsforbirds, 18 Mar. 2021. . Dowling, Michael. “Is Non-Fungible Token Pricing Driven by Cryptocurrencies?” Finance Research Letters 44 (Apr. 2021). . Goldstein, Caroline. “Damien Hirst’s NFT Initiative, Which Asks Buyers to Choose Between a Digital Token and IRL Art, Has Already Generated $25 Million.” Artnews 25 Aug. 2021. . Hirst, Damien 2021. “The Currency.” HENI. . Hawkins, John. “Damien Hirst’s Dotty ‘Currency’ Art Makes as Much Sense as Bitcoin.” The Conversation 31 Aug. 2021. . Lei, Celina. “Future of NFTs Depends on ‘Who’, Not ‘What’.” Arts Hub 9 Feb. 2022. . Lemmey, Hue. “Thatcher's Warhol: Damien Hirst.” Verso 12 Mar. 2012. . LeWitt, Sol. “Paragraphs on Conceptual Art – Sol LeWitt.” Art Forum 5.10 (1967): 87. Meyohas, Sarah. “Damien Hirst’s ‘The Currency’ Is Just Like Money, But Is It Good Art?” Coindesk 15 Sep. 2021. . McLoughlin, Rosana. “I Went from Having to Borrow Money to Making $4m in a Day’: How NFTs Are Shaking Up the Art World.” The Guardian 6 Nov. 2021. . Price, Seth, and Michelle Kuo. “What NFTs Mean for Contemporary Art.” The Museum of Modern Art Magazine 29 Apr. 2021. . Rosenfeld, Meni. “Overview of Colored Coins.” 4 Dec. 2012. . Ryssdal, Kai, and Maria Hollenhorst. “This Artist Cuts Up Cash and Uses It for Collage.” 7 Apr. 2020. . Russeth, Andrew. “Hard Cash: A History of Artists Using Money as a Metaphor – and a Medium in Their Work.” Artnews 24 Mar. 2020. . Samarbakhsh, Laleh. “What Are NFTs and Why Are People Paying Millions for Them?” The Conversation 24 Mar. 2021. . Treiblmaier, Horst. “Beyond Blockchain: How Tokens Trigger the Internet of Value and What Marketing Researchers Need to Know about Them.” Journal of Marketing Communications 22 Nov. 2021. . Valeonti, Foteini, Antonis Bikakis, Melissa Terras, Chris Speed, Andrew Hudson-Smith, and Konstantinos Chalkias. “Crypto Collectibles, Museum Funding and OpenGLAM: Challenges, Opportunities and the Potential of Non-Fungible Tokens (NFTs).” Applied Sciences 21.11 (2021). . White, Luke. “Flogging a Dead Hirst?” Events, Journal of Visual Culture 12.1 (2013): 195-199. Widdington, Richard. “NFTs as Conceptual Art? Why Not, Says MCA Denver.” Jing Culture & Commerce 27 Apr. 2021. . Wilson, Kathleen Bridget, Adam Karg, and Hadi Ghaderi. “Prospecting Non-Fungible Tokens in the Digital Economy: Stakeholders and Ecosystem, Risk and Opportunity.” Science Direct Oct. 2021. . Wilson, Shaun. “Beautiful Thought Coins.” Open Sea 2022. .

ObjectivesPaediatric cancer is a leading cause of death for children. Children in low-income and middle-income countries (LMICs) were four times more likely to die than children in high-income countries (HICs). This study aimed to test the hypothesis that the COVID-19 pandemic had affected the delivery of healthcare services worldwide, and exacerbated the disparity in paediatric cancer outcomes between LMICs and HICs.DesignA multicentre, international, collaborative cohort study.Setting91 hospitals and cancer centres in 39 countries providing cancer treatment to paediatric patients between March and December 2020.ParticipantsPatients were included if they were under the age of 18 years, and newly diagnosed with or undergoing active cancer treatment for Acute lymphoblastic leukaemia, non-Hodgkin’s lymphoma, Hodgkin lymphoma, Wilms’ tumour, sarcoma, retinoblastoma, gliomas, medulloblastomas or neuroblastomas, in keeping with the WHO Global Initiative for Childhood Cancer.Main outcome measureAll-cause mortality at 30 days and 90 days.Results1660 patients were recruited. 219 children had changes to their treatment due to the pandemic. Patients in LMICs were primarily affected (n=182/219, 83.1%). Relative to patients with paediatric cancer in HICs, patients with paediatric cancer in LMICs had 12.1 (95% CI 2.93 to 50.3) and 7.9 (95% CI 3.2 to 19.7) times the odds of death at 30 days and 90 days, respectively, after presentation during the COVID-19 pandemic (pConclusionsThe COVID-19 pandemic has affected paediatric oncology service provision. It has disproportionately affected patients in LMICs, highlighting and compounding existing disparities in healthcare systems globally that need addressing urgently. However, many patients with paediatric cancer continued to receive their normal standard of care. This speaks to the adaptability and resilience of healthcare systems and healthcare workers globally.

Febrile neutropenia (FN) is a common and dangerous consequence of myelosuppressive chemotherapy but can occur as part of the disease processes. Bacterial bloodstream infection is the most commonly diagnosed cause of febrile neutropenia, with Gram-positive organisms most frequently isolated. However, Gram-negative organisms are becoming more prevalent, with a worrying trend towards resistant organisms. When FN is prolonged, lasting for more than 5 days, there is an increased risk of invasive fungal infections. Prompt recognition, diagnosis and initiation of treatment with broad-spectrum antibiotics are essential to avoid complications and prevent rapid progression to sepsis and possible death. This short article summarises the definition, causes, pathogenesis, applied physiology and management of FN in children.

IntroductionChildhood cancer is a leading cause of death. It is unclear whether the COVID-19 pandemic has impacted childhood cancer mortality. In this study, we aimed to establish all-cause mortality rates for childhood cancers during the COVID-19 pandemic and determine the factors associated with mortality.MethodsProspective cohort study in 109 institutions in 41 countries. Inclusion criteria: children ResultsAll-cause mortality was 3.4% (n=71/2084) at 30-day follow-up, 5.7% (n=113/1969) at 90-day follow-up and 13.0% (n=206/1581) at 12-month follow-up. The median time from diagnosis to multidisciplinary team (MDT) plan was longest in low-income countries (7 days, IQR 3–11). Multivariable analysis revealed several factors associated with 12-month mortality, including low-income (OR 6.99 (95% CI 2.49 to 19.68); pConclusionsChildren with cancer are more likely to die within 30 days if infected with SARS-CoV-2. However, timely treatment reduced odds of death. This report provides crucial information to balance the benefits of providing anticancer therapy against the risks of SARS-CoV-2 infection in children with cancer.

There is mounting evidence of increased international student financial and work precarity over the last decade in Australia. Yet, there has been a little scholarly analysis of which students are most affected by precarity and its sources. Drawing on two surveys of international students in Australia's two largest cities, conducted before and during the pandemic, we investigate the financial and work vulnerabilities of international students. We demonstrate that vulnerability is related to characteristics which describe particular cohorts of students: being from low-income countries, working class families, seeking a low-level qualification, enrolled in a non-university institution, and being without a scholarship. The concepts of “noncitizenship” and “work precarity” are used to explain how the mechanisms of each characteristic heighten vulnerability, thereby contributing to a broader evidence-base about the causality of international student precarity.

The survival of children with diffuse intrinsic pontine glioma (DIPG) remains dismal, with new treatments desperately needed. In a prospective biopsy-stratified clinical trial, we combined detailed molecular profiling and drug screening in newly established patient-derived models in vitro and in vivo. We identified in vitro sensitivity to MEK inhibitors in DIPGs harboring MAPK pathway alterations, but treatment of patient-derived xenograft models and a patient at relapse failed to elicit a significant response. We generated trametinib-resistant clones in a BRAFG469V model through continuous drug exposure and identified acquired mutations in MEK1/2 with sustained pathway upregulation. These cells showed hallmarks of mesenchymal transition and expression signatures overlapping with inherently trametinib-insensitive patient-derived cells, predicting sensitivity to dasatinib. Combined trametinib and dasatinib showed highly synergistic effects in vitro and on ex vivo brain slices. We highlight the MAPK pathway as a therapeutic target in DIPG and show the importance of parallel resistance modeling and combinatorial treatments for meaningful clinical translation. Significance: We report alterations in the MAPK pathway in DIPGs to confer initial sensitivity to targeted MEK inhibition. We further identify for the first time the mechanism of resistance to single-agent targeted therapy in these tumors and suggest a novel combinatorial treatment strategy to overcome it in the clinic. This article is highlighted in the In This Issue feature, p. 587

In February 2021, during the third COVID-19 lockdown in the state of Victoria, Australia, artist Shaun Wilson used the teleconferencing platforms Teams and Skype to create a slow cinema feature length artwork titled Fading Light to demonstrate how innovative creative practice can overcome barriers of distance experienced by creative practitioners from the limitations sustained during the COVID-19 pandemic. While these production techniques offer free access to develop new methodologies through practice, the wider scope of pandemic lockdowns mediated artists with teleconferencing as a tool to interrogate the nature of life during our various global lockdowns. It thus afforded a pioneering ability for artists to manufacture artwork about lockdowns whilst in lockdown, made from the tools commonly used for virtual communication. The significance of such opportunities, as this article will argue, demonstrates a novel approach to making artwork about COVID-19 in ways that were limited prior to the start of 2020 in terms of commonality, that now are “turning us all into broadcasters, streamers and filmmakers” (Sullivan). However, as we are only just becoming familiar with the cultural innovation pioneered from the limitations brought about by the pandemic, new aesthetics are emerging that challenge normative traditions of manufacturing and thinking about creative artefacts. Teleconferencing platforms were used differently prior to 2020 when compared to the current pandemic era. Throughout the 2000s and 2010s, there were no global gigascale movement restrictions or medical dangers to warrant a global shutdown that would ultimately determine how a person interacts with public places. In a pre-pandemic context, the daily use of teleconferencing was a luxury. Its subsequent use in the COVID-19 era became a necessity in many parts of day-to-day life. As artists have historically been able to comment through their work on global health crises, how has contemporary art responded since 2020 in using teleconferencing within critical studio practice? To explore such an idea, this article will probe examples of practice from artists making artworks with teleconferencing about pandemics during the COVID-19 pandemic. Discussion will purposely not consider a wider historical scope of teleconferencing in art and scholarship as the context in this article explicitly addresses art made in and commenting on the COVID-19 pandemic using the tools of lockdown readily available through teleconferencing platforms. It will instead concentrate on three artists addressing the pandemic during 2020 and 2021. The first example will be There Is No Such Thing as Internet from Polish artists Maria Magdalena Kozlowska and Maria Tobola, “performers who identify as one artist, Maria Małpecki” (“Pogo”). The second example is New York artist Michael Mandiberg’s Uncle Bob 85th Birthday via Zoom 3:00-4:00PM, August 16, 2020 (#24), from the series Zoom Paintings. The third example is Australian artist Shaun Wilson’s Fading Light. These works will be discussed as a means of considering teleconferencing as a contemporary art medium used in response to COVID-19 and art made as pandemic commentary through the technology that has defined its global social integration. Figure 1: Maria Małpecki, There Is No Such Thing as Internet, used with permission. There Is No Such Thing as Internet was presented as a live stream on 7 May 2020 and as an online video between 7-31 May 2020 in the “Online Cocktail Party with Maria Małpecki” at Pogo Bar, KW Institute for Contemporary Art, Berlin by Maria Małpecki and curator Tomek Pawlowski Jarmolajew (“Pogo”). The work represents a twenty-minute livestream essay created in part by a teleconferencing video call performance and appropriated video streams. This includes video chat examples from Chomsky and Žižek, compiled together through intertextual video collages which The Calvert Journal described as a work “that explore[s] identity and different modes of communication in times of isolation” (De La Torre). One of the key strengths of this work in terms of teleconferencing is how it embraces the medium as an integral part of the performative methodology. To such an extent, one might argue that if it was removed and replaced by traditional video camera shots, which do feature in the video but are not the main aesthetic driver, the Metamodernist troupe of Małpecki’s videos would not perform the same critique of the pandemic. So, for Małpecki to comment on isolation through the Internet requires video calls to be central in the artwork in order for it to hold the cultural value it embeds through the subject. The conceptual framework relies on short segments to create episodic moments reliant on philosophical laments relating to each part of the work. For example, the first act unfolds with a montage of short video clip collages reminiscent of the quick-clip YouTube browsing habit culture from the pandemic to expedite an argument that indeed, there really is no singular internet. Rather, from this, what we are experiencing is arguably something else entirely. From here we move to the second act titled “We wake up in a different room every morning. We wander in a labyrinth where most doors are already open” (Małpecki); but as Małpecki comments, “sometimes our job is to shut them”. The sequence evolves into a disorientating dual screen sequence of the artists panicking to what they are viewing on screen. What this is exactly remains unclear. It may be us as the audience or something else as Malpecki holds their webcam devices upside down to provide an unnerving menage amidst the screams and exacerbations that invites spatial disorientation as a point of engagement for the viewer. As we recognise that video call protocols during the pandemic are visually static and that normative ‘rules’ of video calls require stabilised video and clean sound, Małpecki subverts these protocols to that of an uncomfortable, anarchic performance. It's at odds with the gentility of video call aesthetics which, in the case of this artwork, is more like watching a continuous point of view shot from a participant on a roller coaster or an extreme fairground ride. As the audience moves through each of the eclectic acts, this randomness laments a continuity that, sometimes satirical and at other times sublime, infuses the silliness and obliqueness of habitual lockdown video viewing. Even the most mundane of videos we watch to pass the time have become anthems of the COVID-19 era as a mixture of boredom, stupidity, and collective grief. Małpecki’s work in this regard becomes a complex observation for a society in crisis. It eloquently uses video calls as a way to comment on what this article argues to be an important cultural artefact in contemporary art’s response to COVID-19. Just as Goya subverted the Venetian pandemic in the grim Plague Hospital, Małpecki reflects our era in the same disruptive way by using frailty as a mirror to reveal an uneasy reflection masked in satirical obscurity, layered with fragments of the Internet and its subjective “other”. Figure 2: Michael Mandiberg, Uncle Bob 85th Birthday via Zoom 3:00-4:00PM, August 16, 2020 (#24), used with permission. Conversely, the work of New York artist Michael Mandiberg uses teleconferencing in a different way by painting the background of video calls onto stretched canvases mostly over the duration of the actual call time. Yet in doing so, the removal of people from inside the frame highlights aspects of isolation and absence in lockdown. At the Denny Dinin Gallery exhibition in New York, The Zoom Paintings “presented in the digital sphere where they were born” (Defoe). Zoom provided both the frame and the exhibition space for these works, with “one painting … on view each day [on Zoom], for a total of ten paintings” (“Zoom”). Describing the works, Mandiberg states that they are “about the interchangeability of people and places. It’s not memorializing a particular event; it’s memorializing how unmemorable it is” (Mandiberg; Defoe). This defines an innovative approach to teleconferencing that engages with place in times when the same kinds of absence experienced in the images of peopleless Zoom video calls mirror the external absence of people in public places during lockdown. Uncle Bob 85th Birthday via Zoom 3:00-4:00PM, August 16, 2020 (#24) is time stamped with the diaristic nature of the Zoom Paintings series. These works are not just a set of painting subjects interlinked through a common theme of paintings ‘about Zoom backgrounds’. They, rather, operate as a complex depiction of absence located in the pandemic, evidently capturing a powerful social commentary about what the artist experienced during these times. In doing so, it immediately prompts the viewer into tensions that conceptually frame COVID-19, whether that be the isolation of waiting out the pandemic in lockdown, the removal of characters through illness from the virus, or even a sudden death from the virus itself. The camera’s point of view illustrates an empty space where we know something is missing. At the very least the artist suggests that someone nearby once inhabited these empty spaces but they are, at present, removed from the scene or have vanished altogether. On 16 August 2020, the day that the painting was made, the New York Times estimated that 514 people in the United States died from COVID-19 (“Coronavirus”). When measured against a further death rate peaking at 5,463 people in the United States who died on 11 February 2021, the catastrophic mortality data in the United States alone statistically supports Mandiberg’s lament as to the severity of the pandemic, which serves as the context of his work. Based on this data alone, the absence in Mandiberg’s paintings intensifies a sense of isolation and loss insofar as the subjectivity embedded within the video call frame speaks to a powerful way that contemporary art is providing commentary during the pandemic (“Coronavirus”). Art in this context becomes a silent observer using teleconferencing to address both what is taken away from us and what visually remains behind. This article acknowledges the absence in Mandiberg’s paintings as a timely reminder of the socio-devastation experienced in the pandemic’s wake. Therein lies a three-folded image within an image within an image, not unlike what we see in Blade Runner when Deckard’s Esper Machine investigates the reflection in a mirror of someone else, and no more vivid than in Van Eyck’s Arnolfini Portrait. From a structural point of view, we witness Mandiberg’s images during its exhibition on Zoom in much the same conceptual way. In this case though, it is a mirrored online image of an image painted from a video call interpreted online from a recorded image transmitted online through teleconferencing. Through similar transactions, Shaun Wilson’s utilisation of video calls is represented in Fading Light as a way to comment on COVID-19 through the lens of Teams and Skype. The similarities of Fading Light to There Is No Such Thing as Internet stem obviously from the study of figuration used as the driver of the works but at the same time, it also draws comparison with Mandiberg’s stillness as represented in the frozen poses of each figure. At a more complex level, there is, though, a polar opposite in the mechanics that, for Mandiberg, uses video to translate into painted subjects. Fading Light does the opposite, with paintings recontextualised into video subjects. Such an analysis of both works brings about a sense of trepidation. For Mandiberg, it is the unsettling stillness through absence. In Fading Light it is the oppressive state of the motionlessness in frame that offers the same sense of awkwardness found in Mandiberg’s distorted painted laptop angles, and that makes the same kind of uncomfortableness bearable. It is only as much as an audience affords the time to allow before the loneliness of the subject renders the Zoom paintings a memorial to what is lost. Of note in Fading Light are the characteristically uncomfortable traits of what we detect should be in the frame of the subject but isn’t, which lends a tension to the viewer who has involuntarily been deprived of what is to be expected. For a modern Internet audience, a video without movement invites a combination of tension, boredom, and annoyance, drawing parallels to Hitchcock’s premise that something has just happened but we’re not entirely sure exactly what it was or is. Likewise, Małpecki’s same juxtaposition of tension with glimpses of Chomsky and Žižek videos talking over each other is joined by the artists’ breaking the fourth wall of cinema theory. Observing the artists lose concentration while watching the other videos in the video call scenario enact the mundane activities we encounter in the same kinds of situations of watching someone else on Zoom. However, in this context, we are watching them watching someone else whom we are also watching, while watching ourselves at the same time. Figure 3: Shaun Wilson, Fading Light, used with permission. The poses in Fading Light are reconfigured from characters in German medieval paintings and low relief religious iconography created during the Black Death era. Such works hang in the Gothic St. Michael’s Church in Schwäbisch Hall in Germany originally used by Martin Luther as his Southern Germany outpost during the Reformation. Wilson documented these paintings in October 2006, which then became the ongoing source images used in the 51 Paintings Suite films. The church itself has a strong connection to pandemics where a large glass floor plate behind the altar reveals an open ossuary of people who died of plague during the Black Death. This association brings an empirical linkage to the agency in Fading Light that mediates the second handed nature of the image, initially painted during a medieval pandemic, and now juxtaposed into the video frame captured in a current pandemic. From a conceptual standpoint, the critical analysis reflected in such a framework allows the artwork to reveal itself at a multi-level perspective, operating within a Metamodernist methodology. Two separate elements oscillate in tandem with one another, yet completely independent, or in this case, impervious to each other’s affect. Fading Light’s key affordance from this oscillation consolidate Wilson’s methodology in the artwork in as much detail as what Małpecki and Mandiberg construct in their respective works, yet obviously for very different motivations. If the basis of making video art in the pandemic using teleconferencing changes the way we might think about using these platforms, which otherwise may not have previously been taken serious by the academy as a valid medium in art, then the quiet meaningfulness throughout the film transcends a structured method to ascertain a pictorial presence of the image in its facsimile state. This pays respect to the source images but also embraces and overlays the narrative of the current pandemic intertwined within the subject. Given that Fading Light allows a ubiquitous dialogue to grow from the framed image, a subjective commonality in these mentioned works provide insight into how artists have engaged innovation strategies with teleconferencing to develop artwork made and commenting about the current pandemic. Whether it be Małpecki’s subversive pandemic variety show, the loneliness of Mandiberg’s Zoom call paintings or Wilson’s refilming of Black Death era paintings, all three artists use video call platforms as a contemporary art medium capable of social commentary during histo-trauma. These works also raise the possibility of interdisciplinary Metamodernist approaches to consider the implications of non-traditional mediums in offering socio-commentary during profoundly impactful times. It remains to be seen if contemporary video call platforms will become a frequented tool in contemporary art long after the COVID-19 pandemic is over. However, by these works and indeed, from the others to follow and not yet revealed, the current ossuary provides an opportunity for artists to respond to their own immediate surroundings to redefine existing boundaries in art and look to innovation in the methods they use. We are in a new era of art making, only now beginning to reveal itself. It may take years or even decades to better understand the magnitude of the significance that artists have contributed towards their own practices since the beginnings of the pandemic. This time of profound change only strengthens the need for contemporary art to preserve and enlighten humanity through the journey from crisis to hope. References Blade Runner. Dir. by Ridley Scott, Warner Brothers, 1982. “Coronavirus US Cases.” New York Times, 27 Mar. 2021. 28 Mar. 2021 . Defoe, Taylor. “‘It's Memorializing How Unmemorable It Is’: Artist Michael Mandiberg on Painting Melancholy Portraits on Zoom.” Artnet News 10 Nov. 2020. 19 Mar. 2021 . De La Torre, Lucia. “Art in the Age of Zoom: Explore the Video Art Collage Unraveling the Complexities of the Digital Age.” The Culvert Journal, 5 May 2020. 19 Mar. 2021 . Goya, Francisco. Plaga Hospital. Private Collection. 1800. Małpecki, Maria. There Is No Such Thing as Internet. Vimeo, 2020. . Mandiberg, Michael. Uncle Bob 85th Birthday via Zoom 3:00-4:00PM, August 16, 2020 (#24). New York: Denny Dinin Gallery, 2020. “Pogo Bar: Maria Małpecki & Tomek Pawłowski Jarmołajew.” KW Institute for Contemporary Art, 7 May 2020. 19 Mar. 2021 . Sullivan, Eve. “Video Art during and after the Pandemic: 2020 Limestone Coast Video Art Festival.” Artlink, 2020. 19 Mar. 2021 . Van Eyck, Jan. Arnolfini Portrait. Canberra: National Gallery, 1434. Wilson, Shaun. Fading Light. Bakers Road Entertainment, 2021. “The Zoom Paintings.” Denny Dimin Gallery, 12 Nov. 2020. .

The Conclusion makes the case for a living wage welfare state, building on the analysis, evidence, and argument of the previous chapters. It distinguishes a minimal reform strategy based on narrow improvements in the wage floor from a broader reform program aimed at building living wage foundations that are realistic and suitable to the structures, power resources, and institutions of liberal welfare states. In doing so, it makes a distinction between conservative-liberal, social-liberal, and living wages models for transforming liberal welfare and employment structures to reduce inequalities and improve working class lives. At the same time, the book strongly endorses a greater role for social scientists in debates and research about low wage workers and encourages social policy analysts to re-engage with the emerging situation in overextended and liberalised labour markets.

This chapter is the first of two chapters that present the most important foundations for later analysis of contemporary minimum wage politics and policy. It begins with an overview of the typical occupational and employment profiles associated with minimum and low-wage workforces and then presents cross-country social survey data on the attitudes and experiences of low-wage workers in the English-speaking welfare states. Findings are clear: minimum and low-wage workers exemplify broader social and gender inequalities but workers express commitment to their work and a clear preference and need for higher pay. The chapter ends with a presentation of the basic architecture of minimum wage determination across the six liberal countries that are central to the analysis contained in this book.

The Introductory chapter begins with the claim that renewed pressure for higher minimum or living wages has special significance for the Anglo-American social model. The English-speaking liberal welfare states have assertively pushed ‘work first’ social policy through hard-line welfare reform, particularly in Australia, the UK, and US, and the consequence is renewed emphasis on improving low-wage employment as a path to ameliorating inequality. The Introduction further establishes that arguments for living wages go beyond union demands and claims made by socialists—liberals and conservatives have cause to support wage justice. At the same time, living wage movements offer practical beginning points for a major challenge to increasing inequality and should be seen as the most significant alternative redistributive project to the basic income.

For decades, economists have told policymakers about the inevitable employment losses from higher minimum wages. Intense debate is traced back to Roosevelt’s reforms and counter-assertions by economists Stigler and Friedman about the disastrous impact of wage regulation. The chapter argues that a ‘policy monopoly’ of low minimum wages formed, one reinforced by fears about globalisation and technology. Liberals and social liberals approached the poverty consequences of low wages through social policy designed around negative income tax ideas associated with Friedman. The policy monopoly has, however, been weakened by improved evidence arising from the economics profession itself, which, in turn, has emboldened activists and policymakers to lift workers’ wages. But debate and conflict over living wage reforms will almost certainly continue in the turbulent 2020s.

Living Wages and the Welfare State documents and analyses a key transition now underway in the Anglo-American social model. Although minimum wages are increasing across the world, recent mobilisations for living wages represents a major challenge to the policy consensus of the Anglo-American model in place now for several decades. That consensus promoted adjustments to globalisation and technology by promoting a lean workfare model, maximising dependence on deregulated private labour markets held in place by low minimum wage floors. Growing problems with poor employment quality and low pay, combined with mean and over-policed systems of social protection, have created new pressures on institutions governing the social aspects of employment. Worker activism and a broad net of progressive policymakers have been energised by the broad popular appeal popularity of living wage claims. These reforms have been bolstered by a new political economy of labour markets casting doubt on over-confident claims of inevitable job losses from wage justice for low wage workers. At the same time, major pressure on social protection systems transformed by workfare and mean benefits have forced justice claims into the sphere of low-wage employment. In defending the value of higher and universal minimum wage floors, this book is wary of the limits of minimum wage reforms and explores how the liberal model might be realistically converted into a living wage welfare state. The author argues that living wages represents a realistic and popular platform for beginning a long struggle against rising inequality and disrespect for workers.

This chapter addresses the other side of the struggle for decent minimum or living wages—those changing patterns in living costs and work organisation that are putting pressure on working families. Significantly improved minimum hourly wages cannot fully compensate for very high living costs—especially housing-related costs and insecurities—or highly insecure work and systematic underpayment of workers’ wages. Nor can they fully compensate poor workers for the promotion of workfare social policies that maximise dependence on private labour markets. The living wages movement is making a difference to working poverty, but it becomes clear that a broader living wages compact involving public investment in housing and protections at work are necessary to sustain genuine improvements. The chapter ends with further consideration of what factors drove the early 20th century push for minimum wages, uncovering parallels and discontinuities with the present struggle. Union weakness in low-wage sectors, the absence of effective social protection, and major gender inequalities are points of continuity.

Mild optimism emerging around the living wage movement does not mean an absence of challenges and debates about a justice strategy built around protecting low-wage workers. Some lack confidence in a living wage movement because of threats and challenges facing low wage employment. This chapter discusses three of these in turn—threats of automation, non-enforceability of high minimums in an era of wage theft and work fragmentation, and the superior anti-poverty potential of basic income. Fears of automation understate the likely continuation of employment growth. Enforcement of higher minimum wage and better standards for low-wage employment are both realistic goals for regulation. And, finally, basic income in the liberal world is more likely to have partial coverage and low replacement rates—and fail to deal with ongoing dependence on low-wage employment for many.

This chapter takes on the central task of the book, explaining the renewed push for high minimum wages in the liberal countries. It begins by showing that, contrary to claims of superiority of the employment performance of the liberal model, the English-speaking democracies have relatively poor achievements in employment that relate to the limited power resources of the labour movement and wage-earner institutions of that cluster. These structural weaknesses, combined with the weakened policy monopoly discussed previously, have provided impetus to worker activism (i.e. Fight for 15 in the US) and legislative victories in NZ, the UK, and the US aimed at ‘living wage’ minimums. The chapter accounts for why reforms have taken the direction they have: the re-activation of union-party alliances, bolder legislatures, and redistributive opportunities shrunk by austerity.

INTRODUCTION: Bevacizumab/Irinotecan is currently 3rd-line treatment in the UK for progressive Paediatric Low-Grade Glioma (PLGG) based on limited evidence. A nationwide service evaluation was conducted to review its safety and efficacy amongst a larger cohort. METHODS: Data from children with PLGG receiving Bevacizumab-based Treatments (BBT) from 11 UK Centres (2009-2020) were reviewed. Radiological and visual outcomes were based on standardized measurements. Clinical-radiological correlation was investigated. Time to progression from BBT stop, progression free-survival (PFS) curves and multivariate analysis of prognostic factors (p 0.05) were performed. RESULTS: 88 children with PLGG (88% OPG, 24% NF1) had BBT for radiological (43%), visual (20%) or combined (27%) progression, after 40 months (median) from diagnosis. Amongst OPG cases, visual acuity (VA) per eye (better/worse) before BBT was logMAR 0.0-0.3 (23/7) 0.3 - 1.0 (27/20), > 1.0 (14/18) and LP/NLP (8/27), with 19/8 children respectively blind (LP/NLP) in one or both eyes. Bevacizumab 10 mg/kg every 14 days (median 24 doses) was given as 3rd line+ with Irinotecan (85%) or alongside 1st/2nd line chemo (15%) leading to remarkable radiological (88%) and visual (74%) responses (stable or improved) within 3-6 months, with limited toxicity. 12% progressed on treatment, and 8% died unrelated to BBT. After initial response 65% progressed at a median of 8 months (4 - 23) after BBT, resulting in 3-year-all-causes-PFS of 16% and 3-yr-visual-PFS of 45% from start of BBT. Visual concordance with MRI was poor (36%) but increases (47%) when better-eye determines visual outcome. Lack of NF1 and diencephalic syndrome (DS) at presentation were independent negative prognostic factors for PFS. CONCLUSIONS: A remarkable but transient effect of BBT has been confirmed. Visual > radiological responses can be sustained after BBT. Variations in current BBT strategies justifies further research, including the potential upfront use alongside conventional first-line chemotherapy as sight-saving strategy.

Nodular fasciitis (NF) is a subcutaneous, nodular, pseudo-sarcomatous, fibroblastic proliferation. It is rarely reported in the periorbital region and the management approach is variable.Presented is an eight-year-old female with a three month history of a periorbital mass. Incisional biopsy histologically confirmed nodular fasciitis with a unique gene translocation. The lesion was treated primarily with one intra-lesional injection of triamcinolone acetonide. Four months post-injection, the lesion resolved completely. No recurrence was seen at 12-months follow-up post-injection. No side effects were noted.To our knowledge. this is the first reported use of intra-lesional triamcinolone acetonide as a first-line treatment in periorbital NF. We found this to be a safe and effective treatment, which can obviate the need for surgical excision in a cosmetically sensitive region.

To present a case of aggressive sacral osteoblastoma (OB) treated with neoadjuvant denosumab therapy and en bloc resection. Case report of a 14-year-old male with an aggressive OB affecting the superior articular process of the left first sacral segment. The lesion was lytic and metabolically active and involved the left-sided posterior elements of S1–S3 with extension into the spinal canal, affecting the left S1, S2, S3, S4 and S5 nerve roots. He was treated for 1 month with neoadjuvant denosumab followed by en bloc resection. Denosumab therapy caused regression of the tumour and converted the diffuse infiltrative mass into a well-defined solid (osteoma-like) structure, aiding surgical resection and preserving the S1, S4 and S5 nerve roots. Histologically, the treated lesion showed abundant sclerotic woven bone and osteoblasts with absence of osteoclasts. A short course of denosumab caused tumour regression, ossification and conversion of an aggressive OB into a sclerotic, well-defined lesion thus aiding surgical resection and preservation of neural structures. Neoadjuvant therapy reduced osteoclast numbers but PET showed that the lesion remained FDG avid post-therapy.