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Whereas multiple national, international, and trial registries for heart failure have been created, international standards for clinical assessment and outcome measurement do not currently exist. The working group’s objective was to facilitate international comparison in heart failure care, using standardized parameters and meaningful patient-centered outcomes for research and quality of care assessments. The International Consortium for Health Outcomes Measurement recruited an international working group of clinical heart failure experts, researchers, and patient representatives to define a standard set of outcomes and risk-adjustment variables. This was designed to document, compare, and ultimately improve patient care outcomes in the heart failure population, with a focus on global feasibility and relevance. The working group employed a Delphi process, patient focus groups, online patient surveys, and multiple systematic publications searches. The process occurred over 10 months, employing 7 international teleconferences. A 17-item set has been established, addressing selected functional, psychosocial, burden of care, and survival outcome domains. These measures were designed to include all patients with heart failure, whether entered at first presentation or subsequent decompensation, excluding cardiogenic shock. Sources include clinician report, administrative data, and validated patient-reported outcome measurement tools: the Kansas City Cardiomyopathy Questionnaire; the Patient Health Questionnaire-2; and the Patient-Reported Outcomes Measurement Information System. Recommended data included those to support risk adjustment and benchmarking across providers and regions. The International Consortium for Health Outcomes Measurement developed a dataset designed to capture, compare, and improve care for heart failure, with feasibility and relevance for patients and clinicians worldwide., Central Illustration, Highlights • ICHOM seeks to help standardize and align outcome measurement efforts globally. • Standardization and alignment of this sort does not exist for heart failure. • The heart failure working group developed a standard set of 17 outcomes to be measured. • ICHOM hopes this standardization effort will increase quality and value in heart failure care.

This chapters compares Stories We Tell (2012) , a documentary by Canadian actor and director, Sarah Polley, with the feminist classic Daughter Rite by Michelle Citron (1979) in order to explore the ways in which it has become possible in recent women’s cinema to reimagine the mother and specifically to represent her desire. Stories We Tell redresses the marginalisation of the mother in the earlier film by attempting both to represent her desire – through the enacted home movies that reveal her mother Diane Polley’s extramarital affair – and to perform it in the making of the film by putting her dead mother’s wishes and ambitions for her family into motion. The mother’s legacy is imagined and enacted not as constraining, in the manner that Freudian and post-Freudian theory suggests, but as inspiring and enabling the creative potential of those she has left behind. Finally, the chapter explores how as an actor Polley also presents a reconceptualisation of the mother figure in My Life Without Me (Isabel Coixet [2003]), a radical reworking of the maternal melodrama.

This article meditates on Glas Journal (2014–16), a participatory cartography project that seeks to reveal how stories, performances and emotional geographies are intertwined with the physicality of the maritime environment of Dun Laoghaire Harbour, Dublin, Ireland. Harbours are often seen as export nodes of a global economy or valued as recreational spaces (for boat docking, fishing, sailing or waterside redevelopment). Yet harbours are not just nodes or instruments in economic and recreational networks. In their continuous movement with cultural change, they are also transactive localities whose structures emerge from numerous crossings, including the inhabitants’ intimate routines, meaning being created through the attachments to the built and natural environment. The diverse social life of the harbour forms a threshold space offering a rich source of constantly becoming information about rituals and buildings, homes and piers, mythological meanings and quantitative measures of the sea. If processes of...

This paper considers how an artwork might play a role in the political, legal and aesthetical ‘working-through’ of historical injustices. With specific reference to Sarah Browne and Jesse Jones’ participatory performance project, The Touching Contract (2016), we consider how traumatic affects from Ireland’s past continue to shape the present. Drawing primarily on the work of Jacques Rancière and Bracha L. Ettinger, we argue that The Touching Contract has the capacity to transform participants’ relation to legal history in two ways. First, by juxtaposing unspoken histories of female bodily vulnerability in relation to law with legal form during an encounter with participatory performance, this art project generates ‘mystery’, producing a productive ‘interval’ (Rancière) between the common sense of legal history and its potential re-calibration. Second, in its production of a relational ‘affectosphere’ (Kinsella), The Touching Contract provokes participants’ capacity to engage with that interval, to be genuinely affected by the transmission of legal history and respond to it in new ways.