Why has the Jewish-Romanian identity of the Dadaists Tristan Tzara, Marcel Janco, and Arthur Segal been overlooked or critically unexamined in art historical discourse? Until recently, this significant and complicated identity warranted a brief mention
in biographical and Dada studies, such as in ...
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Why has the Jewish-Romanian identity of the Dadaists Tristan Tzara, Marcel Janco, and Arthur Segal been overlooked or critically unexamined in art historical discourse? Until recently, this significant and complicated identity warranted a brief mention
in biographical and Dada studies, such as in those of Robert Motherwell (1951), George Hugnet (1971) Harry Seiwert (1996)
and François Buot (2002), which gave prominence to the three Dadaists’ ties to Switzerland, France, Germany. Romania, their
country of birth, was mentioned briefly to indicate the international character of the Dada movement in Zurich, for besides the
Romanians, the Dada group comprised of artists from Germany, Russia, Sweden, and France, among them, the main contributors
Hugo Ball, Emmy Hennings, Richard Huelsenbeck, Hans Richter, Hans Arp, and Sophie Taeuber-Arp. Their country of origin was
also used in the description of Zurich and its international, intellectual scene during the war. Their Jewish upbringing and religious and cultural affiliation are even less acknowledged.
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Posted 11 months ago
Thomas Joshua Pasvol,
Thomas Joshua Pasvol
Institution: The Research Department of Primary Care and Population Health, University College London,
Email: thomas.pasvol@nhs.net
E Anne Macgregor,
E Anne Macgregor
Institution: Centre for Reproductive Medicine, Barts and the London School of Medicine and Dentistry Centre for Neuroscience and Trauma,
Email: thomas.pasvol@nhs.net
Greta Rait,
Greta Rait
Institution: The Research Department of Primary Care and Population Health, University College London,
Email: thomas.pasvol@nhs.net
Laura Horsfall
Laura Horsfall
Institution: The Research Department of Primary Care and Population Health, University College London,
Email: thomas.pasvol@nhs.net
Background Over the last 20 years, new contraceptive methods became available and incentives to increase contraceptive uptake were introduced. We aimed to describe temporal trends in non-barrier contraceptive prescribing in UK primary care for the period 2000–2018.
Methods A repeated cross-sect...
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Background Over the last 20 years, new contraceptive methods became available and incentives to increase contraceptive uptake were introduced. We aimed to describe temporal trends in non-barrier contraceptive prescribing in UK primary care for the period 2000–2018.
Methods A repeated cross-sectional study using
patient data from the IQVIA Medical Research Data (IMRD) database. The proportion (95% CI)
of women prescribed non-barrier contraception per year was captured.
Results A total of 2 705 638 women aged 15–49 years were included. Between 2000 and 2018, the proportion of women prescribed
combined hormonal contraception (CHC) fell from 26.2% (26.0%–26.3%) to 14.3% (14.2%–14.3%). Prescriptions for progestogen-only pills (POPs) and long-acting reversible contraception (LARC) rose from 4.3% (4.3%–4.4%) to 10.8% (10.7%–10.9%) and 4.2% (4.1%–4.2%) to 6.5% (6.5%–6.6%), respectively. Comparing 2018 data for most deprived versus least deprived areas, women from the most deprived areas were more likely to be prescribed LARC (7.7% (7.5%–7.9%) vs 5.6% (5.4%–5.8%)) while women from the least deprived areas were more likely to be prescribed contraceptive pills (20.8% (21.1%–21.5%) vs 26.2% (26.5%–26.9%)). In 2009, LARC prescriptions increased irrespective of age and social deprivation in line with a pay-for-performance incentive. However, following the incentive's withdrawal in 2014, LARC prescriptions for adolescents aged 15–19
years fell from 6.8% (6.6%–7.0%) in 2013 to 5.6% (5.4%–5.8%) in 2018.
Conclusions CHC prescribing fell by 46% while POP prescribing more than doubled. The type of contraception prescribed was influenced by social deprivation. Withdrawal of a pay for-performance incentive may have adversely affected adolescent LARC uptake, highlighting the need for further intervention to target this at-risk group.
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Posted 11 months ago
It does not happen very often that one short paper opens an entire new subfield of a philosophical discipline. But this is exactly what Peter Kivy’s 1990 paper “The Profundity of Music” achieved. In a couple of years after Kivy’s paper appeared, all philosophers of music, who previously, lik...
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It does not happen very often that one short paper opens an entire new subfield of a philosophical discipline. But this is exactly what Peter Kivy’s 1990 paper “The Profundity of Music” achieved. In a couple of years after Kivy’s paper appeared, all philosophers of music, who previously, like Charles Swann in Marcel Proust’s novel (Proust (1913) 1992), would have found it difficult to utter the word
‘profound’ unironically, all began took this concept very seriously. The problem Kivy (1990) draws our attention to is this: we do call some musical works profound. However, Kivy argues, given that a work is profound only if it is about something profound and given
that music (or “music alone”) is not about anything, this leads to something of a paradox: how can music be profound if it is not about something profound?My aim in this article is to give a Kivy-esque answer to this question, which might be more consistent with Kivy’s work in the philosophy of music in general than Kivy’s own take on the profundity of music. The upshot is that what makes a work profound is not that it is about something profound, but that it actively challenges any straightforward interpretative activity (while at the same time nudges you to keep on trying to interpret it). I argue that this line of argument is very much in tune with Kivy’s general theoretical commitment that “music alone isn’t about anything” (1990, 204)
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Posted 11 months ago
Anna Orrghen
Anna Orrghen
Institution: Department of History
Email: info@res00.com
On December 20, 1999, the Swedish national monument, celebrating the turn of the millennium, was inaugurated by His Majesty King Carl XVI Gustaf (Fig. 1).1 The monument was a collaboration between artists, architects, and engineers, and it was erected on behalf of the Millennium Committee set up by ...
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On December 20, 1999, the Swedish national monument, celebrating the turn of the millennium, was inaugurated by His Majesty King Carl XVI Gustaf (Fig. 1).1 The monument was a collaboration between artists, architects, and engineers, and it was erected on behalf of the Millennium Committee set up by the Swedish government. The commission to realize the monument was given
to Chalmers University of Technology along with a request to create something “permanent with an everlasting value.”
2 The committee paid particular attention to the university’s outstanding research in digital technology and, over the course of one year, artists, scientists, architects, and engineers collaborated in constructing the monument. The vice-chancellor of Chalmers implied that the working process represented an ideal example of how to conduct research in
the future. He particularly emphasized the project’s interdisciplinary art, science, and technology collaborations, conducted in close cooperation with both the City of Gothenburg and industry.3
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Posted 11 months ago
Jussi A. Saarinen
Jussi A. Saarinen
Institution: unstated
Email: info@res00.com
Art museums are built to elicit a wide variety of feelings, emotions, and moods from their visitors. While these effects are primarily achieved through the artworks on display, museums commonly deploy numerous other affect-inducing resources as well, including
architectural solutions, audio guides...
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Art museums are built to elicit a wide variety of feelings, emotions, and moods from their visitors. While these effects are primarily achieved through the artworks on display, museums commonly deploy numerous other affect-inducing resources as well, including
architectural solutions, audio guides, lighting fixtures, and informational texts. Art museums can thus be regarded as spaces that are designed to influence affective experiencing through multiple structures and mechanisms. At face value, this may seem like a somewhat self-evident and trivial statement to make. However, in this article, I argue that niche construction theory enables us to make several illuminating observations about the ways in which art museums are engineered to influence our feelings. To expound on this claim, I single out for discussion the Museum of Non-Objective Painting, which for its entire lifespan (1939–52)—and prior to its evolution into the Solomon R. Guggenheim Museum—was expressly organized to kindle in its visitors a special, spiritual form of aesthetic experience: a liberating feeling of cosmic rhythm and order, no less. The argument will proceed as follows: In Part 1, I introduce the basics of niche construction theory and specify the sense in which I apply it to museums and aesthetic
affective experiencing. In Part 2, I outline the origins and ethos of the Museum of Non-Objective Painting, after which I pin down the type of affective experience it fostered by drawing from visitors’ self-reported reactions to the artworks on display. Then, in Part 3,
I use niche construction theory to explain how the Museum consciously fashioned itself, by means of various mutually supportive resources and technologies, into a fertile setting for the specified feelings. Finally, in Part 4, I extend beyond the discussed case to assess the implications of niche construction theory for a broader understanding of how art museums make us feel. In other words, by tracing the early steps of the Museum of Non-Objective Painting towards the present-day Guggenheim, I call attention to the general variation in affective niches as regards their structure, technologies, and affective aims. Overall, the article elucidates the functioning of art museums as affective niches and furthers the conceptual development of niche construction theory in aesthetics.
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Posted 11 months ago
Zhifeng Jiang
Zhifeng Jiang
Institution: University of Science and Technology; No.6, Square street, Xiaonan District, Xiaogan 5 City,
Email: xjiang292@sina.com
Abstract
Background
As a new infectious disease affecting the world, COVID-19 has caused a huge impact on countries around the world. At present, its specific pathophysiological mechanism has not been fully clarified. We found in the analysis of the arterial blood gas data of critically ill patien...
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Abstract
Background
As a new infectious disease affecting the world, COVID-19 has caused a huge impact on countries around the world. At present, its specific pathophysiological mechanism has not been fully clarified. We found in the analysis of the arterial blood gas data of critically ill patients that the incidence of metabolic alkalosis in such patients is high.
Method
We retrospectively analyzed the arterial blood gas analysis results of a total of 16 critically ill patients in the intensive ICU area of Xiaogan Central Hospital and 42 severe patients in the intensive isolation ward, and analyzed metabolic acidosis and
respiratory acidosis. Metabolic alkalosis and respiratory alkalosis, and the relationship between metabolic alkalosis and death.
Result
Among the 16 critically ill patients, the incidence of metabolic alkalosis was 100%, while the incidence of metabolic alkalosis in severe patients was 50%; the mortality rate in critically ill patients was 81.3%, and 21.4% in severe patients ; The mortality of all patients with metabolic alkalosis is 95.5%,and 4.5% in without metabolic alkalosis.
Conclusion
The incidence of metabolic alkalosis in critically ill COVID-19 patients is high, and it is associated with high mortality.
Key words :COVID-19, Metabolic alkalosis, mortality
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Posted 11 months ago
Meir Shimon
Meir Shimon
Institution: School of Physics and Astronomy, Tel Aviv University,
Email: meirs@tauex.tau.ac.il
In the standard cosmological model the dark energy (DE) and nonrelativistic (NR) matter densities are determined to be comparable at the present time, in spite of their greatly different evolution histories. This ‘cosmic coincidence’ enigma could be explained as a non-anthropic observational se...
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In the standard cosmological model the dark energy (DE) and nonrelativistic (NR) matter densities are determined to be comparable at the present time, in spite of their greatly different evolution histories. This ‘cosmic coincidence’ enigma could be explained as a non-anthropic observational selection effect: We show that in a suitably chosen frame the Universe is at its most probable epoch when the Hubble radius attains a maximum, at the epoch when the energy densities of DE and NR
matter are comparable.
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Posted 11 months ago
Oleg Lebedev,
Oleg Lebedev
Institution: Department of Physics and Helsinki Institute of Physics, Gustaf Hallstromin katu 2a, FI-00014
Email: info@res00.com
Jong-Hyun Yoon
Jong-Hyun Yoon
Institution: Department of Physics and Helsinki Institute of Physics, Gustaf Hallstromin katu 2a, FI-00014
Email: info@res00.com
We consider dark matter production during the inflation oscillation epoch. It is conceivable that renormalizable interactions between dark matter and inflation may be negligible. In this case, the leading role is played by higher dimensional operators generated by gravity and thus suppressed by the ...
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We consider dark matter production during the inflation oscillation epoch. It is conceivable that renormalizable interactions between dark matter and inflation may be negligible. In this case, the leading role is played by higher dimensional operators generated by gravity and thus suppressed by the Planck scale. We focus on dim-6 operators and study the corresponding particle production in perturbative and non–perturbative regimes. We find that the dark matter production rate is dominated by non–derivative operators involving higher powers of the inflation field. Even if they appear with small Wilson coefficients, such operators can readily account for the correct dark matter abundance.
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Posted 11 months ago
Maarten Steenhagen Shibukawa
Maarten Steenhagen Shibukawa
Institution: Uppsala Universitet:
Email: info@res00.com
Many people assume that fictional entities are encapsulated in the world of fiction. I show that this cannot be right. Some works of fiction tell us about pieces of poetry, music, or theatre written by fictional characters. Such creations are fictional creations, as I call them. Their authors do not...
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Many people assume that fictional entities are encapsulated in the world of fiction. I show that this cannot be right. Some works of fiction tell us about pieces of poetry, music, or theatre written by fictional characters. Such creations are fictional creations, as I call them. Their authors do not exist. But that does not take away that we can perform, recite, or otherwise generate actual instances of such works. This means we can bring such individuals actually into existence, as the works they are. I conclude that the assumption about encapsulation is untenable, unless an exception is made for types.
It is commonly assumed that fictional entities do not exist, at least not actually. “There is no Dracula!” we tell the children before bedtime, “It’s only a story.” That no fictional entity exists is however a substantive philosophical claim, and some philosophers have even gone so far to claim that no fictional entity can exist in the actual world. I will show that both claims are false. To say that fictional entities do not exist, or to claim that they could not exist, is mistaken, I argue, for reasons that have little to do
with the distinction between fiction and reality.
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Posted 11 months ago
Richard Maxwell
Richard Maxwell
Institution: unstated
Email: info@res00.com
I take photos on my phone. I use the photos as an atmospheric reference to go back to. Impressed with the empty streets of Hell’s Kitchen, my home for the last twenty years, I started taking photos as I walked my dog. Hell’s Kitchen had recently been overrun by Times Square and luxury apartments...
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I take photos on my phone. I use the photos as an atmospheric reference to go back to. Impressed with the empty streets of Hell’s Kitchen, my home for the last twenty years, I started taking photos as I walked my dog. Hell’s Kitchen had recently been overrun by Times Square and luxury apartments. Here was a chance for me to come to terms with the place through an emptied-out landscape. Despite the upheaval of the last year, somehow these buildings seemed calm and stoic. Do they perceive what’s happening around them? Are they impugned by world events around them.
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Posted 11 months ago