| 1. |
- Lo Martire, Riccardo, et al.
(author)
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Predictors of Sickness Absence in a Clinical Population With Chronic Pain
- 2021
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In: Journal of Pain. - Philadelphia, PA, United States : Churchill Livingstone. - 1526-5900 .- 1528-8447. ; 22:10, s. 1180-1194
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Journal article (peer-reviewed)abstract
- Chronic pain-related sickness absence is an enormous socioeconomic burden globally. Optimized interventions are reliant on a lucid understanding of the distribution of social insurance benefits and their predictors. This register-based observational study analyzed data for a 7-year period from a population-based sample of 44,241 chronic pain patients eligible for interdisciplinary treatment (IDT) at specialist clinics. Sequence analysis was used to describe the sickness absence over the complete period and to separate the patients into subgroups based on their social insurance benefits over the final 2 years. The predictive performance of features from various domains was then explored with machine learning-based modeling in a nested cross-validation procedure. Our results showed that patients on sickness absence increased from 17% 5 years before to 48% at the time of the IDT assessment, and then decreased to 38% at the end of follow-up. Patients were divided into 3 classes characterized by low sickness absence, sick leave, and disability pension, with eight predictors of class membership being identified. Sickness absence history was the strongest predictor of future sickness absence, while other predictors included a 2008 policy, age, confidence in recovery, and geographical location. Information on these features could guide personalized intervention in the specialized healthcare. PERSPECTIVE: This study describes sickness absence in patients who visited a Swedish pain specialist interdisciplinary treatment clinic during the period 2005 to 2016. Predictors of future sickness absence are also identified that should be considered when adapting IDT programs to the patient's needs.
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| 2. |
- LoMartire, Riccardo, et al.
(author)
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The value of interdisciplinary treatment for sickness absence in chronic pain : A nationwide register-based cohort study
- 2021
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In: European Journal of Pain. - : Wiley. - 1090-3801 .- 1532-2149. ; 25:10, s. 2190-2201
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Journal article (peer-reviewed)abstract
- Background Interdisciplinary treatment (IDT) is an internationally recommended intervention for chronic pain, despite inconclusive evidence of its effects on sickness absence. Methods With data from 25,613 patients in Swedish specialist healthcare, we compared sickness absence, in the form of both sick leave and disability pensions, over a 5-year period between patients either allocated to an IDT programme or to other/no interventions (controls). To obtain population-average estimates, a Markov multistate model with theory-based inverse probability weights was used to compute both the proportion of patients on sickness absence and the total sickness absence duration. Results IDT patients were more likely than controls to receive sickness absence benefits at any given time (baseline: 49% vs. 46%; 5-year follow-up: 36% vs. 35%), and thereby also had a higher total duration, with a mean (95% CI) of 67 (87, 48) more days than controls over the 5-year period. Intriguingly, sick leave was higher in IDT patients (563 [552, 573] vs. 478 [466, 490] days), whereas disability pension was higher in controls (152 [144, 160] vs. 169 [161, 178] days). Conclusion Although sickness absence decreased over the study period in both IDT patients and controls, we found no support for IDT decreasing sickness absence more than other/no interventions in chronic pain patients. Significance In this large study of chronic pain patients in specialist healthcare, sickness absence is compared over a 5-year period between patients in an interdisciplinary treatment programme and other/no interventions. Sickness absence decreased over the study period in bothgroups; however, there was no support forthat it decreased more with interdisciplinary treatment than alternative interventions.
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| 3. |
- Berríos-Negrón, Luis, 1971-
(author)
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Breathtaking Greenhouse Parastructures : a supplement to the Arcades Project from a Caribbean Perspective [and a call for a careful practice of epistemológica].
- 2020
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Artistic work (other academic/artistic)abstract
- Breathtaking Greenhouse Parastructures is a doctoral work that supplements the unfinished modern opus The Arcades Project [in German Das Passagen-Werk (Mit Bindestrich und Werk mit Capital W) ]. The supplement takes the form of a sculptural, historical, and technological deposition of ‘greenhouse’ that presently oscillates between a past-background and future-foreground to Walter Benjamin's ‘theatrical’ handling of the Parisian arcades. From my Caribbean perspective, that oscillating treatment of ‘greenhouse’ affords me a prop from which to activate the following question: is colonial memory the drive of Global Warming? That core question has led me to retrospectively hypothesise that the technology of ‘greenhouse’ is—beyond metaphor—the illusory (dis)embodiment of the toxic binaries of interior & exterior that are still shaping various influential frameworks such as the modern & Marxian ideas of superstructure, as well as the past & future of Western natural sciences (and their histories). Because of that illusory, spectral, if paranormal power, ‘greenhouse’ becomes at once the Western colonial enframing to both the messianic promise for conserving biological history, as well as the messianic remedy to suppress the traumæ that are destining Global Warming. Also, because of that potent (dis)embodied character, the robust analysis of the manifold instrumentalisation of ‘greenhouse’ is set to play a primary role in deposing the geological timeline of the Anthropocene. Now, while the book-supplement is itself the dissertation (as an unpacking of the aforementioned hypothetical findings), the PhD also relies on two other research devices that are worth mentioning: an installation (titled Anarquivo Negantrópico), and an online journal (titled Intransitive Journal). Altogether, the dissertation offers a field from which to asses my broader experimentation with infrastructures, epistemic things, and social pedestals. Moreover, the dissertation revises the so-called forgotten list of ‘Epistemologica’ (the categorical of Western display preparations and phenomenotechnologies) so to format my study and practice into an adaptable, careful, and differentiated kind of epistemológica…a careful study and practice that we may share as object-relations that proportionately (dis)play more-than-human perspectives for (re)mediating the forms and forces of the climate crises.
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| 4. |
- Laurien, Thomas, 1967, et al.
(author)
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An Emerging Posthumanist Design Landscape
- 2022
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In: Palgrave Handbook of Critical Posthumanism. - Cham : Palgrave Macmillan. - 9783030426811 - 9783030426811 - 9783031049576 - 9783031049583
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Book chapter (peer-reviewed)abstract
- A designer is somebody who points, who designates, and gives directions. Design thereby has a direction into the future. What directions are designers pointing out if design is coupled with posthumanism? Posthumanism has come into being in a landscape of both ideas and design. That which has previously been designed and produced is coming back and it can help us point out harmful inequalities if we sharpen our observational tools and concepts.“An Emerging Posthumanist Design Landscape” is an overflowing designated area for examples and thinking on compositions of design and critical posthumanism. It is a landscape in the making, yet scarred by previous design cultures and histories. As design researchers operating out of Scandinavian academia, we invite readers/travelers to meander through an emerging hybrid landscape and to make a few selected stops at the sites of our own recent design interventions. We articulate concepts, frictions, and opportunities sprouted in a sprawling and increasingly populated landscape of design and posthumanism. Posthumanist thinking questions and recharges fundamental design concepts and methods/approaches, e.g.: Who are the actors of posthumanist design? Where does it take place? What do we design? What materials do we use? How do we work? When does design take place? Why are compositions of design and critical posthumanism important undertakings? The responses to these questions sketch trajectories for further travels and the co-creation of an emerging posthumanist design landscape.
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| 5. |
- Skeppe, Veronica, 1984-, et al.
(author)
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A Live Interior : Environments, Assemblies, Materialities
- 2021
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In: Athens Journal of Architecture. - Athens : Athens Institute for Education and Research ATINER. - 2407-9472. ; 7:4, s. 463-482
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Journal article (peer-reviewed)abstract
- This paper examines the interior as a condition that is continuously in production through the arrangement of objects and furniture. This is done along two lines of inquiry. First by examining a few different historical and contemporary conceptions of the domestic interior through the lens of architectural representation. Second by using the technique of laser scanning to document a number of inhabited interiors in two apartment buildings. Through a series of representations, or cloud drawings, produced from the scans, the paper presents three ways of reading the interior: as environments, as assemblies, and as materialities. Departing from Robin Evans’ writing on drawing techniques for representing the interior and their correlation to ways of inhabitation, the paper poses questions around how the understanding of the interior may shift when using emerging techniques for architectural representation. Through readings of Walter Benjamin as well as Sylvia Lavin, the paper discusses such shifts in relation to changes in the conception of the interior and the objects that it contains.
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| 6. |
- Aglert, Katja
(author)
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“Archipelagic Rehearsals” – Attemptive Thinking Through Practicing Textual Artistic Research
- 2021
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In: Karib - Nordic Journal for Caribbean Studies. - : Novus Forlag. - 1894-8421 .- 2387-6743. ; 6:1, s. 1-11
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Journal article (peer-reviewed)abstract
- The article is based on a lecture performance titled “Archipelagic Rehearsals – Abstract as Score” that was presented at the RGS-IBG conference, held jointly by the Royal Geographical Society and the Institute of British Geographers, in Cardiff in 2018. The presentation was an exploration of a possibility to practice, in Édouard Glissant’s terms, “archipelagic thinking” by presenting a lecture with interaction from the audience, as a lecture performance. That “archipelagic experiment” is continued in the article through an attempt to format the performance as an academic text. In turn, the text is an attempt to create new imaginaries and storytelling with Spanish slugs through participatory artistic experimental practice. The writing as artistic practice offers the potential for becoming and as such it is unpredictable in its outcome. The article starts with the author’s framing of Glissant’s poetics and attempts a feminist and more-than-human approach to present the event – the performance of the lecture and the story of the slug in footnotes that were an integral part of the lecture.
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| 7. |
- Akner-Koler, Cheryl, 1956-, et al.
(author)
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Sharing Haptic Attributes : Model development of 4 haptic attribute models for hand, nose, mouth and, body
- 2020
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In: Working Together 2020.
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Conference paper (other academic/artistic)abstract
- Our topic concerns how to conduct practice-based research between and within three aesthetic disciplines: sculptor, professional taster, and performative artist. We continue to work with the material and experiences developed during the 3-year VR-funded HAPTICA research project. Our plan is to actualise a few practical situations that show how we gained both a deeper aesthetic knowledge within our own artistic disciplines and grew more sensitive and knowledgeable about the challenges faced in the other disciplines. The overall topic has been to expand the field of aesthetics by including the proximity senses: tactile, haptic, smell, taste, and movement by conducting artistic research in haptic.
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| 8. |
- Bergholm, Adam, 1977-
(author)
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Key Notes on the Unruly City : Social, Material, and Spatial Transgressions
- 2023
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Artistic work (other academic/artistic)abstract
- This research departs from three intersecting field studies in Berlin, Copenhagen, and Paris, and includes both my interventions in the urban texture and integrations with existing communities working in the subject field of the Right to the City (Lefebvre 1968). The projects explore the mutable “nature” of cities and build on political philosophies which describe egalitarian actions that have shaped what those places could be. Laid out across three chapters (X, Y & Z) are descriptions of work processes for multiple projects that locate a social and spatial phenomenon which I call “the unruly city.”Manufactured keys, trapdoors, dug-out tunnels, informal dissemination, bricolaged furniture, loopholes, pulleys, hatches, and shacks recur throughout the thesis; each of these tools, methods or architectural elements support a praxis of transgressivism and stealth. Even if the practical constructions, historical investigations, and cultural theory analyses explored in the thesis do not give access to the physical places themselves, they unlock rooms in the reader’s political imagination, by showing that such spaces exist. At the core of Lefebvre’s philosophical and political argument is the call for action. Praxis is understood here as holding the potential of critical performativity: the possibility to merge culture and politics with claims of creating access to the urban and the production of space. A promise of going beyond philosophy and theory to arrive at praxis. Jacques Rancière (2019) theorizes that which is recognized as (im)possible through sensation. In effect, Rancière addresses a regulation of what can be done. By departing from such an aesthetic order of distributed sensibility, there is the possibility to make a true politics; one which can peel off the foreclosing façades of Western democracy, where the order of things is contested by, as Rancière frames it, the part which has no part. This would be an active politics that challenges the policed order of inclusions and exclusions regarding of what is felt, seen, heard, and perceived. A politics of affect, accomplished by spatial, material, and theoretical practices. In order to imagine the unimaginable—whether it is about spaces, living conditions, or coded systems—imagination must transgress into praxis: speech acts that contributes to our perception, and the other way around. Here, each work becomes a monument to the is-possible—a concrete, non-abstract refutation of any arguments which claim another way of creating or engaging with the city beyond that which is commercially sanctioned to be impossible.
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| 9. |
- Berríos-Negrón, Luis, Associate Professor, 1971-, et al.
(author)
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Methods of Indirection : a trialogue between Patrizia Bach, Howard Eiland, and Luis Berríos-Negrón about Walter Benjamin and translating The Arcades Project
- 2020
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In: Journal for Artistic Research. - Amsterdam : Society for Artistic Research. - 2235-0225. ; :22
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Journal article (peer-reviewed)abstract
- Walter Benjamin deemed his Arcades Project [Das Passagen-Werk (Mit Bindestrich und Werk mit Capital W)] “the theatre of all my struggles and all my ideas.” As a vast accumulation of materials, it had become for him a literary laboratory for testing social, critical, and spatial ideas. The co-authors here present an exposition where they look to reactivate that ‘theatre’ to search, test, and draw from each other alternative recursions for their respective practices. Their respective discourses are intersected through a voluntary 'trialogue' that plays between three different roles aiming to diverge from the traditional form of a Q&A. The exchanges gravitate around ‘greenhouse’ as the historiographic display structure to the Arcades, as well as to Global Warming. But, the format also triggers ‘indirections’ urging unforeseen aspects that may further research and revisions of the Arcades. For the authors, such indirections actualise and translate, yet again, other dormant aspects of each others perceptions about Benjamin. Ultimately, joined by the attitude to share and reactivate that ‘theatre-laboratory’ with you—the reader and exposition visitor—the actors look for cues that encourage further procedures of experimentation and reflexion.
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| 10. |
- Khosravi Noori, Behzad
(author)
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Three or Four Ir/relevant Stories : Art and Hyper-Politics
- 2021
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Artistic work (other academic/artistic)abstract
- This book documents and reflects on three artistic projects and their processes. As a “marginalia” to the projects I also presents arguments, stories and ir/ relevant discourses. What I call marginalia extends to aspects of a historical backdrop of these three projects and the stories behind them. It is partly a reflection on my process and experiences, but, more crucially for me, it is what I would like to call marginalia. It extends to aspects of a historical backdrop that were not necessarily present in the process of exhibition making. In this book, I reflect upon different modes of exhibition making and artistic research practices, however, this book is not simply a postscript to those works. It also serves as a form of marginalia to my artistic explorations in relation to art, history, and global politics. Combining fragments of histories, it constitutes a bricolage of things, events, and narratives. The book itself comprises the fourth and final story. “Three or Four Ir/relevant Stories” here mirrors the conjunction of some historical and cultural cases that, in my point of view, need to be acknowledged. It is an artistic research investigation, proposing a multi-sited, archaeological approach to histories of art and life that also constitute part of my lived experience in the Global South and the Global North. By bringing multiple subjects into my study, as well as historical reenactment in the form of a review of archival materials in the exhibition space, I explore possible correspondences, seen through the lenses of contemporary art practice, subalternity, and the technology of image production. In my investigations of certain artworks and their histories, I aim to develop everyday observations into archaeological interpretations to displace the image from its past historical location and bring forth the question: What will happen to our collective past in the future? The exhibitions themselves embody a hybrid approach, an expression that portrays multiple combinations and interpretations of various art genres and subject matters. By their very nature, the works present multiplicities of materials, which in their collection into an exhibition amount to a sort of cabinet of curiosities. I neither stick to one method of artistic investigation, nor focus on a single medium. Instead I aim to reconnoiter the possibilities that inhere an artistic survey. At no point do I follow any fixed blueprint for, or definition of, artistic production; in short, I might argue that in my artistic practices, I attempt to avoid dividing method from life’s experiences. It is, in part, the narrative fluidity of such a microhistorical investigation that enables me to imagine the exhibition as a point of departure of my artistic exploration and research of such micro elements of contemporary history. I aim to investigate whether it was possible establish a storytelling structure that would mirror the branching paths of the archaeological trace and its background—a transdisciplinary materialism that brings multiple dimensions of history into one temporary place called an exhibition. In so doing, I have sought to produce a cross-generational platform where the audience can engage with the multiplicity of the contemporary past, and per- haps also revisit their own memories.
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