Academic literature on the topic 'Engine Company 46 (New York, N.Y.)'

The knowledge of the science of human body parts for early childhood is very important so that children have the ability to recognize and support the cleanliness and health of members of the body, as well as so that they recognize their identity. In addition, introducing environmentally friendly material for early childhood teachers to enrich learning media. This study aims to improve student learning outcomes in science using environmentally friendly media. The topic raised in this search was about recognizing body parts and their benefits and treatments. This type of research is action research. Respondents involved 19 early childhood students. The results showed that there was an increase in subjects' understanding of swallowing extremities and treatment 60% in the pre-cycle phase, 80% in the first cycle and 93% in the second cycle. The findings show that the use of happy body media has a positive effect on limb recognition. Further research is recommended on environmentally friendly media and ways of introducing limbs to early childhood through media or strategies suitable for the millennial era. Keywords: Media (Happy Body), Early Childhood Science, Human Body Parts References: Anagnou, E., & Fragoulis, I. (2014). The contribution of mentoring and action research to teachers’ professional development in the context of informal learning. Review of European Studies, 6(1), 133–142. Belsky, J., Steinberg, L., & Draper, P. (1991). Childhood experience, interpersonal development, and reproductive strategy: An evolutionary theory of socialization. Child Development, 62(4), 647. Black, M. M., & Hurley, K. M. (2016). Early child development programmes: further evidence for action. The Lancet Global Health, 4(8), e505–e506. Blok, H., Fukkink, R., Gebhardt, E., & Leseman, P. (2005). The relevance of delivery mode and other programme characteristics for the effectiveness of early childhood intervention. International Journal of Behavioral Development, 29(1), 35–47. Borg, F., Winberg, M., & Vinterek, M. (2017). Children’s Learning for a Sustainable Society: Influences from Home and Preschool. Education Inquiry, 8(2), 151–172. https://doi.org/10.1080/20004508.2017.1290915 Borg, F., Winberg, T. M., & Vinterek, M. (2019). Preschool children’s knowledge about the environmental impact of various modes of transport. Early Child Development and Care, 189(3), 376–391. https://doi.org/10.1080/03004430.2017.1324433 Buchsbaum, D., Bridgers, S., Weisberg, D. S., &, & Gopnik, A. (2012). The power of possibility: Causal learning, counterfactual reasoning, and pretend play. Philosophical Transactions of the Royal Society. Biological Sciences, 367(1599), 2202–2212. Burdette, H. L., & Whitaker, R. C. (2005). Resurrecting free play in young children: looking beyond fitness and fatness to attention, affiliation, and affect. Archives of Pediatrics & Adolescent Medicine, 159(1), 46–50. Bustamante, A. S., White, L. J., & Greenfield, D. B. (2018). Approaches to learning and science education in Head Start: Examining bidirectionality. Early Childhood Research Quarterly, 44, 34–42. https://doi.org/10.1016/j.ecresq.2018.02.013 Carr, W. (2006). Philosophy, methodology and action research. Journal of Philosophy of Education, 40(4), 421–435. Colker, L. J. (2008). Twelve characteristics of effective early childhood teachers. YC Young Children, 63(2). Cook, C., Goodman, N. D., & Schulz, L. E. (2011). Where science starts: Spontaneous experiments in preschoolers’ exploratory play. Cognition, 120(3), 341– 349. Dewi Kurnia, H. Z. (2017). Pentingnya Media Pembelajaran. Jurnal Pendidikan Anak Usia Dini, 1 No.1, 81–96. Gelman, R., & Brenneman, K. (2004). Science learning pathways for young children. Early Childhood Research Quarterly, 19(1), 150–158. Gersick, C. J. (1988). Time and transition in work teams: Toward a new model of group development. Academy of Management Journal, 31(1), 9–41. Gopnik, A., Meltzoff, A. N., & Kuhl, P. K. (1999). The scientist in the crib: Mind, brains, and how children learn. New York, NY: William Morrow & Company. Guo, Y., Wang, S., Hall, A. H., Breit-Smith, A., & Busch, J. (2016). The Effects of Science Instruction on Young Children’s Vocabulary Learning: A Research Synthesis. Early Childhood Education Journal, 44(4), 359–367. https://doi.org/10.1007/s10643-015-0721-6 Hadders-Algra, M. (2019). Interactive media use and early childhood development. Jornal de Pediatria, (xx), 1–3. https://doi.org/10.1016/j.jped.2019.05.001 Han, S., Capraro, R., & Capraro, M. M. (2015). How Science, Technology, Engineering, and Mathematics (Stem) Project-Based Learning (Pbl) Affects High, Middle, and Low Achievers Differently: the Impact of Student Factors on Achievement. International Journal of Science and Mathematics Education, 13(5), 1089–1113. https://doi.org/10.1007/s10763-014-9526-0 Harris, P. L., & Kavanaugh, R. D. (1993). Young children’s understanding of pretense. Monographs of the Society for Research in Child Development, 58(1), 1–92. Hayati, H. S., Myrnawati, C. H., & Asmawi, M. (2017). Effect of Traditional Games, Learning Motivation And Learning Style On Childhoods Gross Motor Skills. International Journal of Education and Research, 5(7). Hedefalk, M., Almqvist, J., & Östman, L. (2015). Education for sustainable development in early childhood education: a review of the research literature. Environmental Education Research, 21(7), 975–990. https://doi.org/10.1080/13504622.2014.971716 Herakleioti, E., & Pantidos, P. (2016). The Contribution of the Human Body in Young Children’s Explanations About Shadow Formation. Research in Science Education, 46(1), 21–42. https://doi.org/10.1007/s11165-014-9458-2 İlin, G., Kutlu, Ö., & Kutluay, A. (2013). An Action Research: Using Videos for Teaching Grammar in an ESP Class. Procedia - Social and Behavioral Sciences. https://doi.org/https://doi.org/10.1016/j.sbspro.2013.01.065 Jennifer M. Zosh, Emily J. Hopkins, Hanne Jensen, Claire Liu, Dave Neale, Kathy Hirsh-Pasek, S. L. S. and D. W. (2017). Learning through play : a review of the evidence. Kagan, J., Reznick, J. S., & Snidman, N. (1987). The physiology and psychology of behavioral inhibition in children. Child Development, 1459–1473. Kemmis, S., & Taggart, M. (2002). The action research planner. Victoria: Dearcin University Press. Lebel, C., & Beaulieu, C. (2011). Longitudinal development of human brain wiring continues from childhood into adulthood. Journal of Neuroscience, 31(30), 10937–10947. Luna, B., Garver, K. E., Urban, T. A., Lazar, N. A., & Sweeney, J. A. (2004). Maturation of cognitive processes from late childhood to adulthood. Child Development, 75(5), 1357–1372. Nayfeld, I., Brenneman, K., & Gelman, R. (2011). Science in the classroom: Finding a balance between autonomous exploration and teacher-led instruction in preschool settings. Early Education & Development, 22(6), 970–988. Nitecki, E., & Chung, M.-H. (2016). Play as Place: A Safe Space for Young Children to Learn about the World. Nternational Journal of Early Childhood Environmental Education, 4(1), 26–32. Olgan, R. (2015). Influences on Turkish early childhood teachers’ science teaching practices and the science content covered in the early years. Early Child Development and Care, 185(6), 926-942. Ramani, G. B. (2012). Influence of a Playful, Child-Directed Context on Preschool Children’s Peer Cooperation. New York: Merrill-Palmer Quarterly. Ravanis, K. (2017). Early childhood science education: State of the art and perspectives. Journal of Baltic Science Education, 16(3), 284–288. Russo-Johnson C, Troseth G, Duncan C, M. A. (2017). All tapped out: touchscreen interactivity and young children’s word learning. Front Psychology, 8. Schulz, L. E., & Bonawitz, E. B. (2007). Serious fun: Preschoolers engage in more exploratory play when evidence is confounde. Developmental Psycholog, 43(4), 1045–1050. Serpell, R., & Marfo, K. (2014). Some growth points in African child development research. New Directions for Child and Adolescent Development, 146, 97–112. Vouloumanos, A., & Werker, J. F. (2007). Listening to language at birth: evidence for a bias for speech in neonates. Developmental Science, 10(2), 59–64. Weisberg, D. S., & Gopnik, A. (2013). Pretense, counterfactuals, and Bayesian causal models: Why what is not real really matters. Cognitive Science, 37(7), 1368–1381. Winthrop, R., & Mcgivney, E. (2016). Skills for a Changing World: Advancing Quality Learning for Vibrant Societies.Brookings: Center for Universal Education. Zaman, B., & Eliyawati, C. (2010). Media Pembelajaran Anak Usia Dini. Bandung: Universitas Pendidikan Indonesia.

BackgroundNon-rheumatology settings such as chiropractor clinics, where chronic back pain (CBP; including chronic back, buttock, or hip pain) patients are first seen, lack consistency in referral of patients to rheumatologists where the underlying cause may be axial spondyloarthritis (axSpA).ObjectivesPrimary objective was to estimate the prevalence of axSpA in CBP patients attending four chiropractic clinics in Portland, Oregon, referred to a rheumatology clinic using a referral strategy identifying features of spondyloarthritis (SpA).MethodsAdults attending one of four chiropractor clinics between Nov 2020 and Nov 2021 for CBP starting before age of 45, without prior diagnosis of SpA were eligible for inclusion. Patients were referred to rheumatologist for diagnostic assessment via phone consultation, if they had inflammatory back pain (IBP) and/or ≥1 of the following features: a family history of SpA, inflammatory bowel disease (IBD), psoriasis, good response to non-steroidal anti-inflammatory drugs, history of heel pain, uveitis, or joint swelling. The subsequent rheumatology assessment included history, C-reactive protein, HLA-B27, x-ray and MRI of the sacroiliac joints. Based on the assessment, patients were categorized as radiographic axSpA, non-radiographic axSpA, peripheral SpA, or no SpA. Endpoints were summarized using descriptive statistics.ResultsA total of 3,103 visits were recorded at four chiropractic offices between Nov 2020 and Nov 2021. Top ten chief complaints are presented in Figure 1. In total, 115 patients were referred by the chiropractors and 84 patients were confirmed to be eligible. Of the 74 patients who provided consent, 59 (79.7%) had IBP, and 66 (89.2%) had at least one clinical SpA feature. At interim data lock, 63 patients were fully assessed by a rheumatologist, of which 7 (11.1%) were HLA-B27 positive and 24 (38.1%) had rheumatologist-evaluated IBP. Eight (12.7%) patients had SpA, 6 (9.5%) were diagnosed as axSpA and fulfilled Assessment of Spondyloarthritis International Society (ASAS) classification criteria, 1 (1.6%) patient was diagnosed as psoriatic arthritis without imaging evidence of axial involvement and fulfilled Classification Criteria for Psoriatic Arthritis, and 1 (1.6%) had undifferentiated peripheral SpA and fulfilled ASAS Classification Criteria.Figure 1.Chief complaints reported by patients at chiropractor visits (n=3103)ConclusionMore than 10% of patients attending chiropractic clinics for musculoskeletal complaints had undiagnosed SpA conditions, with axSpA being the most common. Educational efforts targeted at chiropractors to suspect and refer appropriate cases to rheumatologists are needed.Table 1.Demographic and clinical characteristics stratified by diagnosis as confirmed by RheumatologistRadiographic axSpA (N = 1)Non-radiographic axSpA (N = 5)Peripheral SpA Including PsA (N= 2)No SpA (N = 55)Age, years (Mean; SD)73 (-)36.8 (6.4)46 (1.4)45.1 (12.1)Sex, Female – n (%)04 (80.0)2 (100)32 (58.2)Family history of spondyloarthritis, Yes – n (%)01 (20.0)1 (50.0)9 (16.4)Chronic back pain duration, years (Mean; SD)49 (-)12.4 (6.0)11 (7.0)15 (10.8)Confirmed during rheumatology visit – n (%) IBP* (4 out of 5 criteria as checked by patient)1 (100)3 (60.0)1 (50.0)27 (49.1) IBP* (4 out of 5 criteria per rheumatologist’s opinion)02 (40.0)022 (40.0) History of plantar fasciitis or Achilles tendinitis04 (80.0)2 (100)14 (25.5) History of peripheral joint swelling001 (50.0)8 (14.6) Positive response to NSAIDs1 (100)1 (20.0)2 (100)21 (38.2) Psoriasis1 (100)01 (50.0)2 (3.6) Inflammatory bowel disease0001 (1.9) Uveitis0001 (1.8) HLA-B27 positive02 (40.0)1 (50.0)4 (7.3) CRP, Above 10.0 mg/L02 (40.0)1 (50.0)1 (1.8) SI Joints X-ray positive for sacroiliitis (modified New York criteria)1 (100)001 (1.8) SI Joints MRI positive for active inflammation1 (100)3 (60.0)00*According to the Assessment of SpondyloArthritis international Society (ASAS) classification criteria for axSpADisclosure of InterestsSonam Kiwalkar: None declared, Shireesh Bhalerao Consultant of: Eli Lilly and Company, Kim Phung Nguyen: None declared, Rose Quinn: None declared, Dave Perham: None declared, William Malatestinic Shareholder of: Eli Lilly and Company, Employee of: Eli Lilly and Company, Rebecca Bolce Shareholder of: Eli Lilly and Company, Employee of: Eli Lilly and Company, Theresa Hunter Employee of: Eli Lilly and Company, Pragya Khurana Consultant of: Eli Lilly and Company; ICON plc has received funding from several pharmaceutical companies involved in the marketing products for treatment of spondyloarthritis., Atul Deodhar Speakers bureau: Janssen, Novartis, Pfizer, UCB, Consultant of: AbbVie, Amgen, Aurinia, Bristol Myers Squibb, Celgene, Eli Lilly, Glaxo Smith & Kline, Janssen, MoonLake, Novartis, Pfizer, UCB, Grant/research support from: AbbVie, Bristol Myers Squibb, Celgene, Eli Lilly, Glaxo Smith & Kline, Novartis, Pfizer, UCB

Abstract Background: As new therapeutics for multiple myeloma (MM) are approved in earlier lines of therapy, drug classes with demonstrated benefit may be exhausted after initial therapy, including proteasome inhibitors (PI), immunomodulatory imides (IMiD), and CD38 targeting monoclonal antibodies (MoAB). Clinical recommendations are to utilize unique drug classes at relapse. This study aims to describe relapsed or refractory multiple myeloma treatments and outcomes in clinical trial eligible patients with prior treatment of at least 1 PI, IMiD, and CD38 MoAB and their outcomes (real world overall response rate (rwORR), progression free survival (rwPFS), overall survival (rwOS)) in US community practice. Methods: This study used Flatiron Health electronic health record (EHR)-derived de-identified database (New York, NY). These data represent ~280 cancer clinics (mostly community-based practices). Inclusion criteria included ≥18 years old, 2+ clinic visits after 2015, measurable disease, prior PI/IMiD/CD38 MoAB exposure, ECOG ≤2, adequate hematologic/renal/hepatic function, and no stem cell transplant within six months of study entry. Study period was treatment initiation at ≥ second line from November 2015 through December 2019, follow-up through December 2020. Patients with multiple eligible lines of therapy, the last eligible line was evaluated. Real world overall response rate was adapted from Foster et al 2019, rwPFS was measured from treatment until death, progression, or start of new line of therapy, and rwOS was measured from treatment until death. Results: 120 patients were eligible for this study. Median time from diagnosis to study entry was 3.8 years. Half were 70 years or older (n=62, 52%), with 20% (n=24) ISS III, 35% (n=42) high-risk cytogenetics, and 64% (n=77) at ≥5L treatment. At study start, 38% (n=46) had a prior transplant, 73% (n=88) were triple-class refractory, and 21% (n=25) penta-refractory. The most common regimens were either daratumumab-based (n=35), carfilzomib-based (n=25), or elotuzumab-based (n=15). The most frequent regimens were daratumumab/pomalidomide/dexamethasone (n=8), carfilzomib/cyclophosphamide/dexamethasone (n=7), carfilzomib/pomalidomide/dexamethasone (n=7), carfilzomib/dexamethasone (n=5), elotuzumab/lenalidomide/dexamethasone (n=5), and elotuzumab/pomalidomide/dexamethasone (n=5). The rwORR in this population was 18.33% (95% CI: 11.41-25.26, n=22). The rwORR was lower in key subgroups: younger age (<65 years old: 13.79% [95% CI: 1.24-26.34], n=4/29), high risk cytogenetics (0%, n=0/10), ISS III (12.12% [95% CI: 0.99-23.26], n=4/33), triple-class refractory (15.91% [95% CI: 8.27-23.55], n=14/88), and penta-refractory (4.00% [95% CI: 0-11.68], n=1/25). The median rwPFS in this population was 3.5 months (95% CI: 2.3-4.8). The rwPFS were shorter in key subgroups: younger age (<65 years old: 2.1 months [95% CI: 1.8-3.5]), high risk cytogenetics (2.0 months, [95% CI: 0.7-5.0), ISS III (2.2 months [95% CI: 1.6-6.5]), triple-class refractory (3.2 months [95% CI: 2.1-4.8]), and penta-refractory (2.1 [95% CI: 0.9-3.6]). The median rwOS in this population was 15.8 months (95% CI: 9.9-26.0). The OS was shorter in key subgroups: younger age (10.8 months [95% CI: 4.9-.]), high risk cytogenetics (9.4 months [95% CI: 2.2-27.9]), ISS III (14.6 months [95% CI: 6.1-27.9]), triple class refractory (15.1 months [95% CI: 7.5-25.5]), and penta refractory (7.1 months [95% CI: 3.6-26.0]). Discussion: In this study of patients that were majority triple-class refractory (PI, IMiD, CD38 MoAbB), low rwORR and short rwPFS were observed. Most patients received re-treatment with at least one drug they had previously failed or were refractory to. Additionally, many patients had additional therapies including novel agents and combinations that could be effective at prolonging OS despite short rwPFS. Compared to academic center patients (Gandhi et al 2019), survival was longer (mOS 15.8 months versus 9.3 months), but in Gandhi 2019, the median time to study entry was 4.5 versus 3.8 years, patients were more penta-refractory (26%) and had prior transplant (72%). Patients who were penta-refractory (bortezomib, carfilzomib, lenalidomide, pomalidomide, daratumumab) had particularly dismal outcome. Overall, these data suggest need for continued development of effective novel classes of therapies for late line myeloma patients. Figure 1 Figure 1. Disclosures Kim: Amgen: Current Employment, Current equity holder in publicly-traded company. Braunlin: Amgen: Current Employment, Current equity holder in publicly-traded company. Mehta: Amgen: Current Employment. Payne: Amgen: Consultancy.

The paper presents the issue of language use and identity among Muslim Roma youth from Bulgaria, living in Berlin, Germany. Interviews with a structured questionnaire on language use and identity was conducted with Bulgarian Muslim Roma living in Berlin, Germany. The results showed that, in order to be accepted by the German Turks, Bulgarian Muslim Roma youth change their language use and identity from Muslim Roma to a new identity - Bulgarian “Osmanli” Turks. The findings showed that the change of language and identity among young Roma in this study served as strategies for integration and acceptance in the German society. References Bailey, B. (2001). The language of multiple identities among Dominican Americans. Journal of Linguistic Anthropology, 10(2), 190-223. Berry, J. (1997). Immigration, acculturation and adaptation. Applied Psychology: An International Review, 46, 5-36. Bleich, E. (2009). Where do Muslims Stand on Ethno-Racial Hierarchies in Britain and France? Evidence from Public Opinion Surveys, 1998-2008; 43, 379-400. Brizic, K. (2006). The secret life of a languages. Origin-specific differences in L1/L2 acquisition by immigrant children. International Journal of Applied Linguistics, 16(3), 339-362. Broeder, P. & Extra, G. (1995). Ethnic identity and community languages in the Netherlands In: Sociolinguistica – International Yearbook of European Sociolinguistics/ Internationales Jahrbuch für europäische Soziolinguistik, 9, 96-112. Dimitrova, R., Ferrer-Wreder, L. (2017). Positive Youth Development of Roma Ethnic minority Across Europe. In: Handbook on positive development of minority children and youth (pp. 307-320). N. Cabrera & B. Leyendeker, (Eds.). New York: Springer Erikson, E. (1964). Childhood and Society. New York: W. W. Norton & Company. Fishman, J. (1998). Language and ethnicity: The view from within. In: The Handbook of Sociolinguistics. (pp. 327-343). F. Coulmas (Ed.). Oxford: Blackwell. Fought, C. (2006). Language and ethnicity. Cambridge: Cambridge University Press. Giles, H. (ed.) (1984). The Dynamics of speech accommodation. International Journal of Socio­logy of Language, 46, 1-155 Giray, B. (2015). Code-switching among Bulgarian Muslim Roma in Berlin. In: Ankara Papers in Turkish and Turkic Linguistics. (pp. 420-430). D. Zeyrek, C.S. Șimșek, U. Ataș and J. Rehbein (Eds.). Wiessbaden: Harrassowitz Verlag. Kivisto, P. (2013). (Mis)Reading Muslims and multiculturalism. Social Inclusion, 1, 126-135. Kyuchukov, H. (2016). The Turkish in Berlin spoken by Bulgarian Muslim Roma. Ural-Altaic Studies, 22, 7-12. Kyuchukov, H. (2007). Turkish and Roma children learning Bulgarian. Veliko Tarnovo: Faber. Larson, R. W. (2000). Toward a psychology of positive youth development. American Psycho­logist, 55, 170-183. Lerner, R. Et al. (2005) Positive youth development. A view of the issues. Journal of Early Adolescence, 25(1), 10-16. Lerner, R., Dowling, E., Anderson, P. (2003) Positive youth development: Thriving as the basis of personhood and civil society. Applied Developmental Science, 7(3), 172-180. Marushiakova, E. & Popov, V. (2004). Muslim Minorities in Bulgaria. In: Migration and Political Intervention: Diasporas in Transition Countries. (pp. 18-32). Blaschke, J. (Ed.). Berlin: Parabolis. Merton, R. (1968). The Matthew effect in Science. Science, 159(3810), 56-63. Ochs, E. (1993). Constructing social identity: a language socialization perspective. Research on Language and Social Interaction, 26, 287-306. Organista, P. B, Marin, G., Chun, K. M. (2010). The psychology of ethnic groups in United States. London: SAGE Publication. Padilla, A., Perez, W. (2003). Acculturation, social identity and social cognition: A new Per­spective. Hispanic Journal of Behavioral Sciences, 25, 35-55. Peoples, J., Bailey, G. (2010). Humanity: An Introduction to Cultural Anthropology (9th ed.). Belmont, CA: Wadsworth Cengage learning. Rovira, L. (2008). The relationship between language and identity. The use of the home language as a human right of the immigrant. Revista Interdisciplinar da Mobilidade Humana, XVI (31), 63-81. Tajfel, H. Turner, J.C. (1986). The social identity theory of intergroup behavior. In: Psychology of Intergroup Relations (pp. 7-24). Worchel, S. & Austin, W. G. (Eds.). Chicago: Nelson-Hall. Tabouret-Keller, A. (1998). Language and identity. In: The Handbook of Sociolinguistics. (pp. 315-326). F. Coulmas (Ed.). Oxford: Blackwell. Trudgill, P. (1992). Ausbau sociolinguistics and the perception of language status in contemporary Europe. International Journal of Applied Linguistics, 2, 167-178.

Abstract Background: Bispecific antibodies (BiAbs) are a novel off-the-shelf class of drugs currently being investigated in clinical trials for patients with relapsed/refractory multiple myeloma (RRMM) with promising efficacy in heavily pretreated patients. BiAbs simultaneously bind two antigens, thereby engaging CD3+ T cells with myeloma cells expressing specific antigens such as BCMA, GPRC5D, FcRH5 or CD38. However, the outcome of myeloma patients after relapse on BiAbs is unknown and effective approaches for salvage therapy are needed. Methods: Demographics, disease characteristics and post-clinical trial outcomes were collected retrospectively on RRMM patients who relapsed after BiAb therapy at the Tisch Cancer Institute (The Mount Sinai Hospital, New York). We identified a total of 116 patients who were enrolled on trials with BiAbs targeting either BCMA or GPRC5D. Of these, 69 patients were no longer enrolled on the trials due to disease progression (including 5 patients who died on the trial). Clinical data was collected up until July of 2021. This retrospective study was approved by the institutional review board (IRB) and follows the Declaration of Helsinki and International Conference on Harmonization Guidelines for Good Clinical Practice (IRB: GCO#: 11-1433). Survival and response duration were calculated by Kaplan-Meier estimation. Results: The 64 RRMM patients had a median age of 58.5 years (range: 46-82) at time of disease progression following BiAbs therapy, and 48% were male. Median time from diagnosis to initiation of BiAbs therapy was 5 years (range: 1.6-16.3) and patients had a median follow-up of 24.9 months from time of relapse from BiAb therapy. Fifty patients (78%) had high-risk cytogenetics, including gain1q21, del17p, t(4;14), t(14;16) and t(14;20). Most patients were highly pretreated with a median of 7 prior lines (range: 3-17) and 54 patients (84%) had received an autologous stem cell transplant (ASCT) prior to receiving BiAbs. Three patients were treated with chimeric antigen receptor (CAR) T cell therapy prior to BiAb and 5 patients were exposed to a BCMA antibody-drug conjugate prior to the BiAb. Furthermore, 89% of patients were triple-class refractory while 44% were penta-refractory. Following treatment with a BiAb, 2 patients were lost to follow up, 1 patient decided to be monitored off treatment and 61 patients received a median of 2 lines of therapy (range: 1-8). Most common therapies included a second BiAb (n=20; 33%), CAR T cells (n=15; 26%) or intensive chemotherapy (n=36; 59%) such as melphalan, carmustine or VDPACE with stem cell rescue (n=13) or DCEP (n=23). Best response to initial treatment following the BiAb varied widely and included 12 complete responses, 5 very good partial responses, 17 partial responses, 2 minimal responses, 10 stable disease and 13 progressed disease for an overall response rate (ORR) of 58%. Encouraging responses were seen in 10 patients who directly transitioned from one BiAb to another and 8 patients who directly transitioned to CAR T cell therapy. The progression-free survival of those 18 patients who directly transitioned to a T cell directed therapy was 28.9 months (95% CI: 21.6-NE) and their median overall survival was not reached. Furthermore, the overall survival for the whole cohort of patients was 17.6 months (95% CI: 12.0-NE). Conclusion: Our data suggests that heavily pretreated, predominantly triple-class refractory, patients relapsing after BiAbs may still have good outcomes when sequentially treating with other immunological/T cell-directed therapeutics such as BiAbs and CAR T cells. Studying the appropriate sequence of these treatments is of paramount importance as BiAbs are expected to become part of the standard of care for RRMM patients. Disclosures Richard: Karyopharm, Janssen: Honoraria. Richter: Celgene: Speakers Bureau; Adaptive Biotechnologies: Speakers Bureau; Celgene: Consultancy; Janssen: Consultancy; BMS: Consultancy; Karyopharm: Consultancy; Antengene: Consultancy; Sanofi: Consultancy; X4 Pharmaceuticals: Consultancy; Oncopeptides: Consultancy; Adaptive Biotechnologies: Consultancy; Janssen: Speakers Bureau; Secura Bio: Consultancy; Astra Zeneca: Consultancy. Chari: Janssen Pharmaceuticals: Consultancy, Research Funding; Bristol Myers Squibb: Consultancy, Research Funding; Novartis Pharmaceuticals: Consultancy, Research Funding; Amgen: Consultancy, Research Funding; Pharmacyclics: Research Funding; Seattle Genetics: Consultancy, Research Funding; Takeda Pharmaceutical Company: Consultancy, Research Funding; Karyopharm: Consultancy; Sanofi Genzyme: Consultancy; Oncopeptides: Consultancy; Antegene: Consultancy; Glaxosmithkline: Consultancy; Secura Bio: Consultancy. Parekh: Foundation Medicine Inc: Consultancy; Amgen: Research Funding; PFIZER: Research Funding; CELGENE: Research Funding; Karyopharm Inv: Research Funding.

Abstract Introduction: The newer non-vitamin K antagonist oral anticoagulant drugs (NOACs) such as dabigatran, apixaban and rivaroxaban are now commonly used for various indications in a large group of patients who are simultaneously managed with several other routinely used drugs. Given the lack of available information on the interaction of newer oral anticoagulant drugs (NOACs) with commonly used non-anticoagulants / anti-platelet drugs, it is important to recognize the impact of these interactions on the safety and efficacy of these agents. We hypothesized that some of the commonly used drugs may modulate the anticoagulant effects of NOACs. This study aims to determine the antiplatelet, anticoagulant, and bleeding effects of the NOACs at varying concentrations with and without routinely used drugs both in the in vivo and in vitro systems. Materials and Methods:Dabigatran (Boehringer Ingelheim, Ridgefield, CT), rivaroxaban (Janssen Pharmaceuticals, Inc., Titusville, NJ), and apixaban (Bristol-Myers Squibb Company, Princeton, NJ and Pfizer Inc., New York, NY); and such routinely used drugs as alendronate sodium, chondroitin sulfate, hydrocodone-acetaminophen, klonopin, penicillin, tacrolimus, tramadol chlorhydrate, and tranexamic acid were commercially obtained and supplemented in citrated plasma at projected therapeutic ranges. Such tests as PT, APTT, dRVVT, TT, Heptest, and Anti- Xa and anti-IIa tests were performed. Agonist induced platelet aggregation studies using ADP, AA, Collagen, Epinephrine, and Thrombin agonists were performed on the Platelet Aggregation Profiler- 8 (PAP-8) (Biodata corporation, Horsham, PA) with dabigatran, apixaban and rivaroxaban alone and with the routinely used drugs. For the in-vivo bleeding studies a model of rat tail transection was used, following ketamine and xylazine anesthesia, 6-8 weeks old male Sprague-Dawley rats weighing 250-300g (n=15) were used to perform the rat tail transection bleeding time using dabigatran alone and dabigatran followed by tranexamic acid. Blood was drawn by cardiac puncture for ex vivo analysis. The collected data from the bleeding and ex vivo studies were tabulated and statistically analyzed using ANOVA. Results: In the in vitro studies, all of the NOACs produced assay dependant anticoagulant and antiprotease effects. Rivaroxaban and apixaban did not exhibit any interactions at the projected therapeutic dosage range when combined with any of the routinely used drugs. However dabigatran at a fixed concentration of 1 µg/ml combined with the commonly used drugs at a fixed concentration of 0.1 µg /ml or 1 µg/ml produced augmented assay-dependent anticoagulant and antiprotease activity. The most pronounced interaction was noticed with tacrolimus (111% difference in PT, 231% difference in APTT, and 46% difference in anti-IIa assay), followed by tramadol (57% difference in PT and 54% difference in Anti-IIa assay). Platelet Aggregation studies revealed no modulation of antiplatelet effects (<10%) with the addition of the commonly used drugs and the NOACs. In the rat tail transection bleeding model, there was a significant difference (p=0.03, α=0.05) between the bleeding time with dabigatran (100 µg/kg) alone (13.1 ±1.5 minutes) intravenously compared to dabigatran with tranexamic acid (10 mg/kg) (10.3 ±1.8 minutes) in each study. Ex-vivo analysis showed a reduction in PT and Heptest assay responses with dabigatran and tranexamic acid by 38% and 80%, respectively, and minimal change (5%) in APTT. Conclusion: In contrast to rivaroxban and apixaban in vitro, dabigatran exhibited stronger interactions with the commonly used drugs and variable assay dependent augmentation of anticoagulant and antiprotease responses. Tacrolimus and tramadol showed the strongest interactions. Agonist induced platelet aggregation studies did not show any interactions. Interestingly, tranexamic acid reduced the anticoagulant effect of dabigatran in the in vivo and ex vivo studies. These results warrant a review of post-marketing surveillance on the reported bleeding in patients concomitantly treated with NOACs and the reported routinely used drugs. Furthermore, these observations underscore the need to screen other commonly used drugs and supplements for their potential interactions with NOACs. Disclosures No relevant conflicts of interest to declare.

Febriartha Dwi Wahyu Safitra1, Ni Kadek Yuni Utami 2, Ni Wayan Ardiarani Utami3 1,2,2Sekolah Tinggi Desain Bali, Denpasar,Bali - Indonesia e-mail: febrisafitra97@gmail.com1 A B S T R A C T Movie theater is one of public entertainment designed to give a good quality audio-visual and services to people who would like to spend their time to watch a movie. The purpose of this redesign is to increasing the quality of services provided into movie theater, also to attracting public interest of Indonesian movie world by serving a good facilities and accommodation of watching movie activities. The process of collecting information data by doing an observation to site location at the movie theater, and do an interviewed with one of the staff, also one of customer at the movie theater. The result of those observation will be analyzed using qualitative analyses method and glass box method by listing what people’s demand as for services and facilities should be provide at movie theater, to figuring what rooms that needed, as well as theme and concept for the design. The conclusion is Futuristic Entertainment applied as theme and concept at theater’s interior redesign has a hope will become the new face of the Movie Theater as of facing high business competition among movie theater industry also to calibrate the Industry 4.0 era where internet based at most of life aspect, nowadays. Key words : movie theater, movie, watching, services, public, Futuristic, Entertainment, redesign, interior A B S T R A K Bioskop merupakan salah satu tempat sarana hiburan untuk menonton film yang dirancang memberikan kualitas audio-visual yang baik dan kegiatan pelayanan dalam meningkatkan kenyamanan dalam menonton film. Tujuan dari redesain interior ini untuk dapat meningkatkan kualitas pelayanan pada bioskop, serta meningkatkan minat masyarakat untuk menghargai perfilman di Indonesia dengan memberikan fasilitas dan sarana yang baik dalam kegiatan menonton film. Proses pengumpulan data dilakukan dengan observasi ke lokasi site bioskop tersebut dan melakukan wawancara pada salah satu pegawai bioskop, serta salah satu pengunjung dari bioskop. Hasil dari observasi tersebut kemudian di analisa menggunakan metode analisa kualitatif dan metode desain glass box, dengan mendata pelayanan yang harus disediakan pada area bioskop, untuk mengetahui kebutuhan ruang, serta tema dan konsep dalam redesain interior. Simpulan redesain pada interior bioskop menggunakan tema dan konsep Futuristic Entertainment, yang mana dari tema dan konsep tersebut akan memberikan wajah baru untuk menghadapi persaingan bisnis bioskop yang semakin tinggi dan sekaligus menyesuaikan era Industry 4.0 sekarang, dimana Internet based pada hampir segala aspek kehidupan. Kata Kunci: bioskop, film, menonton, pelayanan, masyarakat, Futuristic, Entertainment, redesain, interior. PENDAHULUAN Di digital era seperti sekarang ini, menonton film menjadi salah satu pilihan sarana hiburan bagi masyarakat untuk melepas penat maupun kebosanan akan rutinitas sehari-hari. Cerita-cerita dalam film dapat diadaptasi dari novel, dokumentasi ilmiah, autobiografi, sejarah dari sebuah peristiwa, maupun dari kisah nyata seseorang yang menarik untuk diangkat ke dalam sebuah film, sehingga sebuah film pun juga dapat menjadi media visual informasi bagi masyarakat luas. Sekarang ini bioskop sebagai tempat pemutaran film-film sudah banyak tersebar di seluruh wilayah Indonesia. Hal ini dilihat dari jumlah layar bioskop yang semakin bertambah, sekaligus berpengaruh pada pertambahan jumlah penonton Indonesia. Menurut data GPBSI (Gabungan Pengusaha Bioskop Indonesia), jumlah layar bioskop di Indonesia terus bertambah dalam dekade terakhir, pada tahun 2008 tercatat ada 574 layar, kemudian terus bertambah menjadi 1518 layar pada 2017, bertambah lagi menjadi 1774 pada 2018, dan hingga pada per 13 Mei 2019, bertambah 87 layar, sehingga total jumlah menjadi 1861 layar bioskop. Di Kota Madiun sendiri terdapat 2 bioskop yang beroperasi yaitu New Star Cineplex (NSC) Timbul Jaya Plaza dan CGV*Blitz, dari kedua bioskop terdapat perbedaan dari segi fasilitas, jumlah pengunjung bioskop, dan juga desain yang diterapkan. Berdasarkan data survey pengunjung pada Goggle Trend yang diambil dari bulan September – November 2019, menunjukkan perbedaan signifikan jumlah pengunjung antara bioskop NSC Timbul Jaya Plaza Madiun dengan bioskop CGV*Blitz, dimana jumlah pengunjung di bioskop NSC Timbul Jaya Plaza cenderung lebih rendah dari bioskop CGV*Blitz. Gambar 1. Data perbadingan jumlah pengunjung bioskop [Sumber : Google Trend, 2019] Kurang nya pembaharuan dari segi fasilitas dan desain pada interior bioskop NSC Timbul Jaya Plaza Madiun juga menjadi salah satu faktor sepinya pengunjung pada bioskop. Gambar 2. Keadaan eksisting bioskop NSC Timbul Jaya Plaza Madiun [Sumber : dokumentasi pribadi, 2020] Maka dari itu di dalam makalah ini akan dibahas redesain interior dari bioskop dengan menggunakan tema dan konsep Futuristic Entertainment yang bertujuan memberikan suasana baru pada bioskop untuk menghadapi persaingan bisnis bioskop yang semakin ketat seiring pertumbuhan jumlah layar bioskop yang semakin meningkat setiap bulannya dan era Industry 4.0 yang semakin canggih, selain itu pembaharuan dari segi desain dan hiburan dapat menarik perhatian pengunjung untuk datang ke bioskop NSC ini. METODE PENELITIAN 2.1 Metode Pengumpulan Data Terdapat dua data pada metode ini, yaitu Data Primer dengan dilakukan pengumpulan informasi-informasi melalui wawancara pada salah satu staff bioskop dan salah satu pengunjung bioskop. Data Sekunder dengan mengumpulkan data informasi dari berbagai sumber referensi akurat. Metode ini diyakini dapat memberikan data yang akurat, dan dapat memberikan gambaran jelas permasalahan pada bioskop. 2.2 Metode Analisa Data Metode Analisa Data pada redesain ini menggunakan metode kualitatif. Metode dengan pendekatan kualitatif merupakan metode penelitian yang di gunakan untuk meneliti pada populasi atau sampel tertentu, pengumpulan data menggunakan instrument penelitian, analisis data bersifat deskripsi. Metode penelitian kualitatif sering disebut metode penelitian naturalistik karena penelitianya di lakukan pada kondisi yang alamiah (natural setting). Dimana untuk hasil desainnya lebih bersifat umum, fleksibel serta berkembang dan muncul dalam proses penelitian. Kesimpulannya desain hanya digunakan sebagai asumsi untuk melakukan penelitian sehingga desain harus bersifat fleksibel dan terbuka. 2.3 Metode Desain Metode yang digunakan pada redesain ini yaitu metode glass box, dimana metode yang menggunakan parameter yang terukur, sesuai dengan fakta dan telah dianalisisa secara mendalam serta sistematis. Sehingga metode desain menggunakan sistem ini hasilnya diharapkan mampu rasional sehingga memenuhi standar kenyamanan. HASIL DAN PEMBAHASAN 3.1 Lokasi Site Bioskop ini berlokasi di Jalan Pahlawan Kav. 46 – 48, Mangu Harjo, Kota Madiun. Untuk akses ke bioskop tersebut sangatlah mudah, karena bangunan Timbul Jaya Plaza sendiri berada tepat dipinggir jalan raya dan berada di tengah kota Madiun sebagai pusat perekonomian kota tersebut sehingga mudah untuk ditemukan. Dari lokasi tersebut dapat dihasilkan data berupa eksisting dari bioskop tersebut. 3.2 Tema dan Konsep Menentukan tema dan konsep merupakan langkah awal dalam meredesain suatu interior. Hal ini akan memberikan gambaran yang jelas suatu ruangan dari segi bentuk, warna, dan material yang akan digunakan, sehingga memiliki visual yang menarik. Tema yang diaplikasikan pada redesain ini adalah Futuristic, Futuristik sendiri merupakan tema desain yang berorientasi pada masa depan, dengan banyak menggunakan bentukan yang tidak lazim, dan jarang diterapkan pada furniture pada umumnya. Dalam tema futuristik yang akan diterapkan pada redesain ini memiliki karakteristik dan ciri-ciri tersendiri, seperti tampilan artistik namun memiliki bentuk sederhana, elegant modern, dan dengan nuansa ruangan yang penuh dengan permainan lampu. (a) (b) Gambar 3. (a) Ruangan tema futuristic (b) aksen garis lampu pada garis pada furniture futuristic [Sumber : pinterest, 2020] Konsep yang diplikasikan pada redesain ini adalah Entertainment. Konsep ini mengambil elemen dari bioskop ini sendiri yaitu sebagai tempat hiburan yang sekaligus memberikan kesan dan pengalaman terbaik untuk menonton film bagi pengunjungnya. Dari tema dan konsep akan muncul suatu skema warna yang akan banyak diterapkan pada interior, yaitu cyan, hitam dan putih. Untuk material, banyak akan diterapkan menggunakan bahan stainless steel, aluminium, dan kaca tempered glass. 3.3 Scheme Color Dalam setiap konsep desain ruangan, terdapat warna-warna yang akan secara dominan muncul dalam pengaplikasiannya. Pada tema ini akan memiliki skema warna : Gambar 4. Scheme Color Redesain Bioskop New Star Cineplex Timbul Jaya Plaza Madiun [Sumber : dokumentasi pribadi, 2020] 3.4 Visualisasi tema dan konsep Tema dan konsep yang akan diterapkan pada interior adalah Futuristic Entertainment pada bagian lantai, dinding, ceiling/plafond, furniture, ruangan, dan fasilitas pada bioskop. Lantai Area lantai bioskop yang akan diterapkan adalah lobby bioskop dan area ruang teater. a) Lobby Gambar 5. Lantai Karpet [Sumber : dokumentasi pribadi, 2020] Pada bagian lobby bioskop, diaplikasikan karpet sebagai lapisan penutup lantai, dan aksen garis lampu untuk futuristic look yang mengelilingi area ruangan lobby, selain sebagai aksen, penggunaan garis ini berfungsi sebagai garis emergency ketika keadaan darurat terjadi, yang akan menyala untuk menuntun pengunjung ke arah pintu keluar. b) Ruang Teater Gambar 6. Lantai Ruang Teater [Sumber : dokumentasi pribadi, 2020] Area ruang teater diberikan lapisan karpet tile, dengan hidden lamp pada bagian tangga teater. Hidden lamp pada tangga selain berfungsi sebagai penunjuk jalan bagi penonton, sekaligus sebagai lampu emergency, penunjuk jalan ketika dalam keadaan darurat. Dinding Area yang akan diterapkan yaitu pada dinding lobby, ruang tunggu dan ruang teater. a) Lobby Gambar 7. Dinding Lobby [Sumber : dokumentasi pribadi, 2020] Dinding lobby menggunakan bentuk yang simetris, asimetris dan banyak menggunakan permainan hidden lamp untuk menyesuaikan konsep futuristik pada ruangan. b) Ruang Tunggu Gambar 8. Dinding Ruang Tunggu [Sumber : dokumentasi pribadi, 2020] Pada area dinding ini di aplikasikan bentuk simetris organic berbentuk honeycomb, bentuk ini menjadi focal point di salah satu sudut area ruang tunggu sebagai futuristic look. c) Ruang Teater Gambar 9. Dinding Ruang Teater [Sumber : dokumentasi pribadi, 2020] Dinding pada ruang teater, diterapkan backdrop untuk menambah kesan futuristik dalam ruangan, dan sebagai menambah pencahayaan ruangan. Ceiling/Plafond Area yang diterapkan yaitu pada lobby, ruang teater, dan lorong Exit Ruang Teater 2. a) Lobby Gambar 10. Plafond Ruang Lobby [Sumber : dokumentasi pribadi, 2020] Pada area lobby menggunakan drop ceiling yang terdapat hidden lamp di dalamnya mengelilingi lampu gantung. Penggunaan ceiling ini untuk memberikan tambahan pencahayaan dan menambah estetika futuristik pada ruangan. b) Ruang Teater Gambar 11. Plafond Ruang Teater [Sumber : dokumentasi pribadi, 2020] Ceiling pada area bioskop terdapat lampu pada setiap garis nya untuk memberikan futuristic look pada ruangan. Selain itu ceiling pada area ini sedikit diberikan bentuk lengkungan sebagai pengatur akustik audio ruangan. c) Lorong Exit Teater 2 Gambar 12. Plafond area lorong exit teater 2 [Sumber : dokumentasi pribadi, 2020] Area lorong exit diaplikasikan plafon kaca dengan ceiling yang tinggi, ukuran ruang lorong yang sempit, tidak ingin memberikan kesan claustrophobic pada pengunjung sehingga penggunaan plafond kaca memberikan kesan ruang yang lebih lapang, dan banyak penggunaan permainan lampu untuk memberikan daya tarik pada pengunjung. Furniture Gambar 13. Bentuk Desain [sumber : dokumentasi pribadi, 2020] Furniture pada area lobby memiliki bentuk yang berbeda dan memiliki bentukan yang simple. Furniture pada konsep ini banyak menggunakan LED strip yang mengikuti garis bentuknya, selain sebagai penambahan pencahayaan pada ruangan, sekaligus menambah estetika pada ruangan. Ruangan Bioskop Salah satu ruangan yang diterapkan tema dan konsep ini yaitu area lorong exit teater 2. Gambar 14. Area Lorong Exit Teater 2 [sumber : dokumentasi pribadi, 2020] Permainan lampu dan penempatan permainan cermin pada ruangan, untuk memberikan suasana fun dan eye catching pada para pengunjung, sehingga menjadi daya tarik tersendiri bagi pengunjung. Fasilitas Bioskop Fasilitas ini sebagai pelayanan yang diberikan oleh bioskop kepada pengunjung yang datang. a) Penggunaan teknologi terbaru pada bioskop. (Proyektor NEC NC3200S) Pengaplikasian proyektor versi ini akan memberikan kualitas gambar video 2K – 4K dan kontras warna yang jernih, sehingga akan memanjakan mata para penonton film. b) Audio berkualitas Dolby Atmos Pengaplikasian audio berkualitas Dolby Atmos akan memberikan kualitas suara yang lebih jernih, dan tampak realistis, sehingga memberikan pengalaman menonton yang menyenangkan. c) Fasilitas pendukung yang berbasis Smart Technology Pengaplikasian fasilitas yang telah mendukung Smart Technology selain mempermudah aktivitas agar lebih efisien, juga akan menarik pengunjung untuk datang, mencoba fasilitas baru yang belum pernah mereka coba. d) Online Based and Self-Service activity Pada era industry 4.0 sekarang ini, hampir segala aspek kegiatan sehari-hari barbasis pada internet, dan online dimana hal ini dimaksudkan untuk mempermudah kegiatan masyarakat agar lebih efisien. Dari keunggulan tersebut juga dapat diterapkan pada fasilitas hiburan publik seperti pada bioskop. Pemesanan tiket film tidak perlu lagi harus datang mengantri ke bioskop, cukup memesan tiketnya via online. Jika pun tidak sempat memesan tiket online bisa langsung memesan tiket on the spot, dengan self-service pada ticket box, yang telah disediakan layanan pemesanan tiket. Selain pelayanan pemesanan tiket film, kegiatan ini juga akan diterapkan pada pemesanan makanan di cinema café. Pengunjung dapat memesan makanan secara online melalui aplikasi sebelum menonton, ataupun on the spot. Sistem pembelian on the spot memiliki 2 cara, yaitu memesan sebelum menonton, atau ketika sedang menonton film. Pesan makanan sebelum menonton dapat dilakukan di cinema café dengan sistem self-service, pemesanan ketika sedang menonton dapat dilakukan melalui layanan customer service yang di install pada setiap kursi penonton, layanan ini terhubung langsung pada cinema café yang nantinya akan dibawakan makanan/minuman nya ke dalam ruang teater oleh pegawai cinema café. Material Bahan Material yang digunakan disesuaikan dengan tema dan konsep yang akan diterapkan pada bioskop. Penggunaan material logam seperti stainless steel, aluminum, dan besi banyak digunakan pada ruang interior, hal ini untuk memberikan kesan glossy pada ruangan. (a) (b) (c) Gambar 15. (a) Aluminum (b) Stainless Steel (c) Besi [Sumber : google, 2020] Selain itu penggunaan bahan kaca tempered glass dan cermin untuk memberikan reflective, bersih, sederhana, dan elegan. (a) (b) Gambar 16. (a) Kaca Tempered Glass (b) Kaca Cermin [Sumber : google, 2020] Lalu adanya penambahan material akustik, seperti rockwool dan gypsum digunakan pada area ruang teater sebagai pengaturan akustik pada ruangan. (a) (b) Gambar 17. (a) Kaca Tempered Glass (b) Kaca Cermin [Sumber : google, 2020] 3.5 Branding Branding pada New Star Cineplex ini bertujuan untuk mengenalkan desain logo baru pada bioskop ini, dengan tampilan yang berbeda dengan dengan sebelumnya menyesuaikan dengan konsep baru pada bioskop. Logo (a) (b) Gambar 18. (a) Logo Before (b) Logo After [Sumber : dokumentasi pribadi, 2020] Desain dari logo baru ini menyesuaikan dengan tema yang diterapkan pada ruang bioskop, yaitu futuristik dengan skema warna hitam, putih dan cyan. Font pada “New Star” dan “Cineplex” dirubah untuk mendukung tema menjadi lebih modern. Bentuk bintang dari logo sebelumnya masih tetap dipertahankan dan sedikit diberikan pembaharuan dari segi warna logo, untuk identitas diri dari bioskop tersebut. Tiket Film Gambar 19. Desain tiket bioskop [Sumber : dokumentasi pribadi, 2020] Desain tiket film ini terinspirasi oleh desain tiket film yang ada di Korea Selatan. Setiap tiket film terdapat gambar poster dari film yang ingin ditonton, bertujuan sebagai kenang-kenangan dan menambah daya tarik pecinta film bioskop yang gemar mengoleksi tiket film yang sudah ditonton. Interface pada aplikasi online Gambar 20. Interface pada aplikasi online [Sumber : dokumentasi pribadi, 2020] Pada desain aplikasi bioskop ini menyesuaikan dengan tema pada bioskop, sehingga dibuat simple agar mudah pengoperasian nya oleh masyarakat. 3.6 Hasil Desain Berikut beberapa hasil desain penerapan dari tema dan konsep pada bioskop Façade Gambar 21. Façade bioskop [Sumber : dokumentasi pribadi, 2020] Lobby Gambar 22. Lobby bioskop [Sumber : dokumentasi pribadi, 2020] Ruang Teater Gambar 23. Ruang Teater [Sumber : dokumentasi pribadi, 2020] Lorong Exit Teater 2 Gambar 24. Ruang Teater [Sumber : dokumentasi pribadi, 2020] SIMPULAN Bioskop New Star Cineplex (NSC) Timbul Jaya Plaza kota Madiun, bioskop ini berada di area pusat perbelanjaan (mall), dimana NSC merupakan salah satu tenant yang menjadi pendukung perputaran ekonomi pada area mall tersebut. Sayang, kurangnya minat pengunjung untuk datang ke bioskop, sedikit menghambat perputaran tersebut. Persaingan akan bisnis tempat pemutaran film semakin ketat, dimana setiap bulannya jumlah bioskop semakin bertambah dan hal ini menjadi tantangan bagi pengusaha bisnis bioskop untuk tetap mempertahankan usahanya. Maka dari itu, dari pihak pengelola harus tetap terus melakukan inovasi, perawatan, dan peningkatan fasilitas yang terdapat pada bioskop. Selain itu penerapan konsep Futuristic Entertainment ini bertujuan memberikan fasilitas hiburan yang bernuansa masa depan, sehingga dapat mengimbangi persaingan bisnis tempat bioskop yang semakin berkembang setiap bulannya. Apalagi di era Industry 4.0 sekarang ini dimana segala aspek didasari oleh teknologi internet dan online harus dapat diterapkan dalam segala hal, termasuk pada bioskop sebagai media hiburan masyarakat untuk memperluas jangkauan nya. DAFTAR PUSTAKA A. Wicaksono, D. Kharisma, dan S. Sastra. Ragam Desain Interior Modern. Cibubur, Jakarta Timur: Griya Kreasi (Penebar Swadaya Grup). 2014. A. Wicaksono, dan E. Tisnawati. Teori Interior. Cibubur, Jakarta Timur: Griya Kreasi (Penebar Swadaya Grup). 2014. P. Satwiko. Fisika Bangunan 1. Yogyakarta: CV Andi Offset. 2004. L. Doelle. 1972. Environmental Acoustics. New York, NY: Reprinted with permission from McGraw-Hill Book Company. 1972. W. Swasty. A-Z Warna Interior: Rumah Tinggal. Cibubur, Jakarta Timur: Griya Kreasi (Penebar Swadaya Grup). 2010. V. Leiwakabessy. 2013. “LANDASAN KONSEPTUAL PERENCANAAN DAN PERANCANGAN CINEMA AND FILM LIBRARY DI YOGYAKARTA, no. 3, http://e-journal.uajy.ac.id/3395/3/2TA13281.pdf, (Diakses pada 11 Desember 2019) Tim CNN Indonesia. 2019. “Jumlah Layar Bioskop Indonesia Mulai Kejar Korea Selatan”, Jakarta, 16 Mei. https://www.cnnindonesia.com/hiburan/20190516152929-220-395469/jumlah-layar-bioskop-indonesia-mulai-kejar-korea-selatan, Diakses pada 11 Desember 2019) Dekoruma, Kania. 2018. “8 Ciri Desain Futuristik, Gaya Desain Interior Masa Depan” Jakarta, 27 April. https://www.dekoruma.com/artikel/66939/gaya-desain-futuristik, (Diakses pada 11 Desember 2019) D. Agasbrama. 2014. “Konsep Desain Interior Futuristik” Jakarta, 15 Mei, https://interiorudayana14.wordpress.com/2014/05/15/konsep-desain-interior-futuristik/, (Diakses pada 11 Desember 2019) N. Khmairah, S. Wahyuning. 2017. “KAJIAN KARAKTERISTIK PENCAHAYAAN BUATAN PADA BIOSKOP (STUDI KASUS : CINEMACITRA XXI,MALL CIPUTRA,KOTA SEMARANG)” MODUL 17, no. 1(2017): 75-77. http://dx.doi.org/10.14710/mdl.17.2.2017.75-77, (Diakses pada 11 Januari 2020

En este artículo se presenta el Enfoque de los Itinerarios de Enseñanza de las Matemáticas, un enfoque que trata de ser respetuoso con las necesidades reales de los estudiantes para aprender matemáticas. En la primera parte se presenta la fundamentación del enfoque, que se sustenta en tres pilares interrelacionados: la perspectiva sociocultural del aprendizaje humano, el modelo de formación realista-reflexivo y la educación matemática realista; en la segunda parte se describe el enfoque, que se refiere a una secuencia de enseñanza intencionada que contempla tres niveles: 1) enseñanza en contextos informales (el entorno inmediato, los materiales manipulativos y los juegos); 2) enseñanza en contextos intermedios (recursos literarios y tecnológicos), y 3) enseñanza en contextos formales (recursos gráficos); finalmente, en la tercera parte se ejemplifica dicho enfoque con un itinerario de enseñanza del álgebra temprana para estudiantes de 3 a 12 años. Se concluye que la implementación de este enfoque requiere un amplio dominio de conocimientos didáctico-disciplinares, lo que implica un esfuerzo importante por parte de todos los agentes implicados en la formación del profesorado para que así, todo aquel profesional preocupado por mejorar su práctica docente y adaptarla a las exigencias del siglo XXI, pueda tener acceso a estos conocimientos. Referencias Alsina, Á. (2004). Barrinem? Matemàtiques amb jocs i problemes. Lògica 3. Cataluña: Edicions l'Àlber, S.L. Alsina, Á. (2010). La “pirámide de la educación matemática”, una herramienta para ayudar a desarrollar la competencia matemática. Aula de Innovación Educativa, 189, 12-16. Recuperado desde https://dugi-doc.udg.edu//bitstream/handle/10256/9481/PiramideEducacion.pdf Alsina, Á. (2018). Seis lecciones de educación matemática en tiempos de cambio: itinerarios didácticos para aprender más y mejor. Padres y Maestros, 376, 13-20. Alsina, Á. (2019a). La educación matemática infantil en España: ¿qué falta por hacer? Números. Revista de Didáctica de las Matemáticas, 100, 85-108. Recuperado desde http://www.sinewton.org/numeros/numeros/80/Volumen_80.pdf Alsina, Á. (2019b). Hacia una formación transformadora de futuros maestros de matemáticas: avances de investigación desde el modelo realista-reflexivo. Uni-pluriversidad, 19(2), 60-79. https://doi.org/10.17533/udea.unipluri.19.2.05 Alsina, Á. (2019c). Itinerarios didácticos para la enseñanza de las matemáticas (6-12 años). Barcelona: Editorial Graó. Alsina, Á. (2019d). Del razonamiento lógico-matemático al álgebra temprana en Educación Infantil. Edma 0-6: Educación Matemática en la Infancia, 8(1), 1-19. Recuperado desde https://www.edma0-6.es/index.php/edma0-6/article/view/70 Alsina, Á., y Domingo, M. (2010). Idoneidad didáctica de un protocolo sociocultural de enseñanza y aprendizaje de las matemáticas. Revista Latinoamericana de Investigación en Matemática Educativa, 13(1), 7-32. Recuperado desde http://www.scielo.org.mx/scielo.php?script=sci_arttext&pid=S1665-24362010000100002&lng=es&tlng=es. Alsina, Á., Novo, M. L., y Moreno, A. (2016). Redescubriendo el entorno con ojos matemáticos: Aprendizaje realista de la geometría en Educación Infantil. Edma 0-6: Educación Matemática en la Infancia, 5(1), 1-20. Recuperado desde http://funes.uniandes.edu.co/8423/ Australian Curriculum, Assessment and Reporting Authority. (2015). The Australian Curriculum: Mathematics. Recuperado desde http://v7-5.australiancurriculum.edu.au/Curriculum/Overview Azcarate, P., y Serradó, A. (2006). Tendencias didácticas en los libros de texto de matemáticas para la ESO. Revista de Educación, 340, 341-378. http://hdl.handle.net/11162/68967 Cardet, N. (2009). Els cigrons i la matemàtica. Suplement Guixdos, 156, 1-15. De Corte, E., Greer, B., y Verschaffel, L. (1996): Mathematics Teaching and Learning. En D. Berliner, y C. Calfee (Eds.), Handbook of Educational Psychology (pp. 491-549). 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Granada: Editorial Universidad de Granada. Hargreaves, A., Earl, L., Moore, S., y Manning, S. (2001). Aprender a cambiar. La enseñanza más allá de las materias y los niveles. Barcelona: Editorial Octaedro. Heuvel‐Panhuizen, M. (2002). Realistic mathematics education as work in progress. En F. L. Lin (Ed.), Common sense in mathematics education. Proceedings of 2001 The Netherlands and Taiwan Conference on Mathematics Education (pp. 1‐43). Taiwan: National Taiwan Normal University. Ivic, I. (1994). Lev Semionovick Vygotsky (1896-1934). Perspectivas: Revista Internacional de Educación Comparada, 34 (3-4), 773-799. Recuperado desde http://www.ibe.unesco.org/es/recursos/perspectivas-revista-trimestral-de-educaci%C3%B3n-comparada Korthagen, F. A. (2001). Linking practice and theory. The pedagogy of realistic teacher education. Londres: Lawrence Erlbaum Associates. Lerman, S. (2000). The social turn in mathematics education research. En J. 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Critics are always trying to catch up with the phenomena they analyse, and critics of celebrity culture are no different. For most of its history, the celebrity apparatus has had a vested interest in staying invisible. So long as it remained illegible to cultural analysis, it could claim to be simply a transparent medium for exhibiting star quality. The celebrity’s public profile could appear to be the well-earned result of talent and determination, or the seemingly magical crystallization of his or her personality. But recently, some of the mechanics of celebrity culture have gained their own prominence. This hypertrophic state produces new cultural mutations and opens new possibilities for critique. Celebrity culture has a long history of structuring the production, distribution and reception of texts around the mystique of a particularly fascinating individual (Braudy). While apparently revealing the deep selfhood of a famous person to a mass audience, the cultural apparatus of celebrity concealed the industrial conditions in which its texts were produced. The hagiographic writings of journalists and biographers, meanwhile, focussed on the unique qualities of celebrated individuals and thus functioned as an adjunct to the apparatus. Recently, an academic critique of celebrity has emerged, which strategically brackets the experience of the individual in order to focus on the phenomenon’s cultural scaffolding. P. David Marshall theorised celebrity’s place in the circulation of power, Joshua Gamson used audience interviews to broaden our understanding of how it is consumed, and Tyler Cowen analysed its effect on the economy. Richard Dyer, Joe Moran and Charles L. Ponce de Leon considered celebrity’s place in film, literature and journalism respectively. And critics such as Carl Freedman, David Shumway and Sharon O’Dair observed its incursions into politics and the academy. These studies made it possible to think critically about the mechanisms that celebrity culture had traditionally kept hidden. But I contend that celebrity culture has changed the way it operates, reflexively revealing some of its mechanisms. The structure of the apparatus is becoming as much an object of fascination as the individuals it promotes. An organic structure becomes hypertrophic when it grows in such an exaggerated way that its function in the organism or ecosystem is affected. Hypertrophic celebrity now requires cultural critics to develop new kinds of insight and sophistication. Hypertrophic celebrity culture has seen the rise of several formats for interactive cross-platform content; they include Pop Idol, Pop Stars, Fame Academy and Big Brother. Generically related to “reality TV” – whose affinities with surveillance and social control have been remarked by Andrejevic, Grindstaff and Johnson, among others – these formats also have wider significance for celebrity culture. Whilst they remain primarily broadcast television programmes, their makers are keen to maximise the possibility of interacting with them via digital TV, the Internet, email, WAP, PDAs, SMS and the telephone. Moreover, they thrive on the free publicity provided by talk shows, magazines and so on. This platform-hopping exploits an important characteristic of celebrity culture that has not previously been so apparent. Although it appears to be centred on an individual, celebrity culture is in fact radically rhizomatic. It operates as an intertextual network in which texts from several media (film, TV, photography, print) collectively create a public profile that is not, finally, under anyone’s control. The first symptom of this hypertrophy is a shift in how celebrity culture holds our attention. Each new celebrity product has to be dynamically different from what the celebrity has done before, yet also reassuringly familiar. The new work must offer new satisfactions, without detaching itself completely from a winning formula. The “classic” response to this dilemma was to structure a celebrity career around a developmental narrative of subjective growth. This marketing strategy underwrote a key element of bourgeois subjectivity. At the limit, it could lead to the multiple reinventions practised by, for example, Madonna or David Bowie, where the celebrity’s different incarnations appear to be linked by nothing but their own will to self-creation. With nothing else to lend continuity to their protean careers, we fall back on the assumption that it must be the hidden depths of their subjectivity that fascinate us so much. But the new celebrities, like other consumables, come with built-in obsolescence. Rather than developing, they are discarded. Take David Sneddon, winner of the first UK Fame Academy. His first single went straight to the top of the charts in January 2003, but by 2004 he’d quit singing to write songs instead. Or take One True Voice, the boy band constructed by Pop Stars: The Rivals. They split after releasing only two singles. As these examples suggest, what endures now is not the celebrity but the format. Just as postmodern architecture displays the ducts and pipes that make a building function, so hypertrophic celebrity foregrounds the mechanisms that manufacture celebrities. The Idols format, developed in the UK by Fremantle Media, has now reached 100 million viewers around the world. Its marketing rhetoric reveals its inherent contradictions. On one hand, it presents itself as “the televised search for a new national solo pop idol”. On the other it “continues to create major recording artists in all territories in which it airs”. Are these people discovered or created? The producers try to pander to our supposed preference for “organic” artists (The Beatles) over “manufactured” ones (The Monkees), by maintaining that they are seeking out star quality, and exposing performers to a public that can recognise talent when it sees it. But they remain fascinated by the structures that support a celebrity profile, and the Frankenstein-like possibility of creating a celebrity from scratch. Fame Academy, developed by Initial (part of Endemol UK), is even more conflicted about the status of its contestants. On one hand it presents them as hard-working young hopefuls who undertake a “gruelling” schedule in an “Academy” which appears as a parody of an English boarding school. (The press release specifies that they have to sew name-tags into their underwear and go to bed at 11pm.) They compete for a record deal with Polydor, “the UK’s leading record company”. On the other hand the producers recognise that they are not nurturing talent but constructing celebrities. The prize also includes “a show business lifestyle for a year”. The producers are clearly aware that to nurture another modestly successful recording artist is not their aim. Musical success is only one element of a package that comprises a flat, a car, a holiday, a personal stylist and tickets to “VIP events”. Since these undertakings are more concerned with the mechanics of celebrity culture than with any particular individual, it seems fitting that the formats have been far more successful than any of the contestants. The Idols format has been broadcast in 22 territories, from the USA to Kazakhstan; 6.9 million votes were cast in the first season of Fame Academy; and a third season of Pop Stars is planned. Most successful of all, however, has been Big Brother, the format developed by Endemol in the Netherlands, and exported to twenty other countries. While the other formats discussed here remain caught between paradigms of discovery and construction, Big Brother makes no pretence of searching for exceptional or talented individuals. Instead, it explores the idea that anyone can be turned into a celebrity. Exhibit A: Jade Goody. A 21-year-old dental nurse, Jade was a contestant (not the winner) on Big Brother 2 in the UK. During the series, she appeared on the front page of tabloid newspapers eighty-seven times. She went on to appear on the cover of the highest-selling issue of Heat magazine (547,000 copies), to feature in her own documentary (What Jade Did Next), to release two diet and exercise videos and to return to reality TV in Celebrity Wife Swap. Since Jade’s selling point is her entertaining ignorance, the publicists had some difficulty describing her, relying on the vague tautology “irrepressible and unstoppable”. Daniel Boorstin’s classic definition of the celebrity as someone who is “famous for being famous” does not begin to describe Jade. She is famous for having been made famous. She is the product of our new fascination with the mechanisms that make celebrity function. But while some of the mechanisms that drive that apparatus now appear on the surface, they conceal a further layer of manipulation. Behind the pseudo-democracy of American Idol lies the watertight contract that the contestants were required to sign with 19 Group, founded by Simon Fuller. It owns the rights to the names, voices, likenesses and biographies of the contestants, everywhere and forever. It also has an option on the recording, merchandising and management of the ten finalists. Behind the disembodied voice of Big Brother lies the work of a production team driven to improve audience share, advertiser revenue and viewing figures. And behind them lie the four men who form the Executive Board of Endemol, whose companies turned over 914 million Euros last year. The hypertrophy of celebrity culture leaves us once again trying to catch up. No sooner had academic critics begun to theorise the apparatus of celebrity than it started to spawn new and self-conscious mutations in which the apparatus no longer relied on its own invisibility to do its work. We will need to be light on our feet to keep up with its ongoing metastases. References Andrejevic, Mark. “The Kindler, Gentler Gaze of Big Brother: Reality TV in the Era of Digital Capitalism.” New Media and Society 4.2 (2002): 251-70. Boorstin, Daniel J. The Image, or, What Happened to the American Dream. London: Weidenfeld and Nicolson, 1961. Braudy, Leo. The Frenzy of Renown: Fame and Its History. New York: Vintage Books, 1997. Cowen, Tyler. What Price Fame? Cambridge MA: Harvard UP, 2000. Dovey, Jon. “Reality TV.” The Television Genre Book. Ed. Glen Creeber. London: British Film Institute, 2001. 134-5, 7. Dyer, Richard. Stars. London: British Film Institute, 1998. Freedman, Carl. “Polemical Afterword: Some Brief Reflections on Arnold Schwarzenegger and on Science Fiction in Contemporary American Culture.” PMLA 119.3 (2004): 539-46. Gamson, Joshua. Claims to Fame: Celebrity in Contemporary America. London: U of California P, 1994. Grindstaff, Laura. “Trashy or Transgressive? ‘Reality TV’ and the Politics of Social Control.” Thresholds: Viewing Culture 9 (1995): 46-55. Johnson, Katie N. “Televising the Panopticon: The Myth of ‘Reality-Based’ TV.” American Drama 8.2 (1999): 1-26. Marshall, P. David. Celebrity and Power: Fame in Contemporary Culture. Minneapolis: U of Minnesota P, 1997. Moran, Joe. Star Authors: Literary Celebrity in America. London: Pluto Press, 2000. O’Dair, Sharon. “Stars, Tenure and the Death of Ambition.” Michigan Quarterly Review 36.4 (1997): 607-27. O’Dair, Sharon. “Academostars Are the Symptom: What’s the Disease?” Minnesota Review: A Journal of Committed Writing 52-54 (2001): 159-74. Ponce de Leon, Charles L. Self-Exposure: Human Interest Journalism and the Emergence of Celebrity in America, 1890-1940. Chapel Hill and London: U of North Carolina P, 2002. Shumway, David. “The Star System Revisited.” Minnesota Review: A Journal of Committed Writing 52-54 (2001): 175-84. Shumway, David R. “The Star System in Literary Studies.” PMLA 112.1 (1997): 85-100. Links http://www.popidols.tv/theshow.stm – Official Pop Idol site from the UK’s ITV Network. http://www.19.co.uk/site3s.html – 19 Group, who manage the finalists of American Idol. http://www.fremantlemedia.com/page.asp?partid=12 – Fremantle Media, producers of the Idols format. http://www.salon.com/ent/feature/2002/09/18/idol_contract/index.html – Salon.com article revealing details of the contracts Idols contestants were required to sign. http://www.bbc.co.uk/pressoffice/pressreleases/stories/2003/07_july/15/fame_academy2.pdf – Fame Academy Press Pack from the BBC. http://www.bbc.co.uk/pressoffice/pressreleases/stories/2003/07_july/15/fame_academy_series2.shtml – Fame Academy Press Release from the BBC. http://www.tvtome.com/PopstarsTheRivals/ – Unofficial guide to the second season of the Pop Stars format. http://www.endemol.com – Endemol, producers of the Big Brother format. http://www.endemoluk.com – the UK arm of Endemol, parent company to Initial, who produce the Fame Academy format. http://bigbrother.channel4.com/bigbrother/ – Big Brother website from the UK’s Channel Four network. http://backtoreality.gonna.co.uk/celebs/jadegoody.htm – Profile of Jade Goody. http://www.channel4.com/entertainment/tv/microsites/B/bigbrother/news/newsstory00015.html – Press release for What Jade Did Next. http://www.davidsneddon.tv/ – Official David Sneddon Website. http://www.endemoluk.com/initial/ – Initial, “the UK’s leading producer of music entertainment and live event television”, responsible for the Fame Academy format. Part of Endemol UK. http://idolonfox.com/ – Fox TV’s American Idol Website Citation reference for this article MLA Style Mole, Tom. "Hypertrophic Celebrity." M/C Journal 7.5 (2004). echo date('d M. Y'); ?> <http://journal.media-culture.org.au/0411/08-mole.php>. APA Style Mole, T. (Nov. 2004) "Hypertrophic Celebrity," M/C Journal, 7(5). Retrieved echo date('d M. Y'); ?> from <http://journal.media-culture.org.au/0411/08-mole.php>.

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