Academic literature on the topic 'Programmed art'

Magister Public Health - MPH<br>Background:HIV is a worldwide pandemic with an estimated 2.5 million children under the age of 15 living with HIV in the world in 2009. Children account for approximately 14% of all HIV-related deaths around the world. Several studies have shown that the use of antiretroviral drugs greatly improve the lives of HIV-1 infected individuals, however, most of these studies report on outcomes of ART programmes in developed world and for adult patients. Very few settings have published outcomes of paediatric ART programmes.Objectives This research was aimed at describing the long term (at least one year) treatment outcome of HIV-1 infected children in the HIV/AIDS Prevention Group (HAPG) program in Bela-Bela in the Limpopo province of South Africa.Study design and methods: A quantitative approach involving a retrospective cohort design was used for the study. The study included all children under the age of 15 that were enrolled in the HATG treatment programme in Bela-Bela between February 2004 and December2009.Immunological, virological, clinical outcomes and loss to follow-up were determined for this cohort. Mortality and survival was also determined. Results: The median age of children in this study was 5 years (IQR: 2-7) with 14% (10/71) of them being less than 18 months. Median CD4 count at commencement of ART, viral load and weight were 358 cells/mm3 (IQR 203.5-, 125673 RNA copies/μL (IQR 58094-328424.5) and 14.5Kg (IQR: 11.0-18.35) respectively. CD4 counts and weight showed increase within the study period, and there was also a decline in viral load. Loss to follow-up was 7.04% while mortality was 19% with 21.43% of mortality cases being children who were ≤18months. Mortality occurred within the first year of ART initiation and occurred in cases that had advanced disease.Conclusion: This study shows that the ART program in Bela-Bela has a positive outcome on HIV positive children.The high mortality rate was due to children starting ART at an advanced disease stage. Despite the good outcome, it is recommended that a system be put into place that will aid in identifying children at an early stage of the disease and treatment initiated promptly.

Labour force in the art sector is characterised by high qualification, but low income for those people who perform the core contribution in art, i.e. the artists. As artists are typically self-dependent in managing their business, they should have managerial skills besides those skills necessary to perform their artistic core activities. If the lack of managerial skills is a reason why artists fail to make a living from their talent, then this chain of cause and effect could be ruptured by adequate educational opportunities. This paper analyses the curricula of a wide range of institutions offering art education programmes and identifies their managerial learning content. In doing so, we focused on German-speaking countries, the so-called DACH region (i.e. Germany, Austria and Switzerland, whereas D, A and CH are country codes). We identified and analysed 159 course syllabi of 81 art universities, schools and academies. The results of our study indicate a lack of managerial learning contents: a vast majority of institutions follow a rather traditional approach to art education, focusing solely on artistic competences. We suggest the implementation of managerial learning contents to better prepare art students for successful careers in the arts.

Ce projet de recherche porte sur l’étude du décor des villas impériales dans le suburbium de Rome, avec le but de comprendre, à l’aide des sources littéraires, archéologiques et épigraphiques, comment se caractérisaient ces villas tant du point de vue de leur conception architecturale que de leur décoration. Chaque villa a fait l’objet d’un dossier dans lequel tous les éléments du décor ont été organisés, classifiés et interprétés. Par la suite, on a procédé à une comparaison entre les éléments décoratifs caractérisant les villas du suburbium et ceux des autres grandes résidences impériales connues dans la région du Latium. On a pu analyser l’évolution du rapport entre architecture et décor dans les différents espaces de la villa impériale (pièces de représentation, thermes, jardins, édifices de spectacle,…), ainsi que le programme décoratif sculpté, qui nous renseigne sur le travail des ateliers et sur les choix de thématiques spécifiques de la part des empereurs, comme celle du mythe des Niobides ou des épisodes de l’Odyssée. De surcroît, l’analyse topographique et chronologique des contextes a permis, d’un côté, de comprendre les dynamiques de l’occupation du territoire de la part du pouvoir impérial et de l’autre, d’analyser le processus de formation, évolution et transformation de ces résidences. À travers l’étude des complexes résidentiels suburbains, on explore les possibilités d’approche à l’intérieur du plus ample questionnement sur l’identification d’une villa impériale, une problématique qui n’a jamais été abordée de façon complète et systématique<br>The research project, presented in this manuscript, illustrates the decoration of imperial villas in the Roman suburbium. Thanks to literary, archaeological and epigraphic sources, its purpose is to understand how these villas were characterised both from the point of view of their architecture as of their decoration. Indeed, each villa has been subject of accurate investigations, in which all elements were parsed, classified and interpreted. Subsequently, the attention is focused on the comparison between the decorative features of the suburbium’s villas and those of the other imperial residences scattered in Latium region. This allowed to analyse in details the evolution of the correlation between architecture and decor in the different areas of the imperial villa (representative rooms, thermal baths, gardens, entertainment buildings,…). In addition, it helped understanding the choice of sculptural subjects made by the emperors, such as the group of Niobids or Odyssey episodes. Moreover, topographic and chronological studies of these contexts gave the opportunity to understand the occupation dynamics of the territory on the part of the imperial power, but also to analyse the formation, evolution and transformation processes of these residences. Finally, through the study of suburban residential complexes, it is possible to face the wider questioning on the identification of an imperial villa, an issue that has never been approached in an exhaustive and systematic way

Depuis un demi siècle, les artistes des nouveaux médias nous montrent le chemin, les dangers et les promesses d’un monde électro-digital. Entre augmentation cognitive et totalitarisme des datas, en attendant l’Intelligence artificielle ; l’humanité numérique est en marche à travers les Cybermondes et les Nanomondes que nous offrent un monde fini.Avec les œuvres d’Art (dit) numériques, c’est le monde spectateur qui change de paradigme et s’hybride chaque jour. Univers d’un spectateur augmenté de prothèses et d’ubiquité consommatrice, dans une organogénèse digitale réticulée qui appelle à observer l’art d’aujourd’hui à l’aulne d’un nouveau coefficient spectateur.A la suite du coefficient d’art, coefficient d’interactivité, coefficient de numéricité et du coefficient d’expérience, nous allons proposer un coefficient spectateur destiné à faire la part des choses entre les œuvres d’art numériques et les outils électro-digitaux imaginés pour la médiation culturelle et la capture d'audience. Ce coefficient servirait à quantifier l’“aura spectateur” des œuvres praticables ou/et vivantes (génératives), qui augmente l’impact de la “rencontre spectateur” avec les œuvres reproductibles. Aura elle même issue des traces laissées par l’ensemble des spectateurs de ces œuvres d’art reproductibles. Pièces artistiques enrichies d’un palimpseste d’expériences qui renforcent la valeur de la magie de l’unicité de chaque création technologique. Œuvres praticables face auxquelles nous place jour après jour notre vie de spectateur contemporain<br>For half a century new media artists have been showing us the way, the dangers as well as the promises of an electro-digital world.Between cognitive augmentation and data totalitarianism and further expecting Artificial Intelligence; digital humanity is in motion through "Cyberworlds" and "Nanoworlds” brought to us by a finite world.Through pieces of so-called digital Art, the spectator universe goes through a paradigm shift and becomes more hybrid, every day. A spectator universe is augmented through protheses and consumer ubiquity inside a reticulated digital organogenesis that makes us contemplate today’s art through the yardstick of a novel ‘Spectator coefficient”.As a logical evolution from the “art coefficient”, “interactive coefficient”, “digital coefficient” and the “experience coefficient” we hereby propose a new “spectator coefficient” that is designed to differentiate between digital art work and electro-digital tools designed for cultural mediation and for audience-capturing purpose.This coefficient would be used to measure the “spectator aura” in practicable and/or living (or generative) artworks as it heightens the impact of reproducible works on the spectator experience. Works of art that are enriched with a palimpsest of experiences that reinforce the magical uniqueness of each technological creation. Works that, day after day, become practicable and in front of which our life of contemporary, augmented spectator places us