Добірка наукової літератури з теми "Health care curators"

To summarize the experience of the Tyumen state medical University in improving professional competencies of graduates of medical and pediatric faculties who were sent to work in primary health care after the initial accreditation procedure, a survey of graduates, curators of graduates from the University and mentors from medical organizations, as well as employers was conducted. The article reveals the declining professional competencies, as well as difficulties that arise when adapting young professionals to the workplace. It is shown that the help and support of curators and mentors allows graduates to successfully overcome the difficulties of adaptation in the workplace, quickly learn additional practical skills, and join the system of continuing medical education, which is the key to further successful work in primary health care. Aims: evaluate the effectiveness of the system of support for graduates of medical and pediatric faculties by curators and mentors, as well as the effectiveness of educational activities to improve the professional competencies of graduates. Materials and methods. Collection and analysis of information from health authorities on employment of graduates obtained during the survey of graduates, curators, mentors, employers, analysis of the results of the survey. Results. To obtain objective data on the adaptation and retention of young professionals, the survey was conducted during the 2017-2018 academic year in several stages and in different target audiences: 1. Survey of young specialists at the beginning of their work (district internists, district pediatricians). 2. Survey of young specialists to improve the work on compensation of lost competencies (participants of the Symposium “Legal basis of a doctor’s activity”). 3. Survey of heads of medical organizations in the Tyumen and Kurgan regions, Khanty-Mansi and Yamalo-Nenets Autonomous districts, and the city of Tyumen, where accredited graduates of the Tyumen state medical University were accepted (December 2017). 4. a Survey of young professionals six months after starting work. 5. a Survey of curators from the Tyumen state medical University and mentors from medical organizations. As a result of the study, 385 questionnaires were processed. To obtain data on the professional development of young specialists, Tyumen state medical University developed original questionnaires. Conclusions. According to the results of the survey, the falling competencies of graduates were identified, and a list of activities was determined that will improve the existing professional competencies of young graduates and improve their adaptation to professional activities.

A recent Manifesto for a Visual Medical Humanities suggested that more in-depth analysis of the contribution of visual art to medical humanities is urgently required. This need perhaps arises because artists and curators experience conflict between the experimental approaches and tacit knowledge that drive their practice and existing audience research methods used in visitor studies or arts marketing. In this paper, I adopt an innovative psychosocial method—uniquely suited to evidencing aesthetic experiences—to examine how an exhibition of my own curation facilitated audiences to undertake psychological processing of complex ideas about mental distress. I consider the curator working in a health context as a creator of care-driven environments where complex affects prompted by aesthetic approaches to illness can be digested and processed. My definition of care is informed by psychosocial studies and object relations psychoanalysis, which allows me to approach my exhibitions as supportive structures that enable a spectrum of affects and emotions to be encountered. The key argument of the paper is that concepts from object relations psychoanalysis can help to rethink the point of entanglement between curating and health as a process of preparing the ground for audiences to do generative psychological work with images and affects. The case study is Group Therapy: Mental Distress in a Digital Age, an exhibition that was iterated at FACT (Foundation for Art and Creative Technology), UK and University of New South Wales Galleries Sydney, with an emphasis on audience response to key artworks such as Madlove—A Designer Asylum (2015) by the vacuum cleaner and Hannah Hull. It is hoped that this paper will help to reaffirm the significance of curating as a cultural platform that supports communities to live with the anxieties prompted by society’s most complex medical and social issues.

Background The COVID-19 pandemic has exacerbated the challenges of meaningful health care digitization. The need for rapid yet validated decision-making requires robust data infrastructure. Organizations with a focus on learning health care (LHC) systems tend to adapt better to rapidly evolving data needs. Few studies have demonstrated a successful implementation of data digitization principles in an LHC context across health care systems during the COVID-19 pandemic. Objective We share our experience and provide a framework for assembling and organizing multidisciplinary resources, structuring and regulating research needs, and developing a single source of truth (SSoT) for COVID-19 research by applying fundamental principles of health care digitization, in the context of LHC systems across a complex health care organization. Methods Houston Methodist (HM) comprises eight tertiary care hospitals and an expansive primary care network across Greater Houston, Texas. During the early phase of the pandemic, institutional leadership envisioned the need to streamline COVID-19 research and established the retrospective research task force (RRTF). We describe an account of the structure, functioning, and productivity of the RRTF. We further elucidate the technical and structural details of a comprehensive data repository—the HM COVID-19 Surveillance and Outcomes Registry (CURATOR). We particularly highlight how CURATOR conforms to standard health care digitization principles in the LHC context. Results The HM COVID-19 RRTF comprises expertise in epidemiology, health systems, clinical domains, data sciences, information technology, and research regulation. The RRTF initially convened in March 2020 to prioritize and streamline COVID-19 observational research; to date, it has reviewed over 60 protocols and made recommendations to the institutional review board (IRB). The RRTF also established the charter for CURATOR, which in itself was IRB-approved in April 2020. CURATOR is a relational structured query language database that is directly populated with data from electronic health records, via largely automated extract, transform, and load procedures. The CURATOR design enables longitudinal tracking of COVID-19 cases and controls before and after COVID-19 testing. CURATOR has been set up following the SSoT principle and is harmonized across other COVID-19 data sources. CURATOR eliminates data silos by leveraging unique and disparate big data sources for COVID-19 research and provides a platform to capitalize on institutional investment in cloud computing. It currently hosts deeply phenotyped sociodemographic, clinical, and outcomes data of approximately 200,000 individuals tested for COVID-19. It supports more than 30 IRB-approved protocols across several clinical domains and has generated numerous publications from its core and associated data sources. Conclusions A data-driven decision-making strategy is paramount to the success of health care organizations. Investment in cross-disciplinary expertise, health care technology, and leadership commitment are key ingredients to foster an LHC system. Such systems can mitigate the effects of ongoing and future health care catastrophes by providing timely and validated decision support.

Recipe for a Good Life (2019) was an art exhibition at the Brindley in Cheshire which explored what it means to live a “good life” to local learning disabled people. Curated by self-advocate Leah Jones, it featured artworks created via a public participatory arts programme, where self-advocates, SEND schools, disability professionals, families, carers, and gallery visitors came together to share their different visions of what living a good life meant to them. This article documents and reflects on this exhibition using a life story approach. By describing the exhibition from Leah’s own perspective, this article offers an account of how this exhibition was curated, and furthermore, how her curatorial work and life as a self-advocate intersect, demonstrating the important role people with learning disabilities have the potential to play in culture as artists, communicators, and curators.

ABSTRACT Care under operational conditions is complex and unique. Although there is a growing body of evidence to inform this care, very few resources address operational nursing care. To address this issue and the lack of a compilation of relevant studies and evidence-based guidelines, the TriService Nursing Research Program Battlefield and Disaster Nursing Pocket Guide was created. The pocket guide has been updated and incorporates new and emerging evidence and also showcases the focused operational research of military nurse scientists. Eight thousand copies of the second edition of the guide, which curates a comprehensive body of literature related to operational nursing care, are being distributed to the three services. Military nurse scientists and multidisciplinary clinical experts contributed to the guide, with the content undergoing critical review by experts in operational care. This article summarizes the development of the pocket guide, summarizes some of the updates from the first edition, and demonstrates the integration of the guide into the major phases of evidence translation: knowledge, creation, and distillation; diffusion and dissemination; and adoption, implementation, and institutionalization. The incorporation of the pocket guide into readiness training reflects a goal of TriService Nursing Research Program to “develop and strengthen the Triservice community of nurse scholars to generate new knowledge in military nursing and translate it into practice” and an unending commitment to bring world class care to those in harm’s way.

Abstract Soon after the outbreak of the COVID-19 pandemic, the world saw far-right leaders uniting to promote hydroxychloroquine despite controversial results. Why have some leaders actively promoted the drug since then, contradicting recommendations made by their own government’s health authorities? Our argument is twofold. First, hydroxychloroquine has been an integral tool of medical populist performance in the context of the COVID-19 pandemic. We adopt Lasco & Curato’s (2018) definition of medical populism as a political style based on performances of public health crises that pit ‘the people’ against ‘the establishment’ using alternative knowledge claims to cast doubt on the credibility of doctors, scientists, and technocrats. Second, rather than being an individual endeavor, medical populism addressing the coronavirus crisis has led populists to build an alt-science network. We define it as a loose movement of alleged truth-seekers who publicly advance scientific claims at a crossroads between partial evidence, pseudo-science, and conspiracy theories. It comprises scientists, businesspeople and celebrities united by their distrust of governments and mainstream science. In this article, we look at how the hydroxychloroquine alliance was formed, as well as its political and policy implications. To this end, we compare why and how Donald Trump and Jair Bolsonaro have appealed to medical populist performances when addressing the health crisis. By mobilizing the concepts of medical populism and alt-science, this paper aims to contribute to the scholarship on the relationship between populist politics and policy-making.

e18317 Background: The National Cancer Institute (NCI) Surveillance, Epidemiology, and End Results (SEER) Program curates population-based cancer data representing 34% of the US population. CancerLinQ is an ASCO initiative that collects and analyzes electronic health record (EHR) data to give oncologists opportunities to improve the quality of patient care. With the shared goal of understanding care delivery, NCI SEER and CancerLinQ launched a pilot linkage. Purpose: Establish data exchange between registries and oncology practices to a) provide clinicians with SEER data to more effectively evaluate care within their practices, and b) enhance ability of SEER registries to capture cancer-related data and facilitate compliance of legally mandated public health reporting requirements while supporting metrics for quality reporting to providers. Methods: The SEER Iowa Cancer Registry is developing bidirectional linkages with CancerLinQ practices. The initial pilot in Iowa establishes connectivity and a data pipeline to capture discrete data elements in EHRs. The linkage methods are securely conducted by IMS, an honest broker for the Registry and ASCO. Patterns of care will be evaluated in the matched patient population. Analysis of shared data elements will provide comparative validation of data captured electronically (EHR) and manually (abstraction). Enhancing the patient care quality through efficient utilization of shared data was paramount when selecting treatment-related Quality Oncology Practice Initiative (QOPI) measures for calculation focusing on breast (QPP 449, QPP 450) and prostate cancer (QPP 102, QPP 104). Results: Publicly available SEER data for cohort evaluation is available to providers via SEERLinQ. The two-way exchange data pipeline complies with reporting requirements. Validation of shared data elements, statistics for matched patients, improved data completeness measures, and automated calculation of QOPI measures will be demonstrated. Conclusions: This collaboration builds an initial foundation of curated Registry-EHR linked data to automate cancer reporting to lower the physician burden, improve SEER evaluation of clinical care patterns, and enhance patient care quality.

Health resource distribution in Canada has been criticized for being opaque and increasingly inequitable, with its disproportionate emphasis on curative over preventive care. Yet there has been relatively little scrutiny of priority-setting in publicly funded health care in Canada from bodies monitoring the international human right to health. Recently, however, domestic health governance on the one hand, and international health and human rights on the other, have converged around the promotion of evidence-based policy, accountability, transparency and participation as drivers of more equitable distribution of health care resources. This paper tracks the paths toward this convergence. The emphasis in health policy was largely driven by cost containment and service integration concerns, while democratic and institutional concerns around socio-economic rights protection are at the root of the health and human rights shift toward proceduralist approaches. This shared emphasis nonetheless opens new terrains of struggle for human rights approaches to health care distribution in Canada, around (i) managing indeterminacy in social determinants of health; (ii) addressing power imbalances that shape how health information is produced, communicated, and acted upon and (iii) the role of fundamental normative values that limit substantive policy around health.La distribution des ressources en santé au Canada a été critiquée en raison de son caractère opaque et de plus en plus inéquitable, et de l’importance disproportionnée accordée aux soins curatifs par rapport aux mesures préventives. De plus, relativement peu d’études concernant les priorités établies en matière de services de santé publics au Canada ont été faites par des organismes de contrôle du droit, reconnu dans des instruments internationaux, de tout être humain à la santé. Cela dit, récemment, la gouvernance nationale de la santé, d’une part, et le droit à la santé et les droits de la personne au niveau international, d’autre part, ont convergé et mis l’accent sur la nécessité de promouvoir des politiques fondées sur des données probantes, la responsabilisation, la transparence et la participation, facteurs qui sont aptes à assurer une distribution plus équitable des ressources en santé. Le document suit le cheminement vers cette convergence. Les politiques en matière de santé étaient largement fondées sur des préoccupations liées à la limitation des coûts et à l’intégration des services, alors que les préoccupations démocratiques et institutionnelles à l’égard de la protection des droits socio-économiques sont à l’origine du virage du droit à la santé et des droits de la personne vers des approches procéduralistes. Ces priorités communes ouvrent néanmoins la porte à de nouvelles luttes visant des approches axées sur les droits de la personne en ce qui a trait à la distribution des services de santé au Canada, luttes qui impliqueront les actions suivantes : (i) gérer l’indétermination dans les déterminants sociaux de la santé; (ii) corriger les déséquilibres de pouvoir qui déterminent la façon dont l’information en matière de santé est produite et communiquée et les réactions qu’elle entraîne, et (iii) éclaircir le rôle des valeurs normatives fondamentales qui limitent les politiques de fond en matière de santé.

IntroductionThe Victorian Department of Health and Human Services provided AUD 25 million (i.e. USD 17.3 million) over four years to determine the place of whole exome sequencing (WES) for patients attending public genetics clinics. Comparative analysis of WES and ‘usual care’ determined that WES increased diagnosis rate (from 14 to 58 percent), changed clinical management in one third of patients and identified relatives and couples at high risk of recurrence in future pregnancies. Translating this into routine care requires co-design with clinical and laboratory stakeholders.MethodsVictoria's clinical and laboratory genetics service system uses a ‘hub and spoke’ model. Representatives from these were invited to join a ‘Clinical Adoption Group’ (CAG) to oversight implementation of new government funding (AUD 2 million (i.e. USD 1.4 million) per year) to ensure statewide access to, and funding of, WES for children with rare undiagnosed genetic conditions. The CAG developed terms of reference, ‘traffic light’ evidence-based eligibility criteria, a pricing model and reporting mechanism, and recommended funding for sequencing, curation, curator training and multidisciplinary team (MDT) meetings to support implementation.ResultsFunding was distributed across hub and spoke sites reflecting clinical and laboratory demand and workforce requirements. All cases demonstrated clinical utility and were reviewed at MDT meetings. To date, 37 percent of patients have received a diagnosis changing management, with equity of access between metropolitan and regional areas demonstrated. Eligibility criteria are reviewed as new evidence is published to ensure new evidence is incorporated, although curation capacity limits turn-around-times.ConclusionsCo-designing a statewide and evidence-based clinical model has resulted in sector (i.e. clinician and laboratory) buy-in and supported broad access to funded WES. In addition, the sector has developed a better understanding of how evidence informs policy and funding decisions, which has resulted in delivering equitable WES that provides early diagnosis leading to changed clinical management and cessation of unnecessary interventions.

The debate on the social role of museums trundles along in an age where complex associations between community, collections, and cultural norms are highly contested (Silverman 3–4; Sandell, Inequality 3–23). This article questions whether, in the case of community groups whose aspirations often go unrecognised (in this case people with either blindness or low vision), there is a need to discuss and debate institutionalised approaches that often reinforce social exclusion and impede cultural access. If “access is [indeed] an entry point to experience” (Papalia), then the privileging of visual encounters in museums is clearly a barrier for people who experience sight loss or low vision (Levent and Pursley). In contrast, a multisensory aesthetic to exhibition display respects the gamut of human sensory experience (Dudley 161–63; Drobnick 268–69; Feld 184; James 136; McGlone 41–60) as do discursive gateways including “lectures, symposia, workshops, educational programs, audio guides, and websites” (Cachia). Independent access to information extends beyond Braille on toilet doors.Underpinning this article is an ongoing qualitative case study undertaken by the author involving participant observation, workshops, and interviews with eight adults who experience vision impairment. The primary research site has been the National Museum of Australia. Reflecting on the role of curators as storytellers and the historical development of museums and their practitioners as agents for social development, the article explores the opportunities latent in museum collections as they relate to community members with vision impairment. The outcomes of this investigation offer insights into emerging issues as they relate to the International Council of Museums (ICOM) definitions of the museum program. Curators as Storytellers“The ways in which objects are selected, put together, and written or spoken about have political effects” (Eilean Hooper-Greenhill qtd. in Sandell, Inequality 8). Curators can therefore open or close doors to discrete communities of people. The traditional role of curators has been to collect, care for, research, and interpret collections (Desvallées and Mairesse 68): they are characterised as information specialists with a penchant for research (Belcher 78). While commonly possessing an intimate knowledge of their institution’s collection, their mode of knowledge production results from a culturally mediated process which ensures that resulting products, such as cultural significance assessments and provenance determinations (Russell and Winkworth), privilege the knowing systems of dominant social groups (Fleming 213). Such ways of seeing can obstruct the access prospects of underserved audiences.When it comes to exhibition display—arguably the most public of work by museums—curators conventionally collaborate within a constellation of other practitioners (Belcher 78–79). Curators liaise with museum directors, converse with conservators, negotiate with exhibition designers, consult with graphics designers, confer with marketing boffins, seek advice from security, chat with editors, and engage with external contractors. I question the extent that curators engage with community groups who may harbour aspirations to participate in the exhibition experience—a sticking point soon to be addressed. Despite the team based ethos of exhibition design, it is nonetheless the content knowledge of curators on public display. The art of curatorial interpretation sets out not to instruct audiences but, in part, to provoke a response with narratives designed to reveal meanings and relationships (Freeman Tilden qtd. in Alexander and Alexander 258). Recognised within the institution as experts (Sandell, Inclusion 53), curators have agency—they decide upon the stories told. In a recent television campaign by the National Museum of Australia, a voiceover announces: a storyteller holds incredible power to connect and to heal, because stories bring us together (emphasis added). (National Museum of Australia 2015)Storytelling in the space of the museum often shares the histories, perspectives, and experiences of people past as well as living cultures—and these stories are situated in space and time. If that physical space is not fit-for-purpose—that is, it does not accommodate an individual’s physical, intellectual, psychiatric, sensory, or neurological needs (Disability Discrimination Act 1992, Cwlth)—then the story reaches only long-established patrons. The museum’s opportunity to contribute to social development, and thus the curator’s as the primary storyteller, will have been missed. A Latin-American PerspectiveICOM’s commitment to social development could be interpreted merely as a pledge to make use of collections to benefit the public through scholarship, learning, and pleasure (ICOM 15). If this interpretation is accepted, however, then any museum’s contribution to social development is somewhat paltry. To accept such a limited and limiting role for museums is to overlook the historical efforts by advocates to change the very nature of museums. The ascendancy of the social potential of museums first blossomed during the late 1960s at a time where, globally, overlapping social movements espoused civil rights and the recognition of minority groups (Silverman 12; de Varine 3). Simultaneously but independently, neighbourhood museums arose in the United States, ecomuseums in France and Quebec, and the integral museum in Latin America, notably in Mexico (Hauenschild; Silverman 12–13). The Latin-American commitment to the ideals of the integral museum developed out of the 1972 round table of Santiago, Chile, sponsored by the United Nations Educational, Scientific and Cultural Organization (Giménez-Cassina 25–26). The Latin-American signatories urged the local and regional museums of their respective countries to collaborate with their communities to resolve issues of social inequality (Round Table Santiago 13–21). The influence of Brazilian educator Paulo Freire should be acknowledged. In 1970, Freire ushered in the concept of conscientization, defined by Catherine Campbell and Sandra Jovchelovitch as:the process whereby critical thinking develops … [and results in a] … thinker [who] feels empowered to think and to act on the conditions that shape her living. (259–260)This model for empowerment lent inspiration to the ideals of the Santiago signatories in realising their sociopolitical goal of the integral museum (Assunção dos Santos 20). Reframing the museum as an institution in the service of society, the champions of the integral museum sought to redefine the thinking and practices of museums and their practitioners (United Nations Educational, Scientific and Cultural Organization 37–39). The signatories successfully lobbied ICOM to introduce an explicitly social purpose to the work of museums (Assunção dos Santos 6). In 1974, in the wake of the Santiago round table, ICOM modified their definition of a museum to “a permanent non-profit institution, open to the public, in the service of society and its development” (emphasis added) (Hauenschild). Museums had been transformed into “problem solvers” (Judite Primo qtd. in Giménez-Cassina 26). With that spirit in mind, museum practitioners, including curators, can develop opportunities for reciprocity with the many faces of the public (Guarini). Response to Social Development InitiativesStarting in the 1970s, the “second museum revolution” (van Mensch 6–7) saw the transition away from: traditional roles of museums [of] collecting, conservation, curatorship, research and communication … [and toward the] … potential role of museums in society, in education and cultural action. (van Mensch 6–7)Arguably, this potential remains a work in progress some 50 years later. Writing in the tradition of museums as agents of social development, Mariana Lamas states:when we talk about “in the service of society and its development”, it’s quite different. It is like the drunk uncle at the Christmas party that the family pretends is not there, because if they pretend long enough, he might pass out on the couch. (Lamas 47–48)That is not to say that museums have neglected to initiate services and programs that acknowledge the aspirations of people with disabilities (refer to Cachia and Krantz as examples). Without discounting such efforts, but with the refreshing analogy of the drunken uncle still fresh in memory, Lamas answers her own rhetorical question:how can traditional museums promote community development? At first the word “development” may seem too much for the museum to do, but there are several ways a museum can promote community development. (Lamas 52) Legitimising CommunitiesThe first way that museums can foster community or social development is to:help the community to over come [sic] a problem, coming up with different solutions, putting things into a new perspective; providing confidence to the community and legitimizing it. (Lamas 52)As a response, my doctoral investigation legitimises the right of people with vision impairment to participate in the social and cultural aspects of publicly funded museums. The Australian Government upheld this right in 2008 by ratifying the United Nations Convention on the Rights of Persons with Disabilities (and Optional Protocol), which enshrines the right of people with disability to participate in the cultural life of the nation (United Nations).At least 840,700 people in Australia (a minimum of four per cent of the population) experiences either blindness or low vision (Australian Bureau of Statistics 2009). For every one person in the Australian community who is blind, nearly five other people experience low vision. The medical model of disability identifies the impairment as the key feature of a person and seeks out a corrective intervention. In contrast, the social model of disability strives to remove the attitudinal, social, and physical barriers enacted by people or institutions (Landman, Fishburn, and Tonkin 14). Therein lies the opportunity and challenge for museums—modifying layouts and practices that privilege the visual. Consequently, there is scope for museums to partner with people with vision impairment to identify their aspirations rather than respond as a problem to be fixed. Common fixes in the museums for people with disabilities include physical alterations such as ramps and, less often, special tours (Cachia). I posit that curators, as co-creators and major contributors to exhibitions, can be part of a far wider discussion. In the course of doctoral research, I accompanied adults with a wide array of sight impairments into exhibitions at the Museum of Australian Democracy at Old Parliament House, the Australian War Memorial, and the National Museum of Australia. Within the space of the exhibition, the most commonly identified barrier has been the omission of access opportunities to interpreted materials: that is, information about objects on display as well as the wider narratives driving exhibitions. Often, the participant has had to work backwards, from the object itself, to understand the wider topic of the exhibition. If aesthetics is “the way we communicate through the senses” (Thrift 291), then the vast majority of exhibits have been inaccessible from a sensory perspective. For people with low vision (that is, they retain some degree of functioning sight), objects’ labels have often been too small to be read or, at times, poorly contrasted or positioned. Objects have often been set too deep into display cabinets or too far behind safety barriers. If individuals must use personal magnifiers to read text or look in vain at objects, then that is an indicator that there are issues with exhibition design. For people who experience blindness (that is, they cannot see), neither the vast majority of exhibits nor their interpretations have been made accessible. There has been minimal access across all museums to accessioned objects, handling collections, or replicas to tease out exhibits and their stories. Object labels must be read by family or friends—a tiring experience. Without motivated peers, the stories told by curators are silenced by a dearth of alternative options.Rather than presume to know what works for people with disabilities, my research ethos respects the “nothing about us without us” (Charlton 2000; Werner 1997) maxim of disability advocates. To paraphrase Lamas, we have collaborated to come up with different solutions by putting things into new perspectives. In turn, “person-centred” practices based on rapport, warmth, and respect (Arigho 206–07) provide confidence to a diverse community of people by legitimising their right to participate in the museum space. Incentivising Communities Museums can also nurture social or community development by providing incentives to “the community to take action to improve its quality of life” (Lamas 52). It typically falls to (enthusiastic) public education and community outreach teams to engage underserved communities through targeted programs. This approach continues the trend of curators as advocates for the collection, and educators as advocates for the public (Kaitavouri xi). If the exhibition briefs normally written by curators (Belcher 83) reinforced the importance of access, then exhibition designers would be compelled to offer fit-for-purpose solutions. Better still, if curators (and other exhibition team members) regularly met with community based organisations (perhaps in the form of a disability reference group), then museums would be better positioned to accommodate a wider spectrum of community members. The National Standards for Australian Museums and Galleries already encourages museums to collaborate with disability organisations (40). Such initiatives offer a way forward for improving a community’s sense of itself and its quality of life. The World Health Organization defines health as a “state of complete physical, mental and social well-being and not merely the absence of disease or infirmity”. While I am not using quality of life indicators for my doctoral study, the value of facilitating social and cultural opportunities for my target audience is evident in participant statements. At the conclusion of one sensory based workshop, Mara, a female participant who experiences low vision in one eye and blindness in the other, stated:I think it was interesting in that we could talk together about what we were experiencing and that really is the social aspect of it. I mean if I was left to go to a whole lot of museums on my own, I probably wouldn’t. You know, I like going with kids or a friend visiting from interstate—that sort of thing. And so this group, in a way, replicates that experience in that you’ve got someone else to talk about your impressions with—much better than going on your own or doing this alone.Mara’s statement was in response to one of two workshops I held with the support of the Learning Services team at the National Museum of Australia in May 2015. Selected objects from the museum’s accessioned collection and handling collection were explored, as well as replicas in the form of 3D printed objects. For example, participants gazed upon and handled a tuckerbox, smelt and tasted macadamia nuts in wattle seed syrup, and listened to a genesis story about the more-ish nut recorded by the Butchulla people—the traditional owners of Fraser Island. We sat around a table while I, as the workshop mediator, sought to facilitate free-flowing discussions about their experiences and, in turn, mused on the capacity of objects to spark social connection and opportunities for cultural access. While the workshop provided the opportunity for reciprocal exchanges amongst participants as well as between participants and me, what was highly valued by most participants was the direct contact with members of the museum’s Learning Services team. I observed that participants welcomed the opportunity to talk with real museum workers. Their experience of museum practitioners, to date, had been largely confined to the welcome desk of respective institutions or through special events or tours where they were talked at. The opportunity to communicate directly with the museum allowed some participants to share their thoughts and feelings about the services that museums provide. I suggest that curators open themselves up to such exchanges on a more frequent basis—it may result in reciprocal benefits for all stakeholders. Fortifying IdentityA third way museums can contribute to social or community development is by:fortify[ing] the bonds between the members of the community and reaffirm their identities making them feel more secure about who they are; and give them a chance to tell their own version of their history to “outsiders” which empowers them. (Lamas 52)Identity informs us and others of who we are and where we belong in the world (Silverman 54). However, the process of identity marking and making can be fraught: “some communities are ours by choice … [and] … some are ours because of the ways that others see us” (Watson 4). Communities are formed by identifying who is in and who is out (Francois Dubet qtd. in Bessant and Watts 260). In other words, the construction of collective identity is reinforced through means of social inclusion and social exclusion. The participants of my study, as members or clients of the Royal Society for the Blind | Canberra Blind Society, clearly value participating in events with empathetic peers. People with vision impairment are not a homogenous group, however. Reinforcing the cultural influences on the formation of identity, Fiona Candlin asserts that “to state the obvious but often ignored fact, blind people … [come] … from all social classes, all cultural, racial, religious and educational backgrounds” (101). Irrespective of whether blindness or low vision arises congenitally, adventitiously, or through unexpected illness, injury, or trauma, the end result is an assortment of individuals with differing perceptual characteristics who construct meaning in often divergent ways (De Coster and Loots 326–34). They also hold differing world views. Therefore, “participation [at the museum] is not an end in itself. It is a means for creating a better world” (Assunção dos Santos 9). According to the Australian Human Rights Commissioner, Professor Gillian Triggs, a better world is: a society for all, in which every individual has an active role to play. Such a society is based on fundamental values of equity, equality, social justice, and human rights and freedoms, as well as on the principles of tolerance and embracing diversity. (Triggs)Publicly funded museums can play a fundamental role in the cultural lives of societies. For example, the Powerhouse Museum (Museum of Applied Arts and Sciences) in Sydney partnered with Vision Australia to host an exhibition in 2010 titled Living in a Sensory World: it offered “visitors an understanding of the world of the blindness and low vision community and celebrates their achievements” (Powerhouse Museum). With similar intent, my doctoral research seeks to validate the world of my participants by inviting museums to appreciate their aspirations as a distinct but diverse community of people. ConclusionIn conclusion, the challenge for museum curators and other museum practitioners is balancing what Richard Sennett (qtd. in Bessant and Watts 265) identifies as opportunities for enhancing social cohesion and a sense of belonging while mitigating parochialism and community divisiveness. Therefore, curators, as the primary focus of this article, are indeed challenged when asked to contribute to serving the public through social development—a public which is anything but homogenous. Mindful of cultural and social differences in an ever-changing world, museums are called to respect the cultural and natural heritage of the communities they serve and collaborate with (ICOM 10). It is a position I wholeheartedly support. This is not to say that museums or indeed curators are capable of solving the ills of society. However, inviting people who are frequently excluded from social and cultural events to multisensory encounters with museum collections acknowledges their cultural rights. I suggest that this would be a seismic shift from the current experiences of adults with blindness or low vision at most museums.ReferencesAlexander, Edward, and Mary Alexander. Museums in Motion: An Introduction to the History and Functions of Museums. 2nd ed. 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Syftet var att studera hälso- och sjukvårdskuratorers erfarenheter av att arbeta i tvärprofessionella team samt hur det upplever sin egen yrkesroll. Vidare studerades deras erfarenheter av hur de upplevt att pandemin påverkat deras och teamets arbete. Informationen samlades in genom halvstrukturerade intervjuer med sex hälso- och sjukvårdskuratorer inom två olika verksamheter. Vår empiri analyserades med stöd av systemteori, interaktionsritualer och emotionell energi samt tidigare forskning. Av resultatet framgick å ena sidan att kuratorerna såg positivt på att ingå i tvärprofessionella team eftersom det var givande för både dem själva som professionella och för patienterna. Bidragande orsaker var bland annat patientcentrerad vård, emotionellt stöd, bredare kunskapsbas och främjandet av arbetsglädjen. Hög arbetsbelastning och tidsbrist visade sig å andra sidan vara en negativ faktor som kunde påverka samarbetet. Resultatet kunde urskilja att kuratorn inte hade någon tydlig arbetsbeskrivning och att konsekvenser av yrkesrollens otydlighet kunde orsaka en känsla av att vara vårdens slasktratt och en svårighet i att förstå rollens avgränsningar. Trots att kuratorerna upplevde en god kommunikation så nämndes försvårande omständigheter som för stora team, tidsbrist, förändrade kommunikationsvägar utifrån pandemin samt övergången till digitala möten i relation till fysiska. En slutsats vi gör är att ett samarbete kräver sociala relationer och sammanhållning och att en möjliggörande faktor till detta är mindre team med en balanserad samarbetsstruktur och tydlig arbetsbeskrivning för samtliga professioner i teamet.Hälsofrämjande aspekter behöver även få en högre prioritet i det digitala arbetssättet som pandemin bidragit till för att stärka sociala relationer och samarbetet i det tvärprofessionella teamet.
The aim was to study the experience of healthcare curators working in cross-professional teams and how they experience their own professional role. Furthermore, their experiences of how they experienced the pandemic affected their work and that of the team were studied. The information was collected through semi-structured interviews with six healthcare curators in two different activities. Our empirical data was analyzed using system theory, interaction rituals and emotional energy, as well as previous research. The results showed, on the one hand, that the curators were positive about being part of cross-professional teams because it was rewarding for both themselves as professionals and for patients. Contributing causes included patientcentred care, emotional support, a broader knowledge base and the promotion of job satisfaction. High workload and lack of time, on the other hand, proved to be a negative factor that could affect cooperation. The result could discern that the counsellor had no clear job description and that consequences of the ambiguity of the professional role could cause a feeling of being the sleagre steering wheel of care and a difficulty in understanding the boundaries of the role. Although the curators experienced good communication, aggravating circumstances such as magnifying teams, lack of time, changing communication paths based on the pandemic and the transition to digital meetings in relation to physical ones were mentioned. One conclusion we make is that collaboration requires social relationships and cohesion and that an enabling factor to this is smaller teams with a balanced collaboration structure and clear job description for all professions in the team. Health promotion aspects also need to be given a higher priority in the digital way of working that the pandemic has contributed to in order to strengthen social relations and cooperation in the cross-professional team.

Syftet med studien har varit att undersöka hur kuratorer inom hälso-och sjukvården ser på internetbaserad behandling med patienter med psykisk ohälsa, för att beskriva och förstå specifikt deras syn på möjligheter och begränsningar med sådana behandlingsmetoder. Studien har genomförts genom kvalitativa semistrukturerade intervjuer med tio yrkesverksamma kuratorer på åtta olika primärvårdsenheter i Stockholms län. Materialet från intervjuerna har analyserats med hjälp av den symboliska interaktionismen. Resultatet visade att kuratorernas inställning till det internetbaserade arbetet är ambivalent. Det internetbaserade behandlingsarbetet är komplicerat och det är tydligt att det finns både möjligheter och begränsningar med ett sådant arbete. Vidare visade resultatet att de möjligheter som kuratorerna kunde se med internetbaserad behandling främst handlar om tillgänglighet och att dessa metoder skulle kunna vara ett värdefullt verktyg till de patienter som önskar sådana behandlingsmetoder. När det gäller begränsningar så kunde kuratorerna se att behandling via internet ställer stora krav på patienten och att interaktion via skrift är mindre nyansfull än vid det traditionella behandlingsarbetet. Det är tydligt att den främsta anledningen till kuratorernas tveksamhet inför dessa metoder handlar om förlusten av att inte kunna se patienten ansikte mot ansikte. Kuratorerna har även svårt att se hur det internetbaserade arbetet praktiskt skulle kunna fungera i det psykosociala arbetet. Det internetbaserade arbetet kan således inte enkelt jämföras med det traditionella psykosociala arbetet som sker ansikte mot ansikte, utan bör ses som ett komplement eller ett helt nytt sätt att arbeta på.
The purpose of the study has been to increase the knowledge of how counsellors within health care view internet based treatment of patients who suffer from mental illnesses, to be able to describe and understand the possibilities and limitations with such forms of treatment. The study has been carried out through qualitative semi structured interviews with ten professional counsellors in eight different primary care units in Stockholm county. The transcripts of the interviews have been analysed by using the theory of symbolic interactionism. The result showed that the counsellors’ view of internet based treatment is ambivalent. The internet based treatment is complicated and the counsellors seeing both pros and cons indicates that there are both possibilities and limitations which such methods. The result also showed that the possibilities that the counsellors can identify in internet based treatment concerns availability and that such methods have the potential to be a valuable tool for those patient who desire such methods of treatment. When it comes to limitations the counsellors can see that treatment via internet make great demands on the patient’s own abilities and that written interaction is far less nuanced than the interactions of traditional treatment work. It is clear that the main reason for the counsellors’ hesitation about these methods is the lack of face-to-face interaction with the patient, as well as difficulties imagining the practical applications of the internet based treatment. Thus the internet based treatment work can not easily be compared with the traditional psychosocial work that occurs face-to-face, but should be considered as a potential complement to traditional treatments or even a complete new way of working.

Reframing Vivien Leigh takes a fresh new look at one of the twentieth century’s most iconic stars. Focusing on Vivien Leigh as a distinctly archival subject, the book draws upon original oral history work with curators, archivists, and fan collectives and extensive research within a network of official and unofficial archives around the world to produce alternative stories about her place within film history. The study examines an intriguing variety of historical correspondence, costume, scripts, photography, props, and memorabilia in order to reframe the dominant narratives that have surrounded her life and career. While Leigh’s glamour, collaborations with Laurence Olivier, and mental health form important coordinates for any study of the star, the book foregrounds a range of alternative contexts that emphasize her creative agency, examining her off-screen labor in areas such as theatrical training, adaptation, war work, producing, protesting, and interactions with her fan base. Part I examines a variety of case studies of Leigh’s screen and stage craft as they emerge from the archive, looking at Leigh’s varied collaborations, her investment in faithful adaptations, and her vocal training. It interconnects star studies, feminist film studies, and performance studies to produce a new take on stardom as creative process rather than stardom as image. Part II turns toward unofficial archives and local museum collections, centering the work of the archivist and the amateur collector and their impact on women’s star histories. It explores Leigh’s archival afterlives as they are constructed by a range of agents and institutions beyond the “official” star archive.

This chapter discusses the use of Digital Storytelling (DS) with older people. It looks at the benefits of participation in the DS process before considering how these self-representations — organised, selected and told by individuals and shared on their terms — can break down traditional bureaucratic power structures represented by the notion of ‘archive’. The chapter presents two case studies. The first is from Patient Voices, which curates and archives digital stories made under its auspices with the intention of transforming health and social care by conveying the voices of those not usually heard to a worldwide audience. The second is from DigiTales's work with older people through the transnational action research project Silver Stories, which generated an archive of over 160 stories by older people and those who care for them, from five European countries. It shows how DS creates new possibilities for participatory and collaborative approaches to discovering and developing new knowledge, re-positioning participants as co-producers of knowledge and, potentially, as co-researchers.

An extended essay on Claire Denis’ L’Intrus acts as a companion piece to the chapter on Frances Barrett. Dealing with similar themes of care, hospitality, and feminism, it expands on an aspect that sat at the edges of Curator, the questioning of received ontological boundaries or defining categories. Denis covers both formerly and conceptually a taxonomy of borders, which are both physical and psychological. Her source material, Jean Luc Nancy’s essay about his heart transplant, is considered in relation to the way Denis produces a moving image work from a philosophical text, with particular concern for her treatment of narrative to produce bodily sensation. The ‘Other’ or figure of the stranger is pitted against the disintegrating power of patriarchy referenced in Denis’ casting of the actor, Michel Subor, who appears in L’Intrus and Beau Travail (1999) as well as Jean Luc Godard’s Petite Soldat (1955). [145]

As a boy, I saw my dad cry on only three occasions. One was his father’s funeral. The other two involved dead orcas. In the 1970s, he worked as curator of Sealand of the Pacific, a small oceanarium near Victoria, British Columbia, and then for the Seattle Marine Aquarium and Sea World. On both sides of the US-Canadian border, across the Salish Sea, he helped capture killer whales for sale and display—or, as he darkly joked, “for fun and profit.” Tell someone today that your father caught orcas for a living and you might as well declare him a slave trader. Killer whales are arguably the most recognized and beloved wild species on the planet. They are certainly the most profitable display animals in history, and with the 2013 release of Blackfish, their fate became an international cause célèbre. Broadcast and distributed by CNN, the film became one of the most influential documentaries of all time. Already years into my research for this book when the movie came out, I found little in it surprising. But Blackfish turned my father, long conflicted about his past, sharply against orca captivity. He wasn’t alone. Almost over­night, viewers, politicians, and activists turned their sights on Sea World—a multibillion-dollar corporation famous for its killer whale shows. In this debate, it seemed there was no room for nuance or history. Millions around the world simply knew in their hearts that orcas had to be saved from captiv­ity. What they didn’t realize was that, decades earlier, captivity may have saved the world’s orcas. Orcinus orca is the apex predator of the ocean, but that ocean has changed rapidly in recent decades. Following World War II, rising populations and new technology drove humans to plunder the sea as never before, and many regarded killer whales as dangerous pests. By the 1950s, whalers, scientists, and fishermen around the world were killing hundreds, perhaps thousands, per year. In a single expedition, celebrated by Time magazine, US soldiers slaughtered more than one hundred off Iceland. But then a curious thing happened.