Access To ART Research Articles

The Artists’ Association branches of Revolutionary Russia: experience of interaction with regions

Importance. The activities of the Artists’ Association branches of Revolutionary Russia (1922–1932) are considered. During this period, the organization had a significant and sometimes decisive place in the artistic life of the country. The subject of the study relates to the culture of the country as a whole and touches on local history issues. The purpose of the work is to assess the influence of the central organization on the local branches development and analyze their importance in the Association work.Materials and Methods. The research is based on materials from the Russian State Archive of Literature and Art, the State Archive of the Yaroslavl Region and published memoirs of participants in the events. In the course of the work, the biographical method is used, as well as historical-genetic and historical-comparative methods traditional for historical science.Results and Discussion. It is noted that the Association participants paid great attention to the creation of representative offices at the local level. The presence of artistic traditions in a particular region played an important role in the development of local branches of the AARR. At the same time, established traditions are not the determining factor. The presence of a bright creative personality in it, who set a certain pace of work, could be of significant importance in the development of a particular branch.Conclusion. It is revealed that some of the regional branches ceased their activities even before the liquidation of the AARR. Despite this, the work of branches of the Artists’ Association of Revolutionary Russia contributed to the accessibility of art for the local population, attracting regional residents to artistic life and preserving cultural monuments. Museums and creative studios are created, and active exhibitions and lectures are carried out.

Exploring diseases burden in HIV population: Results from the CHAO (Comorbidities in HIV/AIDS outpatients) cross-sectional study in Kenya

BackgroundAfrica is the epicenter of the HIV epidemic, with over two-thirds of the global population living with HIV. It is also facing a dramatic increase in non-communicable diseases (NCDs) amidst its aging population. This necessitates a healthcare approach that addresses both infectious diseases and NCDs in HIV-positive individuals. In Kenya, with 1.4 million HIV-positive people, efforts include widespread ART access and integrating HIV services into the health system. Challenges remain in healthcare infrastructure, particularly in rural areas. The Comorbidities in HIV/AIDS Outpatients (CHAO) Project, funded by the Italian Cooperation Agency, aims to improve understanding and management of comorbidities in HIV patients, highlighting the need for cost-effective healthcare strategies to address this dual burden. MethodsThe CHAO (Comorbidities in HIV/AIDS Outpatients) project conducted a cross-sectional epidemiological study across 25 clinics in Meru County, Kenya. The study included comprehensive surveys and screenings for various comorbidities among HIV-positive patients receiving treatment, utilizing both clinical evaluations and laboratory tests to assess the prevalence of infectious diseases and NCDs. ResultsA total of 1051 HIV-positive individuals were included in the study: 75 % females, 25 % males, median age 47 years, the majority (96 %) on long-term ART, mostly Dolutegravir-based (95 %). 55.4 % had at least one comorbidity, with NCDs such as dyslipidemia (21.22 %) and hypertension (20.17 %) being the most prevalent. The study also noted significant occurrences of communicable diseases, including syphilis (5.23 %), hepatitis B (2.19 %), and hepatitis C (0.29 %). The prevalence of comorbidities varied with age, highlighting the impact of aging on disease burden. DiscussionThe high prevalence of comorbidities among HIV-positive patients in Meru County underscores the need for integrated healthcare strategies that address both infectious diseases and NCDs. The findings advocate for systematic screening and management of comorbidities within HIV care programs, emphasizing the need for holistic health approaches to improve outcomes for this population.

Art curation in virtual spaces: The influence of digital technology in redefining the aesthetics and interpretation of art

The advent of the digital revolution and the ubiquitous integration of digital technology in art curation, have led to unprecedented transformations in reshaping the accessibility and engagement of art and heritage. This study delves into the intersection of digital technology and art curation, and attempts to explore the multifaceted and transformative influences of digital technology in curatorial practices in the contemporary art world. The research used a case study approach and investigated Google Arts & Culture and the Rijksmuseum’s Rijksstudio as prominent examples of large-scale digitalisation and digital art curation. The study aims to establish a nuanced and comprehensive understanding of art digitalisation, and how digital practices are redefining curatorial methods in the art world. Drawing from the critical perspectives concerning digitalisation, the study deliberates on the shifting paradigms of authenticity, the digital divide and the diminishing materiality of artworks in virtual environments. The findings from the study suggest that digital transformations in curatorial practices have ushered in an era of increased accessibility, and immersive user interactions with art and heritage. However, the digital curation of art manifests the emergence of a post-custodial paradigm, which is characterised by commodification of art, and decontextualisation of art and heritage.

P-716 What do Africans know about their fertility? A systematic literature review exploring fertility knowledge, attitudes, and behaviour among African population groups

Abstract Study question What is the knowledge, attitude, and behaviour regarding fertility, among African population groups? Summary answer Fertility knowledge and uptake of treatment options for infertility were found to be sub-optimal while the attitude towards fertility were mixed. What is known already Infertility affects 1 in 6 couples worldwide according to the WHO, with some evidence of higher incidence among the African population. Health policies have highlighted the importance of optimising fertility through better knowledge and, recently, there has been a concerted effort from several stakeholders to improve fertility-education. An important component of doing this effectively is to understand the current status and identify gaps. Most studies on this topic, however, have focused on high-income countries. This study aimed to assess current patterns of fertility knowledge, attitudes, and behaviour; and identify improvement opportunities but with a focus on the African population group. Study design, size, duration Global Health, MEDLINE, Web of Science PubMed, Scopus, and Google scholar databases were systematically searched for articles published between 2000 and 2023. Articles covering fertility knowledge, attitude and practices were included if they had been conducted in Africa and were published in an English language peer-reviewed journal. Participants/materials, setting, methods Articles were extracted and reviewed independently by two researchers. Content was analysed and categorised thematically. Quality assessment of studies were conducted. Main results and the role of chance The systematic search yielded 1939 articles and 25 articles were included, studies were from Nigeria, South Africa, Gambia, Egypt, Kenya. Overall, the reviewed studies showed that Africans place a high value on their fertility and have high aspirations towards parenthood, with childbearing being perceived as fulfilment or destiny. Knowledge and understanding of ART and treatment options was found to be low in studies assessed. There was also low knowledge of age-related fertility decline and low understanding of the menstrual cycle and ovulation. Although the attitude towards infertility and assisted reproductive technology was mixed, there is more openness within the higher-socioeconomic demographics, although generally sub-optimal. Overall studies also highlighted several myths and misinformation about ART. There were important factors influencing behaviour: such as the importance of being married, having a steady income, and safe-housing. Some studies also highlighted that cultural beliefs and religion also play an important role. Research findings showed that there is stigma associated with childlessness in many African communities. Although some studies reported attributing infertility to fate or destiny, most remain open to treatment through various methods, ranging from ART to herbalist and spiritual intervention, with some considering prayer a method of treatment. Limitations, reasons for caution This study focused on fertility knowledge, attitude and practices of Africans which has implications for generalisability among wider population groups. From our quality assessment, some of the studies in the systematic review had methodological limitations. Wider implications of the findings While strategies and policies to improve fertility awareness are being deployed, it is important to consider the needs of lower- and middle-income countries. Findings can inform government policies aiming to improve education, minimise ART costs, improve health-equity and access; ultimately allowing people to achieve their desired family-building intentions. Trial registration number not applicable

Impact of Selected Fourth Industrial Revolution Technologies on the Music Industry: An Exploration of the Pros and Cons

The fourth industrial revolution (4IR) is changing the creative industry. This article examines the impact of selected technologies within the 4IR—artificial intelligence as well as virtual and augmented reality as case examples—on various aspects of creative production, distribution, and consumption of creative art. Using the theory of knowledge organisation, the article deals with the principles and practices of arranging information and concepts. This qualitative literature review focused on systematically collecting, analysing and synthesising data from existing research to gain a deeper understanding of 4IR from a creative arts perspective. Specifically, the article analyses how 4IR tools influence artistic expression in music and the evolving role of the artist, in addition to exploring the transformation of musical art distribution and audience engagement through online platforms and immersive experiences. The impact of selected technologies on the art industry has both positive and negative consequences. Positive impacts include new forms of artistic creation and collaboration, composition with artificial intelligence, art installations with virtual reality and audience engagement, democratisation of art production and accessibility, opportunities for innovation and growth, new forms of creativity, and better traceability of works. On the downside, there are technological challenges, skills and labour development, disruption of traditional art markets and business models, ethical considerations and concerns about 4IR-generated music art and information overload. This research contributes to a deeper understanding of the complex interplay between technology and artistic practice in the 4IR. Keywords: Creative industry, music, fourth industrial revolution, Artificial intelligence, virtual and augmented reality

Evaluating the spatial accessibility and spatial layout optimization of HIV/AIDS healthcare services in Shandong Province, China

Improving access to HIV/AIDS healthcare services is of great concern to government and policymakers striving to strengthen overall public health. How to reasonably allocate HIV/AIDS healthcare resources and maximize the equality of access to healthcare services across subdistrict areas has become an urgent problem to be solved. However, there is limited research on this topic in China. It is necessary to evaluate spatial accessibility to improve the accessibility and equity of HIV/AIDS healthcare services. In this study, the improved multi-modal two-step floating catchment area (2SFCA) and inverted 2SFCA (i2SFCA) methods are used to measure the spatial accessibility of HIV/AIDS healthcare services and the crowdedness of the healthcare sites in Shandong Province, China. Then, the theoretical supply and the optimal spatial distribution of resources are calculated and visualized by minimizing the accessibility gaps between demand locations. This study showed that the spatial accessibility of HIV/AIDS service resources in Shandong Province was concentrated and unevenly distributed, and the accessibility scores in the marginal areas of prefecture-level cities were significantly lower than those in other areas. Regions with a large number of doctors had significantly higher levels of spatial accessibility. The ART accessibility scores in the southwest of Shandong Province were higher than those in other regions. As the travel friction coefficient increased, the accessibility scores formed an approximately circular cluster distribution centered on the healthcare sites in geographical distribution. More ART drugs needed to be supplied in marginal areas and more doctors were needed to work on HIV/AIDS in urban areas to address the spatial distribution imbalance of HIV/AIDS healthcare services. This study profoundly analyzed the spatial accessibility of HIV/AIDS healthcare services and provided essential references for decision-makers. In addition, it gives a significant exploration for achieving the goal of equal access to HIV/AIDS healthcare services in the future.

Long-Acting Injectable Antiretrovirals for HIV Treatment: A Multi-Site Qualitative Study of Clinic-Level Barriers to Implementation in the United States.

Long-acting injectable antiretroviral therapy (LAI ART) has the potential to address adherence obstacles associated with daily oral ART, leading to enhanced treatment uptake, adherence, and viral suppression among people living with HIV (PLWH). Yet, its potential may be limited due to ongoing disparities in availability and accessibility. We need a better understanding of the organizational context surrounding the implementation of LAI ART, and to inform its widespread rollout, we conducted 38 in-depth interviews with medical and social service providers who offer HIV care at private and hospital-based clinics across six US cities. Our findings highlight real-world implementation barriers outside of clinical trial settings. Providers described ongoing and anticipated barriers across three stages of LAI ART implementation: (1) Patient enrollment (challenges registering patients and limited insurance coverage), (2) medication delivery (insufficient personnel and resources), and (3) leadership and management (lack of interprofessional coordination and a lack of programming guidelines). Providers described how these barriers would have a disproportionate impact on under-resourced clinics, potentially exacerbating existing disparities in LAI ART access and adherence. Our findings suggest strategies that clinic leadership, policymakers, and other stakeholders can pursue to promote rapid and equitable LAI ART implementation in clinics across the United States. Resource and staffing investments could support clinics to begin, sustain, and scale up LAI ART delivery; additionally, the establishment of guidelines and tools could facilitate wider adoption of LAI ART across clinical settings. These efforts are crucial to promote resourced, standardized, and equitable implementation of LAI ART and maximize its potential to help end the HIV epidemic.

Visual Art Accessibility and Art Experience for the Blind and Visually Impaired

Visual Art Accessibility and Art Experience for the Blind and Visually Impaired

Neurotoxoplasmosis: a 5-year story in the Dominican Republic (P14-10.004)

<h3>Objective:</h3> To describe people living with HIV and neurotoxoplasmosis clinical presentation and common outcomes in the Dominican Republic. <h3>Background:</h3> Despite breakthroughs in HIV testing and ART access, advanced HIV is still a Latin American health concern. The Dominican Republic saw only a 4% reduction in HIV incidence rate during the last 5 years. Suboptimal disease control and opportunistic infections like neurotoxoplasmosis may occur from a lack of specialized healthcare facilities, limited resources, and information availability in remote areas. <h3>Design/Methods:</h3> Retrospective case series study of individuals with HIV and neurotoxoplasmosis diagnosis from 2017 to 2022. Characteristics included demographics, clinical presentation, laboratory, and imaging. Quantitative data was analyzed using dispersion and central tendency, whereas qualitative data was analyzed using frequencies and percentages. <h3>Results:</h3> 37 patients with HIV and neurotoxoplasmosis (mean[SD] age, 37.8[9.55] years; 70.2%[26] men) had a median CD4 count of 24 k/uL (IQR 53) and a mean viral load of 329.3 (SD 258). 64%(24) were noncompliant, not treated, or had uncertain HAART status. 29.7% (11) had anemia, 11.1%(4) myasthenia gravis, and 8.1%(3) hypertension. Oropharyngeal candidiasis 29.7%(11) and Tuberculosis 10.8%(4) were common coinfections. Headache (72.9%[27]), hemiparesis (54.1%[20]), and seizures (51.4%[19]) were the most common neurological symptoms. CT scans showed hypodense lesions (72.4%[21]), mass effect (48.6%[18]), patchy white matter hypodensities (32.4%[12]), and vasogenic edema (27.02%[10]). Within a year, 10.8%(4) had died. <h3>Conclusions:</h3> Although recent advances in HIV management, developing nations still face difficulties in accessing adequate care. HIV patients require continuous monitoring to avoid preventable conditions, such as neurotoxoplasmosis. Given the sociocultural context, what can we do to increase follow-up and HAART adherence? <b>Disclosure:</b> Dr. Cedeño has nothing to disclose. Dr. Agramonte has nothing to disclose. Mr. Rivas has nothing to disclose. Dr. Chacón has nothing to disclose. Dr. Medrano Heredia has nothing to disclose. Miss Montilla has nothing to disclose. Dr. Abreu Guaba has nothing to disclose. Mr. Acra-Tolari has nothing to disclose. Mrs. Rojas Fermin has received personal compensation in the range of $500-$4,999 for serving as a Consultant for Pfizer. Mrs. Rojas Fermin has received personal compensation in the range of $500-$4,999 for serving as a Consultant for Msd. Mrs. Rojas Fermin has received personal compensation in the range of $500-$4,999 for serving on a Scientific Advisory or Data Safety Monitoring board for Pfizer. Dr. Mejia has nothing to disclose.

Good practice of making art and culture accessible to the deaf and hard of hearing, on the example of the Deafland exhibition at the Silesian Museum in Katowice

The issue of the accessibility of culture and art for deaf and hard of hearing people is the topic of the implementation doctoral dissertation conducted by the author of the article under the supervision of dr hab. prof. University of Lodz Aneta Pawłowska as part of the Doctoral School of Humanities at the University of Lodz and the Association Social Support "Ja-Ty-My" in Lodz entitled: The problem of accessibility of information in public institutions and social economy entities in the field of culture and art for people with hearing loss and disabilities in Poland. Recommendations and standards.&#x0D; The article is an attempt to look from the point of view of a researcher - a deaf person - insider, at the issue of the broadly understood accessibility and significance of the Deafland (Głusza) exhibition at the Silesian Museum in Katowice (a breakthrough in Poland in terms of the subject matter and the model of available technical solutions for people with special needs).

Малоизвестные подробности истории создания пьесы Л.Н. Толстого «Власть тьмы» (1886) и ее постановки в театре «Скоморох» (по материалам Российского государственного архива литературы и искусства и периодики второй половины XIX в.)

The article arranges little-known details from the history of the creation of L.N. Tolstoy’s folk play “The Power of Darkness” (1886) and its staging in “Skomorokh” Theater (1886–1887, 1895) in chronological order. The article presents a historical and literary review of the “Skomorokh” Theater (1882–1897) as one of the city’s professional theaters for the public audience before and after the intersection of its repertoire with Tolstoy’s work on the basis of materials from the Russian State Archive of Literature and Art (RGALI), namely memoirs of the theater’s entrepreneur M.V. Lentovsky, the manuscript of the book “Spectators and Theater. Theatrical notes and memoirs of the half-century theatrical work” of the theatrical figure and teacher N.A. Popov, correspondence of Tolstoy’s friend and follower V.G. Chertkov and the diary of the writer R.M. Khin-Goldovskaya. The analysis also involves factual information about the “Skomorokh” and the drama “The Power of Darkness” from literary and theatrical periodicals of the second half of the 19th century, i. e. the section “Chronicle” of the journal “Theater and Life,” critical works by N.A. Popov, V.P. Burenin, A.L. Volynsky, E.E. Matern, etc. The results show that the artistic tasks set by the theater “Skomorokh” in 1886–1887 and in 1895, the declaration of literary and critical thought of the 2nd half of the 19th century was broken in its own way about the nationality / accessibility of art, the active creator of which was Tolstoy. The article reveals new aspects of Tolstoy’s creative manner as a playwright by the example of unknown circumstances of the participation of theatrical figures (M.V. Lentovsky) in the creation of the script for Tolstoy’s work.

THE "GENIUS" OF AN UNDYING PLACE: GEOCULTURAL CHALLENGES AND EDUCATIONAL STAPLES

The article contains the author's view on the value-semantic foundations of cultural activity of local communities in response to geocultural challenges characteristic of the provincial settlements of Russia before the revolution. The authors' research focuses on the pages of the history of the tireless struggle of people of the XIX century for the accessibility of education and art in order to prevent the extinction of their place of residence. Special attention is paid to V. V. Vereshchagin, a man of a great original soul, an ascetic and creator, who, although he did not take a lively part in solving everyday problems in the settlements of the Kherson and Perm provinces, but became a recognized “genius of the place” for their residents. Today, the name of V. V. Vereshchagin continues to bind the educational staples of the cities of Nikolayev and Vereshchagino, despite the lack of intercultural contacts. In the jubilee year of the city of Perm, it seems important to emphasize that the presence of vocational education institutions in Perm settlements ensures the development of cultural-centric qualities in local communities

Designing Prototype: Art Accessibility for the Blind and Visually Impaired

Designing Prototype: Art Accessibility for the Blind and Visually Impaired

Art as a Medium in Heterogeneous Learning Groups: First Findings of an Empirical Study

Working with art is considered to have a special potential for heterogeneity-sensitive learning processes. It should pick up on elementary experiences, open up emotional access and diverse learning paths, and serve different learning types, strategies, and levels. In the heterogeneity-sensitive didactics of religion and art, however, these assumptions have not yet been empirically proven, and, in general, theoretical designs dominate in the heterogeneity-sensitive didactics of religion. In our contribution, we explore the question of how art processes enable heterogeneity-sensitive learning processes in religious education and help to reduce social inequality. For this purpose, we evaluate the first results of our qualitative empirical study on heterogeneity-sensitive learning processes with art in religious education (hekuru, which is based on subject didactic development research. There are initial indications that, contrary to widespread opinions, the thesis of a generally easy accessibility of art proves that needs have to be differentiated, and that special milieu sensitivity is advisable.

A Communication Model of Art Information Accessibility for People with Disabilities

People with disabilities still face barriers to participation in society, face freedom of choice, lack of opportunities to act independently, discrimination, accessibility issues, and equal rights. Only the physical accessibility of the environment is emphasized, but social activity is strongly influenced by the availability of information. Access to culture/art is physical and informational. Cultural organisations should integrate marketing tools into their activities through the communication process and the presentation of art products and services.Scientific problem – What integrated marketing communication tools do increase the information accessibility of art for people with disabilities?The object of the work is integrated marketing communication tools that increase the information accessibility of art for people with disabilities. The aim of the work is to develop an empirically based theoretical model of integrated marketing communication tools that increase the information accessibility of art for people with disabilities.

REFLECTION OF THE PROLETARIAN ART IN THE LEFT-WING PERIODICALS OF THE INTERWAR PERIOD IN LATVIA

In the left-wing magazines of the 1920s and 1930s, the visual art has been analysed from variously emphasised left-wing positions; even though, on the whole, literature seemed to be a more important weapon in the ideological battle. “Laikmets” (“Epoch”) (1923) was the least politicised periodical, advocating active, modern art opposed to stagnant bourgeois traditions, and promoting, for instance, the activism of author Andrejs Kurcijs, which was related to the ideas of the French purism. “Domas” (“Thoughts”) (1912–1915; 1924–1934) was a more long-lived periodical, aspiring to be a sophisticated culture magazine with more elaborate essays, such as Kurcijs’s draft for his publication “On Art” and the article “The Sociology of Creativity” by literary scholar Pēteris Birkerts. The highlights of the magazine “Trauksme” (“Alert”) (1928– 1929) included the statement by poet Pēteris Ķikuts about constructivism being more akin to the expressionists’ depth than to the impressionists’ superficial sliding over the surface of life. In “Signāls” (“Signal”) (1928–1930), a publication which was social- democratic in orientation, Voldemārs Branks wrote about art, inspired by the ideas of Leo Tolstoy and Hippolyte Taine, as well as emphasising the importance of the content and the accessibility of art. On the other hand, magazine “Kreisā Fronte” (“Left Front”) (1928–1930), edited by Linards Laicens, was related to the Russian constructivism by calling for the abandonment of the visual art in the name of producing useful things. The coexistence of modernistic, realistic and utilitarian versions echoed the Russian and European art processes of the time with the rehabilitation of mimetic traditions and ideologically motivated discrediting of the avant-garde. With the establishment of the Latvian authoritarian regime in 1934, the era of the leftist magazines in Latvia, which revealed the controversial attempts to display a more progressive outline of art, came to an end.

Role of Folk Doll Archetypes in Modern Culture and Therapeutic Puppetry

The purpose of the article is to identify the basic archetypes of the folk doll and to find out the possibilities of their use in therapeutic puppetry. The research methodology is based on the use of historical, analytical, and semiotic methods of research with culturological interpretation of the findings. The scientific novelty is that the role of folk doll archetypes in modern culture and therapeutic puppetry is examined for the first time from the culturological aspect. Since collective consciousness is activated during art therapy classes and access to the subconscious is gained, folk doll archetypes in combination with specific signs and symbols contribute not only to familiarisation with Ukrainian material and spiritual culture, but also perform an informational and communicative function, simultaneously contributing to the assimilation and reproduction of culture and social adaptation of the individual. Conclusions. Creating a material object, a folk doll, which is at the same time an image-symbol of a person, giving it the meaning of an alter ego, a person through the doll gets the opportunity to reveal the hidden properties of their personality. The use of a folk doll in art therapy, taking into account precautionary mechanisms and addressing its main archetypes, popularises folk culture in modern society and helps in solving problems in the sphere of personal relationships between children and adults.&#x0D; Key words: art therapy, archetype, culture-creative function, therapeutic puppetry, folk doll.

From the cave to the virtual museum: accessibility and democratisation of Franco-Cantabrian Palaeolithic art

Highlights: Despite being a transcendental cultural manifestation in the history of humanity, there are hardly any open-access virtual repertoires of Palaeolithic art. The numerous photogrammetric studies carried out in successive archaeological campaigns to answer scientific questions can be used in educational and dissemination projects. In the framework of the authors’ outreach project called "PaleoArt-3D: regreso al pasado" a virtual museum has been created to make Palaeolithic art a more accessible and democratic heritage. Abstract: Palaeolithic art is a cultural manifestation of great importance to understanding the early history of our species. Through this artistic phenomenon, one can study aspects such as long-distance contacts, evidence of learning or the perception with which Palaeolithic humans were able to execute and memorise such precise details. However, there are few virtual repertoires that offer collections of Palaeolithic art. Accessibility to this type of archaeological remains is even more difficult considering conservation is prioritised over tourist visits. For these reasons, Palaeolithic art is today a type of cultural asset that is largely unknown to the population. The project "PaleoArt-3D: regreso al pasado" was created with the aim of democratising this heritage and making it more accessible. To this end, a virtual museum has been developed to exhibit digital models of parietal and portable art with complementary annotations for each one. The methodology includes a first stage dedicated to digitising examples of Palaeolithic art in caves or open-air stations and exhibited in Spanish and French museums. Next, the necessary infrastructure was designed to house the exhibition using specific software such as Blender. Post-processing tasks were carried out to reducing the number of polygons without losing quality. Finally, the museum has been uploaded to the Sketchfab platform to make it freely available online. It is hoped that this virtual museum will contribute to promoting and creating a more significant number of digital resources related to Palaeolithic art that are easily accessible to the public.

Foreword. Public Art and Aesthetics

The growing number of various interventions and artistic activities in the public sphere has been gaining momentum in recent years. This state of affairs can be seen in at least two – related – tendencies. Rapid urban development, gentrification, constant tension between the private and public spheres, and the need for sustainable growth provide an opportunity for public art to address issues that have not been addressed to the proper extent before. On the other hand, growing discontent, a sense of injustice and the threat caused by painful economic crises, seem to be the inevitable climate catastrophe, social inequalities and – referring to the very current situation – the Covid-19 pandemic and the unimaginably brutal war in Ukraine, make public art one of the ways of political and social manifesto.&#x0D; Public art, traditionally associated with urban space, more and more often becomes the domain of other than urban environments. Currently, there is no and should not be an equal sign between urban art and public art, although – undoubtedly – the relationship between the two is still somehow strong as many objects of public art are indeed situated in cities. Notwithstanding, at present we are dealing with numerous artistic interventions that pose a question about the reality of non-urban space, the ways of its reception as well as aesthetic evaluation. Non-urban public art is often a meditation on the way of experiencing common space and the relationship between art, community and aesthetics.&#x0D; One of the particularly interesting topics is the relationship between works of public art and some epistemic and ontological categories. First of all, public art seems to rise a question of accessibility and illegality of art in public spheres. Is an artwork displayed on private property and yet widely accessible to almost everyone a token of public art? Or, is it always the case for public artworks to be commissioned and legal? What is the nature of (potentially) illegal public artworks and their connection to public space? Second, can we move public artworks from the original site of display into another spacer. That is, are they, and if yes, then to what extent, site-specific?&#x0D; Another interesting issue is the role that public art plays in creating the (aesthetic) atmospheres of given places. Everyone seems to agree that good public art should refer to and respect the atmosphere of a given place, and if it does not do so, it raises objections from the public. Another question is how public art (understood as something that reconfigures the existing space) is able to influence and potentially contribute to the given atmosphere. Even more importantly, one could see how (good) public art is able to help in transforming a space (as a spatial and primarily geographical notion) into a place (understood as something existential in nature).&#x0D; This certainly highlights the “public” character of the contemporary work of art, but what is it that makes the artwork public? What functions has public art played in recent years in European and non-European countries? How has it been approached by cultural agents, local policy makers, and experts (critics, art historians, and philosophers)? Also, which appreciative practices related to public art have reached prominence?&#x0D; Researchers shall tackle questions related to the definition, historical and social context and appreciation of art created, performed and resonating within the public sphere in different heterogeneous and homogeneous areas and sites. Particular attention should be dedicated to the different manifestations of public art (e.g. street art, murals, memorials, sculptures and others) often responsible, at least to a relevant extent, for reshaping and redefining urban and non-urban environments also in light of social and political goals.&#x0D; This issue of “Aithesis” attempts to cross all these topics by proposing different perspectives. Within this conceptual framework move the essays that make up the monographic part: Adam Andrzejewski and Marta Maliszewska on public art in local communities; Andrea Borghini and Nicola Piras on eating local as public art; Tereza Hadravova and Sabrina Muchová on public art as meditation on public time; Mateusz Salwa on community gardens as public art; Andrea Baldini on The Nanjing Massacre Memorial; Marcello Sessa on the public dimension in Allan Kaprow’s theory and Nicola Turrini on the work of Felix Gonzalez-Torres.&#x0D; A brief focus of three essays (Tamara Tagliacozzo, Nikolaos Tzanakis Papadakis and Attilio Vincenzo Burrone) is devoted to Benjamin and Adorno, while the miscellaneous section closes the issue with papers (Aldo Trucchio, Modesta Di Paola, Saverio Macrì, Nicola Di Stefano) that seek to account for some issues in the current debate.

P-476 Why are they not coming back? A single-center follow-up study on oncological women oocyte's storing for fertility preservation

Abstract Study question Which is the return rate and which factors are responsible for the non-return in cancer patients who underwent oocyte cryopreservation for fertility preservation? Summary answer Return rate was 11.7%. Young age at freezing, lack of a partner and type of cancer were the main factors responsible for the non-return. What is known already Improvements in oncological early diagnoses and therapies have significantly increased the survival rates of patients, allowing clinicians to focus on long-term quality-of-life issues, such as access to motherhood. An extensive literature on the importance of fertility preservation (FP) has been produced thanks to the growing number of patients undergoing FP cycles over the years. Nevertheless, the rates of patients returning to use their cryopreserved material have shown to be considerably low, ranging from 5 to 8%. Significant data regarding the reasons that might explain such low return rates are still scarce. Study design, size, duration This is a single-center follow-up retrospective study that includes all women who underwent oocyte cryopreservation cycles for oncological purposes at referral University affiliated center, from January 2001 to December 2017. Participants/materials, setting, methods The database consists of 171 patients, among those 110 (64%) were diagnosed with breast cancer, 45 (26%) hematological cancer, 5 (3%) gynecologic cancer and 11 (7%) other cancers. Data about returned patients were retrieved from internal registries. Non-returned patients were assessed by standardized phone survey on health and marital status, family projects, spontaneous conceptions, and reasons why they had not returned to use their gametes. A univariate analysis between returned and non-returned patients was performed. Main results and the role of chance Among the 171 women who underwent oocyte cryopreservation, 9 (5%) died and 17 (10%) were lost at follow up. In the remaining 145-patient group, the mean age at freezing was 32.2±6.1 and at follow-up 38.2±6.7 years. A total of 20 patients (11.7%) returned to use their frozen material and 125 did not. In the non-returned group, 37 (29.6%) did not have a partner, 10 (8%) had a previous spontaneous conception and 15 (12%) had recurrent malignancy at the time of follow-up. In the univariate analysis, younger age at freezing (31.8±6.2 vs 35.2±4.7; p 0.018), lack of a partner (p 0.002), type of cancer (other than breast cancer; p 0.024) were the significant factors in the non-returned group. As for the personal reason for not coming back, patients mainly answered as follows: lack of a partner (29, 23.2%), desire of spontaneous motherhood (24, 19.2%), previous spontaneous pregnancies after FP procedures (16, 12.8%), and still ongoing hormonal therapy for breast cancer (13, 10.4%). Nonetheless all of them confirmed their will to keep the storage of their oocytes. Limitations, reasons for caution The study population consists of a limited number of patients from a single Italian Fertility Center. Since the Italian law limits ART access to heterosexual couples, this setting may limit any possible adaptation of the study to other countries, with different legislations. Wider implications of the findings The impact of a cancer diagnosis on a woman’s maternal desire, sentimental status and life priorities should be studied more thoroughly. Moreover, it is important to encourage studies investigating so long hormonal therapy suppression in breast cancer patients seeking pregnancy in order to reduce their time to pregnancy. Trial registration number na