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The ethics of state-sponsored and clinical promotion of long-acting reversible contraception
Get PDFObjectives:- To review ethical aspects of the promotion and provision of long-acting reversible contraception (LARC). Specifically, to examine (1) the tension between informational exchange and the active promotion of LARC methods to new and existing contraceptive users by healthcare professionals; and (2) the distinct ethical issues arising from the promotion of LARC methods by state-sponsored actors and healthcare professionals.
Methods:- Narrative review and ethical analysis.
Findings:- There is an ethical difference between raising awareness/informational provision and actively promoting or prioritising specific contraceptive methods. It matters whether the policy choice is made, or the promotional activity about contraception is undertaken, by individual healthcare professionals at a local level or by more remote state-sponsored actors, because the relationship between the promoter and the (potential) contraceptive user is of a different kind. Imposing a dual responsibility upon healthcare professionals for raising awareness/informational exchange and the active promotion of LARC creates an unnecessary tension and barrier for the delivery of patient-centred care.
Conclusions:- This review highlights the need for ethical reflection on the central role of the promoting agent and the distinction between facilitating informational awareness and active promotion of LARC. LARC methods should not be prioritised in isolation and without regard to the wider implications of public promotion. A balanced narrative and information-sharing programme that respects the individual interests of each contraceptive user is called for, especially in direct professional/service user relationships. No assumption should be made that user decision-making will necessarily be determined and influenced solely by the relative effectiveness of the contraceptive method
A Strong Defence of Delicate Things
No full textThis installation was the result of an ongoing conversation between three women working with film, photography and found images. The installation brings together photographs from artist’s practice and archives, social media and fashion, staged within a provisional structure. Over five months meeting online the artists developed their shared interest in collaborative looking, working with images that fell loosely within categories of inside & outside, women in the studio, building materials, water, rocks and bodies.
Coming at the end of a three-week residency, the installation gathers multiple photographs, moving image and audio, presented across the walls and temporary structure. Each image holds a place in the artists’ life and research, which ‘stick’ because looking at them still raises questions about why they remain significant.
Half-way through developing the project an image posted on social media became an anchor for others gathering on an online board. This black and white photograph was taken around 1943, by an unknown photographer, from inside Porthmeor Studios, St Ives, Cornwall. The dark interior of the studio contrasts with the sunlit scene outside and contains a still life arranged on the window sill, curtains pulled to one side. On the beach, level with the window, a woman and a man lie alongside each other. The woman is the artist Wilhelmina Barns-Graham, the man is likely Robert H Wagner, an American GI who she formed a close relationship with during the war. Both in swimsuits with their legs stretched out, mirroring each other. A shovel leans to one side of the open window, suggesting they have dug their way out through the sand.
Interpretation of the photographs and their relationship suggests multiple correspondences through content and across space. The lure of biography is interrupted through a kind of image making and installation that seeks to remain shifting and fluid, for itself and for all our potential meanings
Remodelling theatre narrative through digital technology (2015-2017) [REF2021 collection]
No full textThis Collection spans two large-scale theater productions – ‘The Stick House’ (2015) and ‘Ice Road’ (2017) – both of which were made through the immersive theatre company, Raucous, founded by Clark. This practice-based research investigates how immersive theatre narratives can harness emerging digital media technologies to deliver a more immediate and emotive experience for a live audience. Both pieces fuse live performance, projection mapping, musical composition, smell, robotics and spatial sound. Contextual information comprises video footage, including documentation of the audience research and response
Shared pasts: decoding complexity (2018-2019) [REF2021 collection]
No full textShared Pasts: Decoding Complexity, is a practice-as-research project that investigates how spatial computing, data visualisation and augmented reality can be used to tell complex narratives about historic artefacts and places.
This multi-component output spans two interrelated prototypes: The Museum Collection Engine’ (2018) and ‘Shared Pasts: Decoding Complexity’ (2019). Both projects apply narrative theory and history to data visualisation methods made possible by spatial computing and game engine technologies, working together to virtually imprint multiple narratives around diverse historic artefacts and locations. Methodologically, the research in this collection takes an iterative design approach to developing tools that curators, researchers, educators and community groups can use to describe and share history.
Both projects were led by Coral Manton in collaboration with:
Historians: Professor Olivete Otele, Professor of History of Slavery at the University of Bristol & Sue Giles, Curator of World Culture at Bristol Museums.
Writers: Julia Scott-Stevenson & Lisa Harewood.
Voice Over Artist & Actress: Adjoa Andoh.
Developer: Christopher Hunt
This collection documents a multi-component output with contextualising information. The items provide evidence of the 300-Word Statement, Research Timeline & Research Questions, A walkthrough video detailing the Shared Pasts: Decoding Complexity project, an article with the South West Creative Technology Network, Screen Capture of the Birmingham Museum Trust Collection Engine Network, Images from the launch event of Shared Pasts: Decoding Complexity, Screen Capture of the Shared Pasts: Decoding Complexity App, Audio Examples of the Voice Over from the App, Design Documentation for the App & evidence of the object detection research undertaken as part of the development process
Conversational AI (technology that talks) and speculative design activism (2018-2019) [REF2021 collection]
No full textThis multi-component output brings together two projects that explore our relationship with Artificial Intelligence (AI) technologies. ‘Women Reclaiming AI’ aims to rewrite and reimagine the cultural myths of AI by developing a feminist AI voice assistant, and ‘The Infinite Guide’ is a speculative artwork powered by a conversational AI that explores cultural attitudes towards AI and digital immortality. Both projects manifest as websites, and contextual information comprises video documentation and audience data
'It's the best job in the world, but one of the hardest, loneliest, most misunderstood roles in a school'. Understanding the complexity of the SENCO role post-SEND reform
Get PDFIn schools, the Special Educational Needs Coordinator (SENCO) could be considered a key policy implementer of special educational needs and inclusive policy. Issues related to time, status and the effective facilitation of the SENCO role have been reported on extensively, yet literature has predominantly focused on the role prior to the introduction of the Special Educational Needs and Disability (SEND) reforms in 2014.
This paper reports on research which explored the SENCO role post‐reform. The research aimed to understand how widely the role varied across differing educational settings and phases, whilst also exploring the breadth and depth of the role, post‐SEND reform. The research design was mixed methods and had two phases: online focus groups (n = 15), followed by a national online survey (n = 1903).
The findings suggest that the facilitation of the SENCO role remains problematic post‐reform. Constraints include the time to undertake responsibilities, the increasing breadth of the role and how the role is understood by others. This combined with increased external bureaucracy, budgetary constraints and a lack of consistency nationally has led to a situation where only approximately one‐third of SENCOs intend to remain in the role in five years’ time
Making_Writing (2017-2019) [REF2021 collection]
No full textMaking_Writing contains two projects, Light Pricks : whispers & kicks and SCULPTURE, MODELLING and POTTERY, produced between 2017 and 2019. Each project explores making, and the context of making, through a writing process that is proposed, itself, as a form of making, with multiple registers of language employed to produce ‘constructed’ texts. Both projects employ interviewing as a research method
UGO (2016-2019) [REF2021 collection]
No full textUGO is a series of practice-research projects which focus on the ambiguity of the project space in site-specific, pedagogical, and digital contexts to generate new learning as a collective troubleshooting experience.
UGO Project Space [2016-17] invited curators and commissioned artists to work in new territories and to generate new learning. This took the form of a large format curated billboard project as part of the Associate Programme for the British Art Show 8.
UGO Digital Project Space [2018-19] invited curators, commissioned artists, and students to generate new digital-based learning within a formal pedagogical website.
This Collection contains items relating to the above projects developed and curated by Jonathan Kelham
Journey's with 'The Waste Land' (2015-2018) [REF2021 collection]
No full textJourneys with 'The Waste Land' was a major exhibition exploring the significance of T.S. Eliot's poem The Waste Land through the visual arts. This was a three year project to develop pioneering and innovative approaches towards curating and curatorial research
Erkunde: the study of the Earth (2015-16) [REF2021 collection]
No full textErdkunde is a video work by John Wood and Paul Harrison inspired by the geology collections at Bristol Museum and Art Gallery.
The work draws upon the history of geological maps, walkers and individual geologists whose histories are tied up with the collection at the museum. The video was exhibited at Bristol Museum and Art Gallery, 19 September 2015 —3 January 2016. Erdkunde uses the narrative device of a lecture with no spoken words, based upon the idea of a field trip and the collection and subsequent display and interpretation of materials.
This collections contains a 300-word Statement, a Research Timeline and Research Questions, as well as evidence of the output (an extract and stills from the video Erdkunde) and contextualising information, including evidence relating to the exhibitions in Bristol and Tokyo