3 research outputs found
Validation of the FACSCount AF system for determination of sperm concentration in boar semen
No full textA flow cytometric method has been developed for rapid determination of sperm concentration in semen from various mammalian species.* All cells containing DNA are stained with SYBR-14 or propidium iodide (PI) and sperm concentration is determined in relation to an internal standard of fluorescent microspheres ( beads). Satisfactory staining can be achieved within 2-3 min and the following flow cytometric analysis on the FACSCount AF System rapidly provides the user with a precise and accurate assessment of the sperm concentration. In this study, the FACSCount AF System and Sperm Counting Reagent ( BD Biosciences) was compared with microscopic counting using a Burker-Turk haemocytometer. In addition, sperm concentration was determined using the Corning 254 spectrophotometer which is used routinely by Danish artificial insemination stations for boars. The results show that the agreement between flow cytometry and microscopic counting is very high. The slope for the regression line was 1.12 (SE = 0.03) with an estimated intercept with the Y-axis of 22 x 10(6) sperm/ml (SE = 10 x 10(6) sperm/ml) and an estimated error of the model of 10 x 10(6) sperm/ml. For the spectrophotometer, the slope of the regression line was 1.09 (SE = 0.07) with an estimated intercept of 137 x 10(6) sperm/ml (SE = 25 x 10(6) sperm/ml). The average error made by the spectrophotometer was 55 x 10(6) sperm/ml. In addition, the results obtained using flow cytometry was highly repeatable ( CV = 2.7%) in comparison with the spectrophotometric method ( CV = 6.3%). These results indicate that the FACSCount AF System is a valuable tool for precise and accurate assessment of sperm concentration in boar semen and that use of this system may lead to production of more uniform insemination doses containing a specific number of sperm per dose
An odd couple or the perfect match?
No full textI oplevelsesøkonomien er kunsten og kulturen først og fremmest en vare og et erhverv, som kan hjælpe erhvervslivet og samfundet med at genere økonomisk vækst. Dermed adopterer kulturlivet umiddelbart logikker og mål, som ellers traditionelt har været forbeholdt erhvervslivet. Logikken i erhvervslivet er kommerciel, og målet er økonomisk vækst. Med andre ord underlægges kulturen i oplevelsesøkonomien en stigende kommercialisering, hvor kvalitet vurderes i forhold til målbare resultater såsom salgstal og omtale. Mit speciale fokuserer på kulturlivets position i oplevelsesøkonomien, og det tager udgangspunkt i tesen om et kulturliv, der på mange måder enten ukritisk træder ind oplevelsesøkonomien eller som slet ikke træder ind i oplevelsesøkonomien. Jeg ser mange muligheder i samarbejder mellem kulturlivet og erhvervslivet og derfor tager jeg da også afsæt i en hypotese om, at kulturlivet og erhvervslivet kan forenes. Specialets problemformulering lyder som følger: Hvordan kan man som kulturinstitution forene kunstens og kulturens idealer med erhvervslivets kommercielle idealer? Problemformuleringen besvares gennem følgende underspørgsmål: A) I hvilke former og under hvilke betingelser er oplevelsesøkonomiens kulturbegreb blevet til? B) Hvordan skaber de diskursive strategier, der italesættes i tre interviews med tre ansatte på Århus Festuge, hegemoniske relationer og diskursive magtkampe mellem kulturlivet og erhvervslivet? Specialet er bygget op omkring to analyser, som tilsammen besvarer problemformuleringen: En teoretisk, dekonstruktiv analyse (A) og en empirisk hegemonianalyse (B). Begge analyser er struktureret efter diskursanalytiske analysestrategier – den teoretiske med inspiration fra Michel Foucault og den empiriske med inspiration fra Ernesto Laclaus hegemonianalyse. Analysestrategierne er en naturlig forlængelse af mit videnskabelige ståsted, socialkonstruktivismen. Den teoretiske analyse har til formål at belyse at problematisere det kulturbegreb og dets iboende forhold mellem kulturliv og erhvervsliv, som oplevelsesøkonomien konstruerer. Det gøres ved at inddrage teorier, som har forskellige syn på forholdet mellem kulturliv og erhvervsliv samt supplere med eksempler fra dagens debat, som den kommer til udtryk i medierne. Pierre Bourdieu tegner et portræt af det kulturelle felt (the field of cultural production), hvor han hævder, at kunstnere og kulturaktører traditionelt vender den økonomiske verdens love på hovedet og stræber efter et autonomt princip for hierarkisering. Modsat det autonome ideal finder vi det heteronome ideal, som er kendetegnet ved at stræbe efter målbare resultater såsom salg og omtale. Oplevelsesøkonomien konstruerer et kulturbegreb, der er instrumentelt og, som stræber efter heteronome principper for hierarkisering. Den teoretiske analyse inddrager synspunkter, der spænder fra Theodor W. Adornos kritiske syn på kulturindustrien til John Seabrooks teori om samfundet Nobrow, hvor sammensmeltningen af kulturliv og erhvervsliv og af reklame og kunst ikke længere problematiseres. Adorno repræsenterer den differentierede samfundsorden, hvor kulturliv og erhvervsliv er adskilte størrelser, og hvor der skelnes mellem finkultur og den brede lavkultur. Modsat Adorno, repræsenterer Seabrook den dedifferentierede samfundsorden, som har været herskende siden 1990’erne i Danmark. Mellem disse to poler finder vi en række synspunkter og tegn på, at samfundet på den ene side er mere og mere dedifferentieret – og kulturlivet og erhvervslivet deraf smelter sammen – men på den anden side reaktualiseres idealer og logikker fra den differentierede samfundsorden stadig. Dermed udfordres oplevelsesøkonomiens kommercielle, heteronome ideal for kunsten og kulturen konstant af det traditionelle, autonome ideal for kunsten og kulturen – den uafhængige kunst og kunst for kunstens skyld. Når kulturlivet integreres med erhvervslivet, får de på den ene side et større og mere varieret udbytte ved at samarbejde med erhvervslivet, men samtidig mister de deres autonomi og uafhængighed af markedet, men derimod får kunsten og kulturen chance for at blande sig med samfundet i højere grad end tidligere. Hvis kunsten og kulturen skal forenes med erhvervslivets kommercielle idealer, må man give slip på differentieringen af kulturlivet og erhvervslivet, og dermed også slippe det traditionelle skel mellem det kommecielle kulturbegreb og det autonome kulturbegreb. Kun ved at meningsudfylde kulturbegrebet på ny og dermed skabe nye idealer for kunsten og kulturen, kan man forene kunsten og kulturen med erhvervslivets kommercielle idealer. Som aktør i kulturlivet i dag skal man være opmærksom på, at der i det dedifferentierede samfund kræves en god historie, før erhvervslivet vil samarbejde, og nogle kunstneriske genrer har bedre historier og dermed bedre kort på hånden, når det gælder om at bejle til erhvervslivets sponsorater og samarbejdsaftaler. Man skal derudover være opmærksom på, at erhvervslivet uanset kunstens og kulturens mange kompetencer vil gå ind i samarbejdet i en overlegen magtposition. Erhvervslivet sidder på pengene og økonomi er stadig den altafgørende magtfaktor i dagens samfund. Sidst men ikke mindst er det en stor udfordring for os alle i det dedifferentierede samfund at kende på reklame, kunst og politik og vurdere kvalitet, når vi ikke har den traditionelle referenceramme at forholde os til. Den empiriske analyse har tre interviews med tre ansatte på Århus Festuge som analyseobjekt, og respondenterne bekræfter på flere områder ideen om oplevelsesøkonomien som hegemonisk projekt. Dermed bakker respondenterne op om det dedifferentierede samfund og potentialiserer muligheden for, at kulturbegrebet tilskrives ny mening, så det lettere kan forenes med erhvervslivet. Men samtidig er det også tydeligt, at andre syn udfordrer oplevelsesøkonomiens umiddelbare hegemoni – herunder de autonome idealer for kunsten og kulturen. Det er vigtigt, at kulturlivet holder fast i sit indhold og sin dybde, integritet, idet kulturen ellers risikerer at miste sin troværdighed og dermed også det trumfkort, kulturlivet har i forhold til erhvervslivet. Det handler om at forene business og kunst – uden at blive forfalden til én af delene. Kunstnere med autonome idealer for kunsten og kulturen findes stadig og er nødvendige at værne om for at bibeholde kulturens eksistensberettigelse og dens forskel fra erhvervslivet. Det er ikke alt kunst, der kan forenes med erhvervslivets kommercielle idealer, og som kulturinstitution skal man finde en måde at rumme både de kunstnere, der stræber efter heteronome principper for hierarkisering, og dem der stræber efter de autonome idealer. Specialet slutter af med en perspektivering, hvor det med hjælp fra Niklas Luhmanns systemteori understreges, at kulturinstitutioner i dagens samfund nødvendigvis må være polyfone og deraf i stand til at iagttage sit eget sociale system og andre sociale systemers logikker. Derudover reflekteres over instrumentalisering som en samfundstendens, idet flere og flere felter mister deres uafhængighed og bruges til at opnå noget andet og mere. Vigtigheden af at bevare rum for fordybelse uden mål understreges, da flere felter – herunder kunsten – risikerer at miste sin eksistensberettigelse.In the context of The Experience Economy, art and culture are primarily considered useful as a product and an industry that may help generate economic growth in the corporate sector and society in general. And so cultural institutions tend to adopt the logic and objectives traditionally associated with the business world. Business logic is commercial and its objective is economic growth. In other words, in The Experience Economy context, culture is becoming subject to increased commercialization. My thesis focuses on the positions held by cultural institutions participating in The Experience Economy, and it is based on the premise that in many ways cultural institutions either uncritically embrace the concept of Experience Economy or they reject it outright. Thus the overall question discussed in my thesis is: How can cultural institutions effect a synthesis of the ideals of art and culture with the commercial ideals of the business world? I am basing my thesis on two analyses: A theoretical, deconstructive analysis and an empirical analysis of hegemonic relations. Both these analyses are structured according to discursive style strategies of analysis and follow naturally from the scientific standpoint of my thesis, i.e. social constructivism. The objective of the theoretical analysis is to discuss the cultural concept constructed as part of The Experience Economy and the resulting inherent relations between cultural institutions and the corporate sector. This is achieved by referring to various theories that represent different views on the relationship between cultural institutions and the business world. Pierre Bourdieu portrays The Field of Cultural Production claiming that traditionally artists turn the laws of the business world upside down favouring an autonomous principle of hierarchisation. On the other hand there is the heteronomous ideal characterized by the endeavour to achieve quantifiable results. Experience Economy constructs a concept of culture that is instrumental in nature and favours heteronomous principles of hierarchisation. The theoretical analysis covers viewpoints ranging from Theodor W. Adorno's critical view of the cultural industry to John Seabrook's theory Nobrow, in which the fusion of the ideals of the cultural and the corporate sectors is no longer questioned. Society has become still more dedifferentiated, and on the other hand ideals and logics associated with a differentiating social order continue to be reactualized. And so the Experience Economy ideal of art is constantly being challenged by the traditional, autonomous ideal. If the arts and culture community is ever to embrace the commercial ideals of the business world, it must abandon the differentiation between arts and business and thus also relinquish the traditionally maintained distinction between the commercial and the autonomous concept of culture. Only by reinventing the cultural concept and creating new ideals can cultural institutions achieve a synthesis of their ideals with the ideals of the corporate sector. Today's players in the arts scene have to be acutely aware that in a dedifferentiated society they must have a good story to tell in order to attract the attention of the corporate sector, and that some of the arts have better stories to tell and thus hold better cards when it comes to courting the favour of the business world. They have to be aware that the business world will enter into co-operative relations from a superior position of power as money is still the decisive factor of power in today's society. Finally, in a dedifferentiated society we are faced with the serious challenge of telling the difference between publicity, art and politics and determining quality without the traditional frame of reference to rely on. Interviews with members of the Aarhus Festival secretariat form the object of analysis of the empirical study, and in several respects the respondents confirm the idea that participating in the experience economy is a hegemonic project. They identify the potential benefits of investing the cultural concept with new meaning so as to facilitate a synthesis of cultural and corporate sector ideals. At the same time, it is important that cultural institutions hold on to their artistic integrity as they might otherwise risk losing their credibility. It is a question of combining business and art without falling into either pit. It is essential that the cultural sector upholds its autonomous ideals so as to be able to justify its raison d'être and to distinguish it from the business world. It is not possible for all art forms to embrace the ideals of the business world, and cultural institutions must find a way to accommodate artists, who favour heteronomous ideals, as well as those who are in favour of autonomous ideals
Socio-economic and environmental differentials, and mortality in a developing urban area (Belo Horizonte - Brazil)
No full textStudies
on
health
inequalities
on
developing
cities
are
scarce.
They
have
mainly
focused
on
infant
and
child
mortality
and
life
expectancy
at
birth.
Studies
of
adult
mortality
and
cause-
specific
studies
have
seldom
been
carried
out.
An
ecological
study
was
performed
in
order
to
investigate
the
relationship
between
mortality
due
to
all
causes
of
death,
infectious
diseases,
combined
illness
of
diarrhoea,
pneumonia
and
malnutrition,
external
causes,
homicides,
and
motor
vehicle
traffic
accidents,
and
socio-
environmental
conditions
in
a
developing
city,
Belo
Horizonte
in
Brazil.
Death
certificates
relating
to
1994
were
processed.
A
total
of
10,558
certificates
were
geocoded
according
to
75
geographical
areas.
The
areas
were
classified
according
to
the
income
of
the
head
of
family
(or
female
illiteracy
when
appropriate),
and
plausible
routinely
environmental
factors.
In
the
study
of
mortality
due
to
infectious
diseases,
water,
sanitation,
crowding,
and
rubbish
collection
were
tested.
Among
the
external
causes,
the
study
focused
on
homicide
and
motor
vehicle
traffic
accidents,
testing
the
effect
of
public
illumination,
crowding
and
the
average
time
for
police
response
to
a
phone
call.
Analytical
and
descriptive
techniques
were
used
in
the
study.
Mortality
rate
(MR)
ratios
were
estimated
using
random
effects
Poisson
regression.
A
high
correlation
was
found
between
socio-economic
and
environmental
variables.
These
correlated
to
the
distribution
of
mortality
rates
across
the
areas.
Shantytown
areas
(the
favelas)
presented
higher
risk
of
mortality
than
non-favela
areas.
Infectious
diseases,
homicide,
and
combined
illness
of
diarrhoea,
pneumonia
and
malnutrition
(under
5
years
old)
presented
MR
ratios
of
1.59,2.05,
1.62,
respectively.
All
of
them
presented
p-values
for
trend
<0.00.
Deaths
due
to
all
causes
presented
1.12
(p=0.04).
Adverse
socio-economic
and
environmental
conditions
are
associated
with
higher
rates
of
specific
cause
of
death.
Deprived
areas
encompass
highest
vulnerable
groups.
The
use
of
routine
data
in
developing
countries
can
be
used
to
measure
the
inequalities
in
health,
helping
build
up
more
adequate
urban
and
health
policies
