Mammograms Major Variables Studied And Their Definitions - 1650 Words

Mammograms: Major Variables Studied And Their Definitions (Other (Not Listed) Sample) Content: Mammograms Students NameInstitutional Affiliation Article 1CitationMorrell, S., Taylor, R., Roder, D., Robson, B., Gregory, M., Craig, K. (2017). Mammography service screening and breast cancer mortality in New Zealand: A national cohort study 19992011. British Journal of Cancer. doi: 10.1038/bjc.2017.6.Conceptual FrameworkRandomized trials have, in the past, provided insights into breast cancer mortality and screening mammography and subsequently informed screening recommendations. Some meta-analyses have indicated the contribution of mammography screening to reduced breast cancer mortality. However, the exclusion of meta-analyses studies with randomization bias has suggested that mammography screening does not translate to reduced breast cancer mortality. Therefore, the researchers employ the BreastScreen Aotearoa (BSA) program to investigate several hypotheses regarding the breast cancer mortality rates in the never-screened and ever-screened women, and t he regularly screened and less regularly screened. Design/MethodThe present study was a retrospective cohort study that investigated breast cancer mortality with reference to screening mammography. The BSA program along with the death and cancer registries provided data of the women in New Zealand who had undergone screening or diagnosis between 1999 and 2011. Sample/settingThe sample comprised women from New Zealand aged between 45 years and 69 years. The setting was New Zealand, and the sample excluded the never-screened women. Major variables studied and their definitionsThe major variables comprised age and ethnicity of the women included in the study. The age ranged between 45-69 years and ethnicity comprised the Pacific and Maori with other women implying women of European descent residing in New Zealand. The outcome variable in this study referred to breast cancer mortality for every cohort year.MeasurementThe breast cancer mortality for every cohort year served a s the outcome measure did not require a scale because it was direct. Data analysisData analysis involved calculating breast cancer mortality with respect to participation and non-participation in the screening mammography service between 2000 and 2011. For ever-screen women, the researchers determined the years each person participated in screening right from the first screen. It also determined the years that the never-screened did not participate in the BSA program. The researchers used negative binomial regression for the adjustment of the repeated measures and Poisson regression in case the negative binomial model did not apply. FindingsThe ever-screened group achieved significant reductions in the overall breast cancer mortality when compared to the never-screened population. The regularly screened also had relatively lower mortality rates compared to the less screened counterparts. Further, the ever-screened women had better prognostic factors when compared to their neve r-screened counterparts due to early detection.Appraisal/Worth to PracticeIt proved challenging to eliminate the lead-time bias. However, the researchers managed to eliminate the predisposition of the study to lead time bias. It is also not possible to determine the exact causes of variations in breast cancer mortality for the ever-screened and never-screened populations. The study was subject to screening selection bias.Article 2CitationJohns, L. E., Coleman, D. A., Swerdlow, A. J. Moss, S. M. (2017). Effect of population breast screening on breast cancer mortality up to 2005 in England and Wales: An individual-level cohort study. British Journal of Cancer, 116, 246252.Conceptual FrameworkVarious countries set up population breast screening based on evidence in previous randomized trials that suggested the ability of mammographic screening to bring down breast cancer mortality. Even so, controversies exist regarding the value of putting in place these screening prog rams with respect to breast cancer mortality. As such, this called for the evaluation of the efficacy of these programs based on the existing individual-level data.Design/MethodThe study examines breast cancer screening histories, including the day of death of persons with breast cancer from the screening call and recall databases. The researchers coded the data of the people with breast cancer depending on their death causes.Sample/settingThe cohort sample included 988,Ð ²Ãâ€š090 women residing in Wales and a third of those in England within the age range of 49 and 64 years. Major variables studied and their definitionsThe major variables in this study included the socioeconomic status and age. The age ranged between 49 years and 64 years. MeasurementThe researchers employed the Townsend Index to provide estimates of the socioeconomic status of the participants in the study (Phillimore et al., 1994). It utilized postcode of residence of the women who took part in scree ning to develop socioeconomic estimates.Data analysisData analysis involved carrying out the intention-to-screen analyses. The researchers also adjust the results against the lead-time bias. It also involved performing a cumulative incidence analysis to take into account overdiagnosis as a result of screening. The standardized mortality rates allowed for the adjustment depending on age and year. The Poisson regression allowed for the calculation of rate ratios, confidence intervals, as well as p-values. FindingsThe mortality rate remained relatively lower at 17 percent for the invited than the uninvited women. However, the mortality rate rose to 21 percent after carrying out a lead-time bias adjustment with respect to age and socioeconomic status. The cumulative incidence rates stood at 3.02 with 0.3 percent representing overdiagnosis for the invited. Appraisal/Worth to PracticeThe current study addresses the limitations of past studies with respect to their inability to assess exposure with a great sense of accuracy, including employing the incidence-based mortality technique. However, the study suffered the healthy invitee bias, self-selection bias, and the pro-screening lead-time bias. Other limitations comprised inability to determine diagnosis dates for approximately 5 percent of those who succumbed to breast cancer and temporal differences noted in the exposed groups.Article 3CitationMassat, N. J., Dibden, A., Parmar, D., Cuzick, J., Sasieni, P. D., Duffy, S. W. (2016). Impact of screening on breast cancer mortality: the UK program 20 years on. Cancer Epidemiology, Biomarkers Prevention, 25(3).Conceptual FrameworkThe evidence of the randomized clinical trials led to the launch of population mammographic screening and subsequent expansion of the invitations to cover women aged 47-73 years. The evaluation of these programs can provide new insights into whether early detection is required regardless of better prognosis in the 21st ce ntury. The insights can elucidate whether breast cancer screening has a significant influence on mortality. Design/MethodThe study utilized the case-control study design and targeted women aged 47-89 years whose death occurred due to breast cancer in the period between 2008 and 2009. The researchers matched the 869 women in the cancer registry with one or two general population controls without breast cancer diagnosis based on screening locale and date of birth. Sample/settingThe sample comprised 869 women whose death certificate indicated breast cancer as the primary death cause and 1642 controls. The participants ranged between 47 and 89 years and resided in London. Major variables studied and their definitionsThe major variables included age, currently screened (0 to 60 months), formerly screened (more than 60 months), and never screened. MeasurementThe study did not employ any scale or measurement instrument because of the straightforwardness of the variables. Da ta analysisThe conditional logistic regression assisted in comparing participation in breast screening of the cases and controls. The resulting ORs underwent adjustment for self-selection bias. The researchers also executed a sensitivity analysis to eliminate the bias associated with screening time. FindingsThe mortality rates linked with breast cancer for screened women remained relatively lower that is 35 percent when compared to the never-screened group. Self-selection bias had no significant impact on study OR and attending the last invitation significantly influenced mortality rate reduction because it allowed for the detection of fatal cancers. Appraisal/Worth to PracticeThe study employed a new approach and contemporary data. The findings agree with those of other researchers who have employed contemporary data. The design provided for equal screening opportunity and minimized self-selection and lead time bias. Article 4CitationWeedon-FekjÐ ¶r, H., Romundstad , P. R., Vatten, Lars J. (2014). Modern mammography screening and breast cancer mortality: Population study. BMJ, 348. Conceptual FrameworkPrevious studies provided evidence demonstrating the ability of mammography screening to lessen breast cancer mortality. Even so, the methods employed in these studies have received widespread criticism with the Cochrane Collaboration considering the estimated mortality benefits invalid. The recent advancements in breast cancer treatment have caused debate on the relevance of mammography screening and early cancer detection. Design/MethodThe study employed a prospective cohort study design to examine the efficacy of carrying out mammography screening on breast cancer mortality. The Norwegian cancer registry provided the data on screening invitations, as well as breast cancer diagnoses and deaths. Sample/settingThe sample consisted of all Norwegian women who participated in the screeni...

Jacques Herzog and Pierre de Meuron, Modern Architects

Jacques Herzog (born April 19, 1950) and Pierre de Meuron (born May 8, 1950) are two Swiss architects known for innovative designs and construction using new materials and techniques. The two architects have nearly parallel careers. Both men were born the same year in Basel, Switzerland, attended the same school (Swiss Federal Institute of Technology (ETH) Zurich, Switzerland), and in 1978 they formed the architectural partnership, Herzog de Meuron. In 2001, they were chosen to share the prestigious Pritzker Architecture Prize. Jacques Herzog and Pierre de Meuron have designed projects in England, France, Germany, Italy, Spain, Japan, the United States, and of course, in their native Switzerland. They have built residences, several apartment buildings, libraries, schools, a sports complex, a photographic studio, museums, hotels, railway utility buildings, and office and factory buildings. Selected Projects: 1999-2000: Apartment buildings, Rue des Suisses, Paris, France1998-2000: Roche Pharma Research Institute Building 92 / Building 41, Hoffmann-La Roche, Basel, Switzerland2000: Tate Modern, London Bankside, UK1998-1999: Central Signal Tower, Basel, Switzerland1998: Ricola Marketing Building, Laufen, Switzerland1996-1998: Dominus Winery, Yountville, California1993: Ricola-Euope SA Production and Storage Building, Mulhouse-Brunstatt, France1989-1991: Ricola Factory Addition and Glazed Canopy, Laufen, Switzerland2003: Prada Boutique Aoyama, Tokyo, Japan2004: IKMZ der BTU Cottbus, Library at Brandenburg University of Technology (BTU), Cottbus, Germany,2004: Edifici Fà ²rum, Barcelona, Spain2005: Allianz Arena, Mà ¼nchen-Frà ¶ttmaning, Germany2005: Walker Art Center expansion, Minneapolis. MN2008: Beijing National Stadium, Beijing, China2010: 1111 Lincoln Road (parking garage), Miami Beach, Florida2012: Serpentine Gallery Pavilion, Kensington Gardens, London, UK2012: Parrish Art Museum, Long Island, New York2015: Grand Stade de Bordeaux, France2016: Elbphilharmonie concert hall, Hamburg, Germany2017: 56 Leonard Street (Jenga Tower), New York City2017: La tour Triangle, Porte de Versailles, Paris, France2017: M Visual Art Museum in Kowloon, Hong Kong Related People: Rem Koolhaas, Pritzker Prize Laureate, 2000I.M. Pei, 1983 Pritzker LaureateRobert Venturi, Pritzker Prize Laureate, 1991Thom Mayne, 2005 Pritzker LaureateZaha Hadid, Pritzker Prize Laureate, 2004 Commentary on Herzog and de Meuron from the Pritzker Prize Committee: Among their completed buildings, the Ricola cough lozenge factory and storage building in Mulhouse, France stands out for its unique printed translucent walls that provide the work areas with a pleasant filtered light. A railway utility building in Basel, Switzerland called Signal Box has an exterior cladding of copper strips that are twisted at certain places to admit daylight. A library for the Technical University in Eberswalde, Germany has 17 horizontal bands of iconographic images silk screen printed on glass and on concrete. An apartment building on Schà ¼tzenmattstrasse in Basel has a fully glazed street facade that is covered by a moveable curtain of perforated latticework. While these unusual construction solutions are certainly not the only reason for Herzog and de Meuron being selected as the 2001 Laureates, Pritzker Prize jury chairman, J. Carter Brown, commented, One is hard put to think of any architects in history that have addressed the integument of architecture with greater imagination and virtuosity. Ada Louise Huxtable, architecture critic and member of the jury, commented further about Herzog and de Meuron, They refine the traditions of modernism to elemental simplicity, while transforming materials and surfaces through the exploration of new treatments and techniques. Another juror, Carlos Jimenez from Houston who is professor of architecture at Rice University, said, One of the most compelling aspects of work by Herzog and de Meuron is their capacity to astonish. And from juror Jorge Silvetti, who chairs the Department of Architecture, Graduate School of Design at Harvard University, ...all of their work maintains throughout, the stable qualities that have always been associated with the best Swiss architecture: conceptual precision, formal clarity, economy of means and pristine detailing and craftsmanship.

Education Funding For School Districts - 905 Words

How Does the Child’s School District Wealth Affect a Child’s Education? Educational funding for school districts is an ongoing war. A war that will be fought till equality is achieved. A school district’s wealth is affected by a number of reasons such as its property wealth, the race of the people who live there and their socio-economic status. Some districts are wealthier than others. Wealthy districts get more funding than poor districts because they have more property wealth and people with high socio-economic statuses. The wealth of a school district determines how much resources the school gets and just how much education the children in that district receive. Most school district boundaries are more or less drawn by race and class. The wealthier districts consisting of predominantly the white race and the poorer districts consisting of the colored race. An example can be seen in Taylor Van’s video â€Å"Tale of Two Schools: Race and Education on Long Island†. In The Color of Water, the school that James’ mother applies to is a predominantly white school with James being the only colored child and only child who wore hand me downs and clothes from the thrift shop in his class. In the 1960’s, there was still segregation even though the Brown vs. Board of Education law had been passed in 1954 in an attempt to desegregate the schools, the schools were still segregated. The schools were still segregated because the boundaries had been drawn to suit segregation and duringShow MoreRelatedExecutive Summary : Funding For Education1543 Words   |  7 PagesExecutive Summary: Funding for Education Introduction In 1836 Texans listed the failure of the Mexican government to provide education as one of their grievances in the Texas Declaration of Independence from Mexico (Texas Education Agency). Since the founding of Texas, education has been an extremely important part of the state government. 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Claude Monet At The National Gallery Of free essay sample

Art Essay, Research Paper ? Claude Monet at the National Gallery of Art? Claude Monet is most definately my favourite Painter of all clip. Widely considered the first Impressionist painter, Monet inspired Masters like Degas and Renoir. Monet? s pictures, characterized by their bleary lines, speedy coppice shots and reading of visible radiation, gaining control the kernel of the topic without the rough pragmatism of old centuries. Earlier on in his calling Monet? s pictures attempted to catch the fleeting visible radiation and mobility of his topic. His pictures were done rapidly and about wholly out-of-doorss. As his calling progressed, he became progressively fascinated with the ambiance. Late in his calling Monet devoted himself to painting one capable 10, 20 or 30 times. Repeating topics so that he could demo the uninterrupted atmosphere generated by his landscapes. The Display I saw of Monet? s was at the National Gallery of art. This one little gallery in a immense museum has drawn me repeatedly over the twelvemonth. We will write a custom essay sample on Claude Monet At The National Gallery Of or any similar topic specifically for you Do Not WasteYour Time HIRE WRITER Only 13.90 / page The twelve or so pictures have captured me for hours. They are chiefly subsequently works, and one out of a series of pictures. I will analyze the five pictures that caught my attending the most. Each is a testimony to the single manner of Monet. The first I looked at was? The Waterloo Bridge: Grey Day? painted in 1903. When I foremost walked into the room and looked at this painting all I saw was grey. That is what the picture is, Grey. It is a landscape of a suburban span ( The Waterloo span, France ) with a metropolis in the background. This Picture does no recognition to the existent thing, but it will make. Copyright? 2000 National Gallery of Art, Washington D.C. The true glare of the picture is that for high spots and low visible radiations Monet did non utilize greies or browns, typical for demoing a dazed twenty-four hours. Alternatively, he used Pinks, lavenders and a superb vermilion to stand for the traffic traversing the span. The elusive colourss combined with the quick and graceful coppice shots capture the feeling of a cloudy twenty-four hours. I can conceive of people traversing the span meeting the mist of the cloud, looking behind them and seeing the lineations of the mills. Monet does non utilize clear lines to specify the physical landmarks. But on a cloudy twenty-four hours, who can see clear definition anyhow. It is more about the intimations of what is behind the grey. It is astonishing to see a image transform when you get closer and inspect what is so little that it can non be seen without genuinely contemplating what is being represented. After? The Waterloo Bridge: Grey twenty-four hours? I moved on to? Palazzo de Mula-venice? painted in 1908. This is a genuinely astonishing piece. All definition between the H2O and the edifice is gone. Alternatively, Monet uses a difference in coppice shots to divide the two. Even that definition is minor. The H2O and the edifice seem to turn together. The colour strategy of both are virtually indistinguishable. Looking from the top to bottom, the edifice merely fades into the H2O, and the opposite is true when looking from the underside to the top. Copyright? 2000 National Gallery of Art, Washington D.C. This is non pragmatism ; it is the definition of Impressionism. Venice is a metropolis defined by its waterways. The architecture goes right to the H2O, making a feeling that the metropolis is drifting on the river ways. The same feeling is captured in this picture. The lone difference in colour is the spark of ruddy in the Windowss. As if the metropolis begins beyond the walls of the river, before that everything is H2O. It is astonishing to see the edifice taking form from the H2O. Looking at this picture is phantasmagoric ; I felt the sense that the frame of the image was a mere window fram vitamin E looking into a phantasy. That is the exact ambiance of Venice that Monet gaining controls. A picture that best displays the technique of Monet is? A Nipponese Footbridge? ( 1899 ) This prized waterlilly pond and span, which he built himself at his place in Giverny, finally became his lone topic for picture. This picture demonstrates Monet? s usage or deficiency of usage of lineations. There is small alteration from the shrubs and the H2O. The waterlillies seem suspended, with merely the span and its contemplation to remind us of the H2O. The absence of sky furthers the continuity of the image, capturing the span in an enclosure of green. The contrast of coppice stokes between the H2O lilies and the contemplation demonstrates his command of definition without existent boundaries. The lone clearly painted object is the span yet the power of the picture is in everything else. The following two pictures are meant to be experienced together. ? The Roven Cathedral-West Facade at sunshine and sunset? ( 1894 ) are the two pictures that ab initio drew me to Monet. The first clip I of all time saw them was in the beginning of the twelvemonth when I ventured into the National Gallery of the art on a mission to? Research D.C. ? I saw these two pictures next together and the first thing I thought of was a quotation mark from a wholly unrelated film: ? a full on Monet is something that looks good from a far, but up near its merely a large old muss? The film Clueless, 1996 Up near, these two representations of the Cathedral are about indiscernible from assorted pigment on a painter? s pallet, merely whirl of other colourss. The amazing this is when you step back and the picture goes from a ball of colourss to a instead singular representation of a cathedral at different times during the twenty-four hours. These two images are a small dark but you can conceive of the experience. This series genuinely accomplishes Monet? s end in painting. Not to remain true to the topics image, but to remain true to the feelings, or emotions environing the topic. ? To me the motive itself is an undistinguished factor, what I want to reproduce is what exists between the motive and me? ? Claude Monet ( 1840-1926 An artistic pronunciamento with an about philosophical turn and the astonishing thing is that he does it. The Color of the light seems touchable, like a contemplation. Though brumous and blurred there is the feeling that you are truly looking out on the cathedral either in sunshine or sundown. This sort of picture uses a wholly new construct. Alternatively of painting purely the topics, the creative person uses the topic as a background to the more prevailing emotion or? atmosphere? . These two images truly caught my attending and I must hold spent at least a half hr gazing. This is the glare of Monet. It seems less of a picture, the work of a adult male, and more like a window into Utopia. A true maestro transcends his pigment and canvas and creates a minute frozen in clip. Sing my first Monet was like walking past a window and being captured by what I saw, I neer expected this feeling. It was a surprise how a work of art could alter your world while you are in it? s thick. The manner he used visible radiation and colourss impressed me so much, I couldn? T believe the accomplishment. It shows endowment when an creative person paints a topic so realistically that it looks about like a exposure, by a exposure is still planar. Monet created deepness and as he loved to state Atmosphere. His pictures come out of the frame, envaloping you in a minute in clip and infinite. Artistic look is so much more that what you cee on a canvas or any other medium. It is the look, the motivation, the emotion. Something that you can experience, something that Monet has mastered.