Artykuły w czasopismach na temat „Baroness van”

The ‘Van Lynden Collection’ comprises forty-four paintings that were hung in the Lyndenstein country house in Beetsterzwaag by Baron van Lynden (1827-1896) and his mother Cornelia van Borcharen (1789-1864), and forty-six paintings purchased from 1860 onwards, when the baron married Maria Catharina, Baroness van Pallandt (1834-1905), for their residence in The Hague. The baroness’s involvement is not mentioned in archival documents because of women’s legal incapacity at the time. The article corrects this by referring to the Van Lynden-Van Pallandt Collection and discussing the history of all the works. Lyndenstein was home to an almost encyclopaedic selection of finely painted works by Dutch Romantic artists to which Van Lynden, when a young man, added paintings from exhibitions of Living Artists that mostly had already received awards. Louwrens Hanedoes, himself a painter and a relative, might have mediated and represented the baron in purchasing. In their Hague residence, Van Lynden and Van Pallandt hung modern French works painted in a loose or even sketchy manner. These were acquired during visits they made together to sales and galleries in Paris and through their commercial relationship with Goupil & Cie (from 1884 Boussod, Valadon & Cie) and the firm of Wisselingh & Co, both with branches in the Netherlands. The collection from Lyndenstein arrived in the Rijksmuseum in 1899; in 1900 it was followed by the Hague collection, which had also been bequeathed but was then donated by Baroness van Pallandt during her lifetime. It was not possible to keep the Van Lynden-Van Pallandt Collection together because of the rapid expansion of the collection of late nineteenth-century paintings, the changing appreciation of modern art and the nationalist preference for Dutch art in general and the Hague School in particular, and long-term loans to other institutions. A number of the French masterpieces were not hung permanently until after the Rijksmuseum had been renovated (2013).

Els paral·lelismes entre la futura Isabel II i Isabel I de Castella van ser explotats en els camps polític, literari i artístic pels òrgans propagandístics de la monarquia espanyola, des del naixement de la infanta, l’octubre de 1830, fins als primers dos anys de regència de Maria Cristina de Borbó. I és que Isabel la Catòlica va néixer en una època en què, a falta de fill baró, la successió a la Corona de la filla primogènita dels monarques estava permesa. Tanmateix, aquesta tradició castellana, regularitzada en el còdex de Las Siete Partidas d’Alfons X al segle XIII, va quedar invalidada amb l’Auto Acordat per Felip V el maig de 1713, que també donava prioritat als barons de branques laterals. Davant d’això i de l’amenaça que la Corona passés a mans de Carles Maria Isidre de Borbó, el 29 de març de 1830 es va aprovar la Pragmàtica Sanció que promulgava l’acord de Corts de 1789 amb què Carles IV va pretendre recuperar la vella consuetud castellana. Poc abans de la mort de Ferran VII, en els festeigs per l’acte de jurament i reconeixement de les Corts espanyoles a Maria Isabel Lluïsa de Borbó com a princesa d’Astúries, la tradició política i l’estètica medievals van adquirir un paper encara més rellevant, sobretot en pintures i arquitectures efímeres creades ex professo per adornar els carrers de moltes ciutats del Regne. L’organització de torneigs medievals, com el de Barcelona, o les vindicacions de comtes i vells sobirans en obres literàries adornades amb gravats, en arbres genealògics i en diversos gèneres de la literatura popular també van ser utilitzats per evocar la Catalunya de Guifré el Pilós o l’Espanya dels Reis Catòlics. Aquesta mirada cap al passat medieval va servir a la Corona espanyola per legitimar la successió femenina al tron, mentre que, de retruc, es va crear el marc idoni que permetria a certs sectors afins a Isabel manifestar públicament la seva inclinació per l’estil gòtic, el qual s’estava posant de moda entre les classes burgeses per influx del moviment romàntic.

AbstractFor more than a century the only eyewitness account of Rembrandt's Portrait of an old woman (fig. 1) was a description made by Wilhelm Bode in 1883. At the time, he was unable to decipher the date, 1632; nor did he know anything about Aeltje Uylenburgh or the history of the panel. However, the painting's provenance has since been revealed, and it can be traced back in an almost unbroken line to its commission, a rare occurrence in Rembrandt's oeuvre. A pendant portrait, now lost, featured the preacher Johannes Sylvius, who is also the subject of an etching by Rembrandt dating from 1633 (fig. 2). Rembrandt had a close relationship with the Sylvius couple and he married their cousin Saskia Uylenburgh in 1634. After Aeltje's death in 1644, the couple's son Cornelis Sylvius inherited the portraits. We know that Cornelis moved to Haarlem in 1647, and that in 1681 he made a will bequeathing the pendants to his son Johannes Sylvius Junior. For the most part of a century they remained in the family. We lose track of the portrait of Johannes Sylvius when, in 1721, Cornelis II Sylvius refurbishes a house on the Kruisstraat in Haarlem. However, thanks to a handful of eighteenth- and nineteenth-century copies, it has been possible to reconstruct the trail followed by Aeltje. In 1778, a copy from Dessau turned up at auction in Frankfurt. It was bought under the name of Johann Heinrich Roos by Henriette Amalie von Anhalt-Dessau. There is a copy of this copy in the museum of Marseilles, attributed Ferdinand Bol (fig. 3). In 2000 an article in the Tribune de Genève revealed that the original had belonged to the Burlamacchi Collection in the eighteenth century, and was then thought to be a portrait of Rembrandt's mother. Jean-Jacques Burlamacchi (1694-1748), a prominent Geneva collector, acquired major works of art, including probably the Rembrandt portrait, while travelling in Holland and Britain around 1720. It was the heirs of Burlamacchi, the Misses de Chapeaurouge, who opened the famous collection to the public. In 1790 or thereabouts, the Swiss portrait painter Marc-Louis Arlaud produced a copy, now in the museum at Lausanne (fig. 4), which for many years was thought to be an autograph work by Rembrandt. The painter Georges Chaix also made a copy, which he exhibited in Geneva in 1823. This work still belongs to the artist's family; unfortunately it has not been possible to obtain an image. After the Burlamacchi Collection was sold in about 1825, the painting was referred to somewhat nostalgically as 'Un Rembrandt "genevois"'. It was bought for 18,000 francs by the Paris art dealer Dubois, who sold it to the London banker William Coesvelt. In 1828, Coesvelt in turn sold the portrait through the London dealer John Smith, who described it as 'the painter's mother, at the age of 62'. We know that the picture was subsequently acquired from Albertus Brondgeest by the banker James de Rothschild (1792-1868) for his country house at Boulogne, as this is mentioned in the 1864 description of Rothschild's collection by Charles Blanc. Baron James's widow, Betty de Rothschild, inherited the portrait in 1868 and it was in Paris that the Berlin museum director Wilhelm Bode (fig. 5) first saw the painting. In his description of 1883 he states that the woman was not, in his opinion, Rembrandt's mother. In 1886 the portrait fell to Betty's son, Baron Alphonse (1827-1905). Bode published a heliogravure of the work in 1897, which remained for many years the only available reproduction (fig. 6). Rembrandt's portrait of a woman was a showpiece in Baron Alphonse's Paris smoking room (fig. 7). Few art historians came to the Rothschild residence and neither Valentiner nor Bredius, who published catalogues of Rembrandt in 1909 and 1935, respectively, had seen the painting. Alphonse's heir was Baron Edouard de Rothschild, who in 1940 fled to America with his daughter Bethsabée. The Germans looted the painting, but immediately after the war it was exhibited, undamaged, in a frame carrying the (deliberately?) misleading name 'Romney' (fig. 8). In 1949, Bethsabée de Rothschild became the rightful owner of the portrait. She took it with her when she moved to Israel in 1962, where under the name of Bathsheva de Rothschild she became a well-known patron of modern dance. In 1978, J. Bruyn en S. Levie of the Rembrandt Research Project (RRP) travelled to Tel Aviv to examine the painting. Although the surface was covered with a thick nicotine film, they were impressed by its condition. Bruyn and Levie were doubtful, however, that the panel's oval format was original, as emerges from the 'Rembrandt-Corpus' report of 1986. Not having seen the copies mentioned earlier, they were unaware that one nineteenth-century replica was also oval (fig. 9). Their important discovery that the woman's age was 62 was not further investigated at the time. Baroness Bathsheva de Rothschild died childless in 1999. On 13 December 2000 the painting was sold by Christie's, London, after a surprising new identity for the elderly sitter had been put forward. It had long been known that Rembrandt painted portraits of Aeltje Uylenburgh and her husband, the minister Cornelis Sylvius. Aeltje, who was a first cousin of Rembrandt's wife, Saskia Uylenburgh, would have been about 60 years old at the time. Given that the age of the woman in the portrait was now known to be 62, it was suggested that she could be Aeltje. The portrait was acquired for more than 28 million US dollars by the art dealer Robert Noortman, who put it on the market as 'Aeltje' with a question mark. In 2005, Noortman sold the portrait for 36.5 million to the American-Dutch collectors Mr and Mrs De Mol van Otterloo. At the time, the Mauritshuis in The Hague felt that trying to buy the portrait would be too extravagant, while the Rijksmuseum was more interested in acquiring a female portrait from Rembrandt's later period. Aeltje was thus destined to leave the Netherlands for good. A chronicle of the Sylvius family published in 2006 shows that Aeltje Uylenburgh would have been born in 1570 (fig. 10), demonstrating that she could indeed be the 62-year-old woman depicted by Rembrandt in 1632. We know that Aeltje was godmother to Rembrandt's children and that Saskia was godmother to Aeltje's granddaughter. Further evidence of the close ties between the two families is provided by Rembrandt's etching of Aeltje's son Petrus, produced in 1637. It is now generally accepted that the woman in the portrait is Aeltje. She was last shown in the Netherlands at the 'Dutch Portraits' exhibition in The Hague. In February 2008 the Museum of Fine Arts in Boston announced that it had received on long-term loan one the finest Rembrandts still in private ownership.

Este estudio tiene como objetivo presentar aquellas constantes relacionadas con la visión y papel social de la mujer casada en los cuentos del Valle Nuevo (Egipto), las cuales fueron extraídas tras la realización de un análisis comparativo de temas, personajes y símbolos. En el mundo de estos cuentos, lejos de «vivir felices y comer perdices», la protagonista femenina casada sufre duras pruebas de fidelidad y lealtad por parte del esposo, es víctima de los celos de mujeres de su nueva familia y padece la presión de engendrar hijos varones. Son elementos comunes al resto de las tradiciones orales, con un marcado acento dramático. A este conjunto se agregan componentes de esta sociedad particular: la llegada de una nueva adversaria al hogar, la coesposa, una amenaza para la estabilidad y privilegios de esta y de sus hijos; la preferencia por el uso de símbolos concretos referidos a la mujer; y la descripción de costumbres locales, como es la boda tradicional. Todo ello ayuda a revelar el modelo social y valores específicos que transmiten estos cuentos, habida cuenta de que su narración es en sí un acto de habla que influye sobre su receptor: describen, a la vez que legitiman y perpetúan, en un flujo bidireccional.***Aquest estudi té com a objectiu presentar aquelles constants relacionades amb la visió i el paper social de la dona casada en les rondalles de la Vall Nova (Egipte), les quals van ser extretes després de realitzar una anàlisi comparativa de temes, personatges i símbols. En el món d’aquestes rondalles, lluny de «viure feliços i menjar anissos», la protagonista femenina casada pateix dures proves de fidelitat i lleialtat per part del marit, és víctima de la gelosia de dones de la seva nova família i pateix la pressió d’engendrar fills barons. Són elements comuns a la resta de les tradicions orals, amb un marcat accent dramàtic. A aquest conjunt s’hi afegeixen components d’aquesta societat particular: l’arribada d’una nova adversària a la llar, la coesposa, una amenaça per a l’estabilitat i els privilegis d’aquesta i dels seus fills; la preferència per l’ús de símbols concrets referits a la dona; i la descripció de costums locals, com és el casament tradicional. Tot això ajuda a revelar el model social i valors específics que transmeten aquestes rondalles, tenint en compte que la seva narració és en si mateixa un acte de parla que influeix sobre el seu receptor: descriuen, alhora que legitimen i perpetuen, en un flux bidireccional.

Background:B-lymphocyte stimulator (BLyS) is increased in primary Sjögren’s syndrome (pSS) and plays a role in the B-cell hyperactivity thought to contribute to pSS. Belimumab (BEL, anti-BLyS) and rituximab (RTX, anti-CD20) target B cells through distinct and potentially complementary mechanisms.Objectives:To evaluate the safety and efficacy of subcutaneous (SC) BEL/intravenous (IV) RTX combination (BEL/RTX) in patients with pSS.Methods:This Phase 2, double-blind study (GSK Study 201842; NCT02631538) randomised 86 adults with active pSS to 4 treatment arms stratified for baseline EULAR Sjögren’s Syndrome Disease Activity Index (ESSDAI) scores 5-12 or >12: placebo (PBO; N=13), BEL/RTX (N=24; BEL 200 mg SC weekly to Week [Wk] 24 followed by weekly PBO SC to Wk 52 + RTX 1000 mg IV, Wk 8 + 10), BEL monotherapy (N=24; BEL 200 mg SC weekly to Wk 52) or RTX monotherapy (N=25; RTX 1000 mg IV, Wk 8 + 10). Follow-up was at Wk 68. Safety to Wk 68 was the primary endpoint (safety population; patients received ≥1 dose of study treatment). Secondary/other endpoints (completer population; patients completed treatment and follow-up phase) were ESSDAI score, stimulated salivary flow, CD20+ B-cell count within salivary gland biopsies, patient-reported oral dryness, and EULAR Sjögren’s Syndrome Patient Reported Index (ESSPRI) score.Results:Baseline demographics and disease characteristics were similar among arms. Adverse events (AEs) were balanced across arms. Serious AEs were infrequent but occurred only in active treatment arms (Table). No unexpected safety issues were identified with BEL/RTX relative to BEL or RTX. Treatment phase and follow-up were completed by 60/86 patients. ESSDAI reductions with BEL/RTX were numerically greater over time than PBO, with greatest difference at Wk 68 (Table), but were not differentiated from monotherapy. Stimulated salivary flow showed a trend favouring BEL/RTX vs PBO over later time points (Table). In contrast with PBO, BEL, and RTX, salivary gland biopsies from BEL/RTX showed almost complete B-cell depletion (Wk 24). There was no clear evidence for a positive effect of BEL/RTX on patient-reported oral dryness or ESSPRI score.Table 1.Key safety endpoints and selected efficacy endpointsAEs – safety populationPBO(N=13)BEL/RTX (N=24)BEL(N=24)RTX(N=25)AEs, n (%)13 (100)24 (100)23 (96)24 (96)Drug-related AEs, n (%)10 (77)17 (71)16 (67)14 (56)AEs leading to discontinuation/withdrawal, n (%)1 (8)5 (21)3 (13)5 (20)SAEs, n (%)03 (13)2 (8)4 (16)Number of SAEs0427Deaths, n (%)01 (4)*00Infections and Infestations, n (%)†11 (85)19 (79)21 (88)18 (72)Efficacy – completer populationPBO (N=8)BEL/RTX (N=17)BEL (N=19)RTX (N=16)ESSDAI change, LS mean (SE) from BL over time‡Wk 12-2.00 (1.449)-4.85 (0.996)-3.87 (0.949)-4.22 (1.048)§Wk 24-2.87 (1.324)-5.32 (0.911)-3.87 (0.869)-5.25 (0.940)Wk 52-2.87 (1.294)-5.67 (0.890)-4.76 (0.850)-4.32 (0.919)Wk 68-1.75 (1.400)-5.73 (0.962)-3.87 (0.918)-4.38 (0.994)Stimulated salivary flow (ml/min), mean (SD)BL0.47 (0.247)0.71 (0.629)0.43 (0.329)0.62 (0.621)Wk 120.49 (0.205)0.75 (0.834)0.49 (0.373)0.58 (0.527)Wk 240.55 (0.305)0.78 (0.790)0.45 (0.411)0.72 (0.890)Wk 520.53 (0.378)1.00 (1.146)0.58 (0.608)0.69 (0.781)Wk 680.36 (0.163)0.88 (0.817)0.52 (0.450)0.73 (0.785)§*Aspiration (n=1); not considered related to treatment; patient died of food aspiration; †System organ class with the highest percent of AEs; ‡Analysis was performed using mixed model repeated measures; §n=15.BL, baseline; LS, Least square; SAEs, serious AEs; SD, standard deviation; SE, standard errorConclusion:No unexpected safety issues were identified with BEL/RTX relative to BEL or RTX. BEL/RTX showed a trend towards improvement in ESSDAI and stimulated salivary flow over time, which was sustained post treatment. BEL/RTX depleted B cells in minor salivary gland biopsies.Funding: GSKAcknowledgements:Medical writing assistance was provided by Katalin Bartus, PhD, Fishawack Indicia Ltd., UK, part of Fishawack Health, and was funded by GSK.Disclosure of Interests:Xavier Mariette Consultant of: BMS, Galapagos, Gilead, GSK, Janssen, Novartis, Pfizer, Servier, UCB, Grant/research support from: Servier, Chiara Baldini: None declared, Francesca Barone Consultant of: GSK, UCB, Roche, Actelion, Grant/research support from: GSK, UCB, Roche, Actelion, Employee of: Kintai therapeutics, Candel Therapeutics, Hendrika Bootsma Speakers bureau: BMS, Novartis, Consultant of: BMS, Roche, Novartis, MedImmune, UCB, Servier, Grant/research support from: BMS, Roche, Ken Clark Shareholder of: GSK, Employee of: GSK, Salvatore De Vita Consultant of: GSK, Roche, Karoline Lerang: None declared, Prafull Mistry Shareholder of: GSK, Employee of: GSK, Frederic Morin: None declared, Rajesh Punwaney Shareholder of: GSK, Employee of: GSK, Raphaèle Seror Consultant of: GSK, BMS, Fresenius Kabi, Boehringer, Jansen, Amgen, Pfizer, Roche, Paul LA van Daele: None declared, Andre van Maurik Shareholder of: GSK, Employee of: GSK, Nicolas Wisniacki Shareholder of: GSK, Employee of: GSK, David Roth Shareholder of: GSK, Employee of: GSK

BackgroundToday, there are still no DMARDs licensed for primary Sjögren Syndrome (pSS) patients. Among the explanations, are the limitations of current outcome measures used as primary endpoints: e.g; high placebo response rate, evaluation of either symptoms or systemic activity, and important features not being assessed. The NECESSITY consortium (https://www.necessity-h2020.eu/), including pSS experts from academia, pharmaceutical industry and patient groups formed to develop a new composite responder index, the Sjögren’s Tool for Assessing Response (STAR) that solve the issues of current outcome measures in pSS and is intended for use in clinical trials as an efficacy endpoint.ObjectivesTo develop a composite responder index in primary Sjögren’s syndrome (pSS): the STAR.MethodsTo develop the STAR, the NECESSITY consortium used data-driven methods, based on 9 randomized controlled trials (RCTs), and consensus techniques, involving 78 experts and 20 patients. Based on reanalysis of rituximab trials (TRACTISS and TEARS) and literature review, the Delphi panel identified a core set of domains to include in the STAR, with their respective outcome measures. STAR options combining these domains were designed and proposed to the panel to select and improve them. For each STAR option, sensitivity to change was estimated by the C-index (derived from Effect size) in all 9 RCTs. Delphi rounds were run for selecting STAR among these options. The Delphi panel also voted to classify trials as positive, negative or “in between” in regards to primary but also key secondary endpoints. For the options remaining before the final vote, meta-analyses of the RCTs were performed separately for positive and “in between” trials together, and for negative trials.ResultsThe Delphi panel identified 5 core domains (systemic activity, patient symptoms, lachrymal gland function, salivary gland function and biological parameters), and 227 STAR options, combining these domains, were selected to be tested for sensitivity to change. After two Delphi rounds, meta-analyses of the 20 remaining options were performed. The candidate STAR was selected by a final vote based on metrological properties and clinical relevance. In positive/in between trials, candidate STAR detected a difference between arms (OR 3.29, 95%-CI [2.07;5.22], whereas it did not in negative trials (OR 1.53, 95%-CI [0.81;2.91]).ConclusionThe candidate STAR is a composite responder index, including in a single tool all main disease features, and is designed for use as a primary endpoint in pSS RCTs. Its rigorous and consensual development process ensures its face and content validity. The candidate STAR showed good sensitivity and specificity to change. The candidate STAR will be prospectively validated in a dedicated three arms RCT of the NECESSITY consortium that will evaluate combination of synthetic DMARDs (hydroxychloroquine + lefunomide or hydroxychloroquine + mycophenolate vs placebo). We encourage the use of STAR in any ongoing and future trials.Table 1.Candidate STARDomainPointDefinition of responseSystemic activity3Decrease of clinESSDAI ≥ 3Patient reported outcome3Decrease of ESSPRI ≥ 1 point or ≥ 15%Lachrymal gland function1Schirmer:If abnormal score at baseline: increase ≥ 5 mm from baselineIf normal score at baseline: no change to abnormalOrOcular Staining Score:If abnormal score at baseline: decrease ≥ 2 points from baselineIf normal score at baseline: no change to abnormalSalivary gland function1Unstimulated Whole Salivary Flow:If score > 0 at baseline: increase ≥ 25% from baselineIf score is 0 at baseline: any increase from baselineorUltrasound:Decrease ≥ 25% in total Hocevar score from baselineBiological1Serum IgG levels: decrease ≥ 10%orRheumatoid Factor levels: decrease ≥ 25%Candidate STAR responder≥ 5 pointsESSDAI: EULAR Sjögren syndrome disease activity index; ESSPRI: EULAR Sjögren syndrome patient reported index; IgG: Immunoglobulin G;AcknowledgementsNECESSITY WP5 STAR development participants: Suzanne Arends (University Medical Center Groningen, Department of Rheumatology and Clinical Immunology, Groningen 9700 RB, Netherlands), Francesca Barone (Centre for Translational Inflammation Research, Institute of Inflammation and Ageing, University of Birmingham, Birmingham, UK), Albin Björk (Division of Rheumatology, Department of Medicine, Karolinska Institutet, Stockholm, Sweden), Coralie Bouillot (Association Française du Gougerot Sjögren et des Syndromes Secs, France), Guillermo Carvajal Alegria (University of Brest, Inserm, CHU de Brest, LBAI, UMR1227, Brest, France; Service de Rhumatologie, Centre de Référence Maladies Autoimmunes Rares CERAINO, CHU Cavale Blanche, Brest, France), Wen-Hung Chen (GlaxoSmithKline, Research Triangle Park, North Carolina, USA), Kenneth Clark (GlaxoSmithKline Medicines Research Centre, Gunnels Wood Road, Stevenage, Hertfordshire SG1 2NY, United Kingdom), Konstantina Delli (Department of Oral and Maxillofacial Surgery, University Medical Center Groningen (UMCG), University of Groningen, The Netherlands), Salvatore de Vita (Rheumatology Clinic, University Hospital of Udine, Italy), Liseth de Wolff (University Medical Center Groningen, Department of Rheumatology and Clinical Immunology, Groningen 9700 RB, Netherlands), Jennifer Evans (Novartis Pharmaceuticals corporation USA), Stéphanie Galtier (Institut de Recherches Internationales Servier (IRIS), Suresnes Cedex, France), Saviana Gandolfo (Rheumatology Clinic, Department of Medical area, University of Udine, ASUFC, 33100 Udine, Italy), Mickael Guedj (Institut de Recherches Internationales Servier (IRIS), Suresnes Cedex, France), Dewi Guellec (CHU de Brest, Service de Rhumatologie, Inserm, CIC 1412, Brest, France), Safae Hamkour (Center of Translational Immunology, Department of Immunology, University Medical Center Utrecht, Utrecht 3584 GA, Netherlands), Dominik Hartl (Novartis Institutes for BioMedical Research, Basel, Switzerland), Malin Jonsson (Section for Oral and Maxillofacial Radiology, Department of Clinical Dentistry, Faculty of Medicine and Dentistry, University of Bergen, Norway), Roland Jonsson (Broegelmann Research Laboratory, Department of Clinical Science, University of Bergen, Department of Rheumatology, Haukeland University Hospital, Bergen, Norway), Frans Kroese (University Medical Center Groningen, Department of Rheumatology and Clinical Immunology, Groningen 9700 RB, Netherlands), Aike Albert Kruize (University Medical Center Utrecht, Department Rheumatology and Clinical Immunology, Utrecht, Netherlands), Laurence Laigle (Institut de Recherches Internationales Servier (IRIS), Suresnes Cedex, France), Véronique Le Guern (AP-HP, Hôpital Cochin, Centre de référence maladies auto-immunes et systémiques rares, service de médecine interne, Paris, France), Wen-Lin Luo (Department of Biometrics and Statistical Science, Novartis Pharmaceuticals, East Hanover, New Jersey), Esther Mossel (University Medical Center Groningen, Department of Rheumatology and Clinical Immunology, Groningen 9700 RB, Netherlands), Wan-Fai Ng (Institute of Cellular Medicine, Newcastle University, Newcastle upon Tyne NE2 4HH, UK), Gaëtane Nocturne (Department of Rheumatology, Université Paris-Saclay, INSERM U1184: Centre for Immunology of Viral Infections and Autoimmune Diseases, Assistance Publique-Hôpitaux de Paris, Hôpital Bicêtre, Le Kremlin Bicêtre, Paris, France), Marleen Nys (Global Biometric Sciences, Bristol Myers Squibb, Braine L’Alleud, Belgium), Roald Omdal (Clinical Immunology Unit, Department of Internal Medicine, Stavanger University Hospital, PO Box 8100, 4068, Stavanger, Norway), Jacques-Olivier Pers (LBAI, UMR1227, University of Brest, Inserm, Brest, France and CHU de Brest, Brest, France), Maggy Pincemin (Association Française du Gougerot Sjögren et des Syndromes Secs, France), Manel Ramos-Casals (Department of Autoimmune Diseases, Hospital Clinic de Barcelona Institut Clinic de Medicinai Dermatologia, Barcelona, Catalunya, Spain), Philippe Ravaud (Centre d’Epidémiologie Clinique, Hôpital Hôtel-Dieu, Assistance Publique-Hôpitaux de Paris, Paris, France), Neelanjana Ray (Global Drug Development - Immunology, Bristol Myers Squibb Company, Princeton, New Jersey, USA), Alain Saraux (HU de Brest, Service de Rhumatologie, Univ Brest, Inserm, UMR1227, Lymphocytes B et Autoimmunité, Univ Brest, Inserm, LabEx IGO, Brest, France), Athanasios Tzioufas (Rheumatology Clinic, Department of Medical area, University of Udine, ASUFC, 33100 Udine, Italy), Gwenny Verstappen (University Medical Center Groningen, Department of Rheumatology and Clinical Immunology, Groningen 9700 RB, Netherlands), Arjan Vissink, Marie Wahren-Herlenius (Division of Rheumatology, Department of Medicine, Karolinska Institutet, Stockholm, Sweden). We thank the following experts: Esen Karamursel Akpek, Alan Baer, Chiara Baldini, Elena Bartoloni, Marí-Alfonso Begona, Johan Brun, Vatinee Bunya, Laurent Chiche, Troy Daniels, Paul Emery, Robert Fox, Roberto Giacomelli, John Gonzales, John Greenspan, Robert Moots, Susumu Nishiyama, Elizabeth Price, Christophe Richez, Caroline Shiboski, Roser Solans Laque, Muthiah Srinivasan, Peter Olsson, Tsutomu Takeuchi, Frederick Vivino, Paraskevi Voulgari, Daniel Wallace, Ava Wu, Wen Zhang. We thank the anonymous patients from the NECESSITY Patient Advisory Group and the Sjögren Foundation for their valuable contribution to the Delphi process. We thank EW StClair and AN Baer who generated the baminercept data and made them publicly available.Disclosure of InterestsRaphaèle Seror Consultant of: GlaxoSmithKline, Boehringer, Janssen and Novartis, Grant/research support from: GlaxoSmithKline and Amgen, Gabriel Baron: None declared, Marine Camus: None declared, Divi Cornec Consultant of: GlaxoSmithKline, Bristol Myers Squibb, Janssen, Amgen, Pfizer and Roche, Elodie Perrodeau: None declared, Simon J. Bowman Consultant of: Abbvie, Astra Zeneca, Galapagos and Novartis Pharmaceuticals, Michele Bombardieri Consultant of: UCB, Amgen/Medimmune, Janssen, and GlaxoSmithKline, Grant/research support from: Amgen/Medimmune, Janssen, and GlaxoSmithKline, Hendrika Bootsma: None declared, Jacques-Eric Gottenberg Consultant of: AbbVie, Bristol Myers Squibb, Eli Lilly, Galapagos, Gilead, Pfizer, Roche, Sanofi, Novartis, MSD, CSL-Behring and Genzyme, Grant/research support from: Bristol Myers Squibb, Benjamin Fisher Speakers bureau: Bristol Myers Squibb and Novartis, Consultant of: Novartis, Bristol Myers Squibb, Janssen and Servier, Grant/research support from: Servier, Galapagos and Janssen, Wolfgang Hueber Shareholder of: Novartis Pharma, Employee of: Novartis Pharma, Joel van Roon: None declared, Valerie Devauchelle-Pensec: None declared, Peter Gergely Shareholder of: Novartis Pharma, Employee of: Novartis Pharma, Xavier Mariette Consultant of: Bristol Myers Squibb, Galapagos, GlaxoSmithKline, Janssen, Novartis, Pfizer and UCB, Grant/research support from: Ose Pharmaceuticals, Raphaël Porcher: None declared

Estudio sobre la presencia del pintor flamenco Peter van Lint entre los Barones insignes de la pintura, en el manuscrito de Lázaro Díaz del Valle, Origen e Ilustración del nobilísimo y real arte de la pintura y dibuxo... en 1656-1659, dado a conocer por Díaz Padrón. La serie de retratos con biografías de Jan Meyssens en Amberes, en 1649, se da a conocer como la fuente para Díaz del Valle, destaca la difusión de esta obra fuera de Flandes y con anterioridad a su inclusión en Het Gulden Cabinet de Cornelis de Bie en 1661. Para ello, se analizan dos series del Rijksbureau voor Kunsthistorische Documentatie (RKD) y del Museo Plantin-Moretus Prentenkabinet de Amberes.

396 Writ Liberate by King Henry II to Robert, earl of Leicester, and the barons of the Exchequer for 40 marks of silver annually to Reading Abbey from the king's rent at Hoo, until the king shall assign 40 marks rent in a definite place [prob. May × July 1164]Af 24v; Bf 27vPd. Memoranda Roll 1 John, lxxvi n. 2; van Caenegem, Royal Writs, 192Henricus rex Angl(orum) et dux Norm(annorum) et Aquit(anorum) et comes Andeg(avorum) R(oberto) comiti Legr(ecestrie) et baronibus scaccarii, salutem. Liberate de redditu meo de Hou abbati et monachis meis de Rading(ia) .xl. marcas argenti singulis annis ad duos terminos, ad festum sancti Michaelis et ad Pascha, donec assignem eis certo loco .xl. marcatas redditus. T(este) Gaufredo archidiacono Cant(uariensi). Apud Wigorn(iam).

Discute as condições de existência e as características do que denominamos de cenografias de desempenho. Essa categoria é discutida como possibilidade interpretativa que permite dar a conhecer nuances e variantes de subjetividades empreendedoras de si (LAVAL; DARDOT, 2013; HAN, 2019). A construção dessa categoria é presidida por um debate conceitual acerca da ideia de desempenho, situada aqui como indício de uma racionalidade neoliberal e também das sujeições da chamada sociedade de plataforma (VAN DIJCK, POELL, DE WALL, 2018). Convocamos, ainda, aportes que permitam dar conta da noção de cenografia, debate que se ancora sobretudo em perspectivas discursivas (MAINGUENEAU, 2008a; MAINGUENEAU, 2008b; BARONAS; COX, 2014) mas também na discussão da ideia de visualidade (MIRZOEFF, 2016). Metodologicamente, trata-se de uma pesquisa exploratória alicerçada em triangulação de fontes de dados (DUARTE, 2009; FÍGARO, 2014), cuja coleta se deu no aplicativo Instagram. Os resultados permitem inferir que as cenografias de desempenho buscam se validar pela naturalização do individualismo, pelo apelo aos corpos e rostos humanos, bem como pelo apagamento de conflitos e diferenças, em meio às circunscrições oriundas da natureza empresarial e mercantil das plataformas.

Abstract. Violence is an unpleasant experience and can be a traumatic experience for the survivors (Kusristanti et al., 2020). Coping strategies that can be carried out by victims of violence are by providing forgiveness (forgiveness) to the perpetrator (Asnawati, 2017). Forgiving individuals' relationships when they are hurt or perceived as an underlying personality trait (Eaton et al. 2006; Hannn et al. 2012; McCullough et al. 2013; Menezes Fonseca et al, 2012). This study aims to see the effect of the experience of verbal violence on the level of forgiveness. This study uses a causal quantitative approach. Measurements were made using two measuring tools that have been adapted to the Indonesian context, namely the Verbal Abuse Scale (VAC), and the Transgression Related Interpersonal Motivations Scale (TRIMS). The sample in this study found 227 early adult individuals in the Bandung Regency and Bandung City areas who were selected through purposive sampling technique. The data analysis technique used was multiple regression test using the Baron's casual method. The results of this study indicate that verbal violence affects the level of forgiveness with an R count of 0.551 (55.1%); Sig. 0.00. Abstrak. Kekerasan merupakan pengalaman yang tidak menyenangkan dan bisa menjadi pengalaman yang traumatis bagi penyintasnya (Kusristanti et al., 2020). Strategi koping yang dapat dilakukan oleh korban kekerasan yaitu dengan cara memberikan pemaafan (forgiveness) pada pelaku (Asnawati, 2017). Memaafkan merupakan relasi individu ketika mereka disakiti atau dilanggar dan dianggap sebagai ciri kepribadian yang mendasar (Eaton et al. 2006; Hannn et al. 2012; McCullough et al. 2013; Menezes Fonseca et al, 2012). Penelitian ini bertujuan untuk melihat pengaruh pengalaman kekerasan verbal terhadap tingkat forgiveness. Penelitian ini menggunakan pendekatan kuantitatif kausal. Pengukuran dilakukan dengan menggunakan dua alat ukur yang telah diadaptasi ke dalam konteks Indonesia, yaitu Verbal Abuse Scale (VAC), dan Transgression Related Interpersonal Motivations Scale (TRIMS). Sampel dalam penelitian ini menemukan 227 individu dewasa awal yang berada di wilayah Kabupaten Bandung dan Kota Bandung yang dipilih melalui teknik purposive sampling. Teknik analisis data yang digunakan dengan uji regresi berganda menggunakan metode kasual dari Baron. Hasil penelitian ini menunjukan bahwa kekerasan verbal mempengaruhi tingkat forgiveness dengan R hitung 0,551 (55,1%) ; Sig. 0,00.

O uso do planejamento virtual na implantodontia tem sido cada vez mais empregado devido à obtenção de resultados satisfatórios, trazendo benefícios tanto para o paciente como para o cirurgião dentista. Desse modo, o objetivo deste trabalho foi relatar um caso de reabilitação bimaxilar com implantes dentários e próteses do tipo protocolo na qual o guia cirúrgico foi confeccionado através do planejamento virtual, subsidiado pelo exame tomográfico do próprio paciente. Paciente do sexo feminino, 70 anos de idade, leucoderma, procurou atendimento para reabilitação com implantes dentários, após o exame clínico e imaginológico observou-se boa condição óssea e ausência de comorbidades sistêmicas. Dessa forma, optou-se pela realização da instalação de seis implantes maxilares (hexágono externo) e cinco implantes mandibulares (hexágono externo), que seriam suportes para as próteses do tipo protocolo com carregamento imediato. As posições exatas de instalação dos implantes ocorreram através da confecção do guia virtual tomando-se como referência os cortes tomográficos durante duplo escaneamento, seguido pelo planejamento e adaptação virtual. O paciente encontra-se com 1 ano de acompanhamento, sem sinais ou sintomas de infecção ou queixas funcionais e estéticas. A cirurgia virtual guiada se mostra uma ferramenta valiosa para desafios clínicos de reconstruções maxilares e mandibulares, onde o cirurgião-dentista, por meio da sua experiência clínica, do conhecimento adquirido e da literatura consolidada, deve discernir quando é indicado utilizar a cirurgia virtual guiada e quais procedimentos serão conduzidos para obter a reabilitação estética e funcional, trazendo uma maior previsibilidade e conforto para o paciente.Descritores: Implantes Dentários; Reabilitação Bucal; Técnicas de Planejamento; Cirurgia Bucal.Referênciasvan Steenberghe D, Glauser R, Blombäck U, Andersson M, Schutyser F, Pettersson A, Wendelhag I. A computed tomographic scan-derived customized surgical template and fixed prosthesis for flapless surgery and immediate loading of implants in fully edentulous maxillae: a prospective multicenter study. Clin Implant Dent Relat Res. 2005;7(Suppl 1):S111-20.Ganz SD. Presurgical planning with CT-derived fabrication of surgical guides. J Oral Maxillofac Surg. 2005;63(9 Suppl 2):59-71.Laleman I, Bernard L, Vercruyssen M, Jacobs R, Bornstein MM, Quirynen M. Guided implant surgery in the edentulous maxilla: a systematic review. Int J Oral Maxillofac Implants. 2016;31(Suppl):s103-17.Di Giacomo GA, da Silva JV, da Silva AM, Paschoal GH, Cury PR, Szarf G. Accuracy and complications of computer-designed selective laser sintering surgical guides for flapless dental implant placement and immediate definitive prosthesis installation. J Periodontol. 2012;83(4):410-19.Johansson B, Friberg B, Nilson H. Digitally planned, immediately loaded dental implants with prefabricated prostheses in the reconstruction of edentulous maxillae: a 1-year prospective, multicenter study. Clin Implant Dent Relat Res. 2009;11(3):194-200.Schiroli G, Angiero F, Silvestrini-Biavati A, Benedicenti S. Zygomatic implant placement with flapless computer-guided surgery: a proposed clinical protocol. J Oral Maxillofac Surg. 2011;69(12):2979-89.Sunitha RV, Sapthagiri E. Flapless implant surgery: a 2-year follow-up study of 40 implants. Oral Surg Oral Med Oral Pathol Oral Radiol. 2013;116(4):e237-43. Arisan V, Karabuda CZ, Ozdemir T. Implant surgery using bone- and mucosa-supported stereolithographic guides in totally edentulous jaws: surgical and post-operative outcomes of computer-aided vs. standard techniques. Clin Oral Implants Res. 2010;21(9):980-8.Chrcanovic BR, Albrektsson T, Wennerberg A. Flapless versus conventional flapped dental implant surgery: a meta-analysis. PLoS One. 2014;9(6):e100624.De Bruyn H, Atashkadeh M, Cosyn J, van de Velde T. Clinical outcome and bone preservation of single TiUnite™ implants installed with flapless or flap surgery. Clin Implant Dent Relat Res. 2011;13(3):175-83. Van de Velde T, Glor F, De Bruyn H. A model study on flapless implant placement by clinicians with a different experience level in implant surgery. 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AbstractObjective. To describe the effects of wearing individual protection equipment against biological hazard when performing a simulated resuscitation.Methods. Uncontrolled quasi-experimental study involving 47 volunteers chosen by random sampling stratified by sex and professional category. We determined vital signs, anthropometric parameters and baseline lactate levels; subsequently, the volunteers put on level D individual protection equipment against biological hazard and performed a simulated resuscitation for 20 minutes. After undressing and 10 minutes of rest, blood was extracted again to determine lactate levels. Metabolic fatigue was defined as a level of lactic acid above 4 mmol/L at the end of the intervention.Results. 25.5% of the participants finished the simulation with an unfavorable metabolic tolerance pattern. The variables that predict metabolic fatigue were the level of physical activity and bone mass -in a protective formand muscle mass. 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The mechanisms for the reaction of methyl radical with ethylamine were determined by the density functional theory using the atomic structures of the reactants, transition states and products optimized at the B3LYP/6-311++G(3df,2p) level of theory. Seven transition states were identified for the production of CH3CHNH2 + CH4 (TS1), CH3CH2NH + CH4 (TS2), CH2CH2NH2 + CH4 (TS3), CH3CH2NHCH3 + H (TS4), CH3CH2 + CH3NH2 (TS5), C2H6 + CH2NH2 (TS6) and C3H8 + NH2 (TS7) with the corresponding barriers, 9.34, 9.90, 13.46, 27.70, 39.12, 45.82 and 69.34 kcal/mol. Thermodynamics analysis and potential energy surface showed that H-abstraction pathways take place easier than NH2-, CH3–abstractions, H-substitution of the NH2 group and CH3-substitution in ethylamine. The H-abstraction in methylene group of ethylamine is the most favourable on the PES of this reaction system. 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Geometries associated relative stabilities, averaged binding energy, fragmentation energy, second-order energy difference and energy gaps of V-doped germanium cationic clusters GenV+ (n = 9-13) have been investigated by using density functional theory with the BP86 exchange-correlation potential and effective core potential (ECP) LanL2DZ basis sets. Natural population analysis charge is also examined to understand the associated charge transfer in structures of clusters. When an electron is removed from neutral cluster GenV to form the cation cluster GenV+, geometric structure of the lowest energy isomers change. The endohedral cage structure of the cation clusters appears at n = 10 in the cluster Ge10V+. The lowest energy isomers of cation cluster are in triplet state or singlet state. The cluster Ge10V+ is found to be the most stable in terms of stability parameters in the all system GenV+ (n = 9 - 13). Keywords: BP86/LANL2DZ, binding energy, V-Ge clusters, structure of clusters. 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Alex Abou-Chebl, MD Michael Abraham, MD Joseph E. Acker, III, EMT-P, MPH Robert Adams, MD, MS, FAHA Eric Adelman, MD Opeolu Adeoye, MD DeAnna L. Adkins, PhD Maria Aguilar, MD Absar Ahmed, MD Naveed Akhtar, MD Rufus Akinyemi, MBBS, MSc, MWACP, FMCP(Nig) Karen C. Albright, DO, MPH Felipe Albuquerque, MD Andrei V. Alexandrov, MD Abdulnasser Alhajeri, MD Latisha Ali, MD Nabil J. Alkayed, MD, PhD, FAHA Amer Alshekhlee, MD, MSc Irfan Altafullah, MD Arun Paul Amar, MD Pierre Amarenco, MD, FAHA, FAAN Sepideh Amin-Hanjani, MD, FAANS, FACS, FAHA Catherine Amlie-Lefond, MD Aaron M. Anderson, MD David C. Anderson, MD, FAHA Sameer A. Ansari, MD, PhD Ken Arai, PhD Agnieszka Ardelt, MD, PhD Juan Arenillas, MD PhD William Armstead, PhD, FAHA Jennifer L. Armstrong-Wells, MD, MPH Negar Asdaghi, MD, MSc, FRCPC Nancy D. Ashley, APRN,BC, CEN,CCRN,CNRN Stephen Ashwal, MD Andrew Asimos, MD Rand Askalan, MD, PhD Kjell Asplund, MD Richard P. Atkinson, MD, FAHA Issam A. 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Introduction While individuals from marginalised and vulnerable communities have long been confronted with the task of developing coping strategies, COVID-19 lockdowns intensified the conditions under which resilience and wellbeing were/are negotiated, not only for marginalised communities but for people from all walks of life. In particular, the pandemic has highlighted in simple terms the stark divide between the “haves” and “have nots”, and how pre-existing physical conditions and material resources (or lack thereof), including adequate income, living circumstances, and access to digital and other resources, have created different conditions for people to be able to physically isolate, avoid working in conditions that put them at greater risk of exposure to the virus, and maintain up-to-date information. The COVID-19 pandemic has changed the way we live, and its conditions have tested our capacity for resilience to varying degrees. Poor mental health has become an increasingly urgent concern, with almost one in ten people contemplating suicide during Victoria’s second wave and prolonged lockdown in 2020 (Ali et al.; Czeisler & Rajaratnam; Paul). The question of what enables people to cope and adapt to physical distancing is critical for building a more resilient post-pandemic society. With the understanding that resilience is comprised of an intersection of material and immaterial resources, this project takes as its focus the material dimensions of everyday resilience. Specifically, “Objects for Everyday Resilience” explores the intersection of material objects and everyday resilience, focussing on the things that have supported mental and physical health of different sections of the community in Melbourne, Australia, during the pandemic. People in the Victorian city of Melbourne, Australia – including the research team authors of this article – experienced 262 days of lockdown due to the COVID-19 pandemic, more than any other city in the world. The infection rate was high, as was the death rate. Hospitals were in crisis attempting to deal with the influx (McReadie). During lockdowns in 2020 and 2021, all movement in the city was restricted, with 9 pm to 5 am curfews and a five-kilometre travel limit. Workplaces, schools, businesses, sports and leisure clubs were closed. One person per household could shop. Masks were mandatory at all times. PCR testing was extensive. People stayed in their homes, with no visitors. The city limits were closed by roadblocks. Rare instances of air travel required a hard-to-get exemption. Vaccines were delayed. The state government provided financial support for most workers who lost income from their regular work due to the restrictions. However, the financial assistance criteria rejected many casual workers, including foreign students who normally supported themselves through casual employment (McReadie). The mental health toll of protracted lockdowns on Melbourne residents was high (Klein, Tyler-Parker, and Bastian). Yet people developed measures of resilience that helped them cope with lockdown isolation (Gerrand). While studies of resilience have been undertaken during the pandemic, including increased attention towards the affordances of online platforms in lockdown, relatively little attention has been paid to whether and how material objects support everyday resilience. The significant amount of literature on objects and things (e.g. Whitlock) offers a wide range of potential applications when brought to bear on the material conditions of resilience in the COVID-19 pandemic as it continues to unfold. As ethnographer Paula Zuccotti notes in her study of objects that people used in lockdowns around the world, “Future Archeology of a Global Lockdown”, the everyday items we use tell us stories about how we exist (Zuccotti). Paying attention to the intersection of objects with resilience in everyday contexts can enable us to view resilience as a potential practice that can shape the conditions of social life that produce adversity in the first place (Chalmers). By studying relationships between material objects and people in conditions of adversity, this project aims to enhance and extend emerging understandings of multisystemic resilience (Ungar). Objects have been central to human history, culture, and life. According to Maurizio Ferraris, objects are characterised by four qualities: sensory-ness, manipulability, ordinariness, and relationality. “Unlike the three spheres of biological life – the mineral, the vegetable and the animal – objects and things have been customarily considered dependent on humans’ agency and presence” (Bartoloni). In everyday life, objects can enhance resilience when they are mobilised in strategies of resourcefulness and “making do” (de Certeau). Objects may also support the performance of identity and enable inter-subjective relations that create a sense of agency and of being at home, wherever one is located (Ahmed et al.; Gerrand). From an existential perspective, the experience of being confined in lockdown, “stuck” in one place, challenges cosmopolitan connectedness and sense of belonging. It also bears some similarities to the experiences of migrants and refugees who have endured great uncertainty, distance, and immobility due to detention or vintage of migration (Yi-Neumann et al.). It is possible that certain objects, although facilitating resilience, might also trigger mixed feelings in the individuals who relied on them during the lockdown (Svašek). From domestic accoutrements to digital objects, what kinds of things supported wellbeing in situations of confinement? Multisystemic Resilience in Lockdown It is especially useful to consider the material dimensions of resilience when working with people who have experienced trauma, marginalisation, or mental health challenges during the pandemic, as working with objects enables interaction beyond language barriers and enables alternatives to the re-telling of experiences. Resilience has been theorised as a social process supported (or inhibited) by a range of “everyday” intersecting external and contextual factors at individual, family, social, institutional, and economic resource levels (Ungar; Sherrieb et al.; Southwick et al.). The socio-ecological approach to resilience demonstrates that aspects of individual, family, and community resilience can be learned and reinforced (Bonanno), but they can also be eroded or weakened, depending on the dynamic interplay of various forces and influences in the social ecology of an individual or a group. This means that while factors at the level of the individual, family, community, or institutions may strengthen resistance to harms or the ability to overcome adversity in one context, the same factors can promote vulnerability and erode coping abilities in others (Rutter). Our project asked to what extent this social-ecological understanding of resilience might be further enhanced by attending to nonhuman materialities that can contribute or erode resilience within human relations. We were particularly interested in understanding the potential of the exhibition for creating an inclusive and welcoming space for individuals who had experienced long COVID lockdowns to safely reflect on the material conditions that supported their resilience. The aim of this exercise was not to provide answers to a problem, but to draw attention to complexity, and generate additional questions and uncertainties, as encouraged by Barone and Eisner. The exhibition, through its juxtaposition of (lockdown-induced) loneliness with the conviviality of the public exhibition format, enabled an exploration of the tension between the neoliberal imperative to physically isolate oneself and the public messaging concerning the welfare of the general populace. Our project emerged from insights collected on the issue of mental health during “Living Lab” Roundtables undertaken in 2020 by our Centre For Resilient and Inclusive Societies, convened as part of the Foundation Project (Lam et al.). In particular, we deployed an object-based analysis to investigate the art- and object-based methodology in the aftermath of a potentially traumatising lockdown, particularly for individuals who may not respond as well to traditional research methods. This approach contributes to the emerging body of work exploring the affordances of visual and material methods for capturing feelings and responses generated between people and objects during the pandemic (Watson et al.). “Objects for Everyday Resilience” sought to facilitate greater openness to objects’ vitality (Bennett) in order to produce new encounters that further understandings of multisystemic resilience. Such insights are critically tied to human mental health and physical wellbeing. They also enabled us to develop shared resources (as described below) that support such resilience during the period of recovery from the pandemic and beyond. Arts and Objects as Research The COVID-19 pandemic provoked not only a global health response, but also a reorientation of the ways COVID-related research is conducted and disseminated. Javakhishvili et al. describe the necessity of “a complex, trauma-informed psycho-socio-political response” in the aftermath of “cultural/societal trauma” occurring at a society-wide scale, pointing out the prevalence of mental health issues following previous epidemics (1). As they note, an awareness of such trauma is necessary “to avoid re-traumatization and to facilitate recovery”, with “safety, trustworthiness, transparency, collaboration and peer support, empowerment, choice” among the key principles of trauma-informed policies, strategies, and practices (3). Our project received funding from the Centre for Resilient and Inclusive Societies (CRIS) in July 2021, and ethics approval in November 2021. Centring materiality, in November 2021 we circulated a “call for objects” through CRIS’ and the research team’s social media channels, and collected over 40 objects from participants of all ages for this pilot study. Our participants comprised 33 women and 10 men. Following is a breakdown of the self-described cultural background of some participants: Five Australian (including one ‘6th generation Australian’); four Vietnamese; two Caucasian; one Anglo-Australian; one Asian; one Brazilian; one British; one Caucasian/English Australian; one Filipino; one Filipino-Australian; one German/Portuguese/US; one Greek Australian; one Iranian; one Irish and Welsh; one Israeli; one Half German, Half Middle Eastern; one Middle Eastern; one Singaporean; one White British. Participants’ objects and stories were analysed by the team both in terms of their ‘people, place, and things’ affordances – enhancing participants’ reflections of life in the pandemic – and through the prism of their vibrancy, drawing on object-oriented ontology and materiality as method (Ravn). Our participants were encouraged to consider how their chosen object(s) supported their resilience during the pandemic. For example, some objects enabled linking with memories that assist in elaborating experiences of loss or grief (Trimingham Jack and Devereux). To guide those submitting objects, we asked about: 1) their relationship to the object, 2) the meaning of the object, and 3) which features of resilience are mobilised by the object. From an analysis of our data, we have developed a working typology of objects to understand their particular relationship role to features of resilience (social capital, temporality) and to thematise our data in relation to emerging priorities in research in multisystemic resilience, materiality, and mental health. Things on Display Whilst we were initially unable to gather in person, we built an online Instagram gallery (@objectsforeverydayresilience) of submitted objects, with accompanying stories from research participants. Relevant hashtags in several languages were added to each post by the research team to ensure their widest possible visibility. This gallery features objects such as a female participant’s jigsaw puzzle which “helped me to pass the downtime in an enjoyable way”. Unlike much of her life in lockdown that was consumed by chores that “did not necessarily make me feel content or happy”, jigsaw puzzles made this participant “happy for that time I was doing them, transport[ing] me out of the confines of the lockdown with landscapes and images from across the globe”. Another female participant submitted a picture of her worn sneakers, which she used to go on what she called her “sanity walks”. To counteract the overwhelm of “being in the house all the time with 3 (autistic) children who were doing home learning and needed a lot of support”, while attempting to work on her PhD, going for walks every day helped clear my mind, get some fresh air, keep active and have some much needed quiet / me time. I ordered these shoes online because we couldn’t go to the shops and wore them almost daily during the extended lockdowns. Books were also popular. During lockdowns, according to a female participant, reading helped me connect with the outside world and be able to entertain myself without unhealthy coping mechanisms such as scrolling endlessly through TikTok. It also helped me feel less alone during the pandemic. Another female participant found that her son’s reading gave her time to work. Olfactory objects provided comfort for a participant who mourned the loss of smell due to mask wearing: perfumes were my sensory transport during this time – they could evoke memories of places I’d travelled to, seasons, people, feelings and even colours. I could go to far-off places in my mind through scent even though my body was largely stationary within my home. (Female participant) Through scent objects, this participant was “able to bring the world to meet me when I was unable to go out to meet the world”. Other participants sought to retreat from the world through homely objects: throughout lockdown I felt that my bed became an important object to my sanity. When I felt overwhelmed, I would come to bed and take a nap which helped me feel less out of control with everything going on in the world. (Female participant) For an essential worker who injured her leg whilst working in a hospital, an Ikea couch enabled recovery: “the couch saved my throbbing leg for many months. It served as a place to eat, paint and rest.” (Female participant) While pets were not included as objects within this project, several participants submitted their pets’ accoutrements. A female participant who submitted a photograph of her cat’s collar and tree movingly recounts how while I was working online in lockdown, this cat tree kept my cat entertained. She was so enthusiastic while scratching (covered in her fur) she somehow managed to remove her collar. I call Bouny my Emotional support cat … . She really stepped up her treatments of me during the pandemic. My mother had advanced dementia and multiple lockdowns [which] meant I could not see her in the weeks leading up to her death. These objects highlight the ways in which this participant found comfort during lockdown at a time of deep grief. For other participants, blankets and shawls provided sources of comfort “since much of lockdown was either in cool weather or deepest winter”. I found myself taking [my shawl] whenever I went out for any of the permitted activities and I also went to bed with it at night. The soft texture and the warmth against my face, neck and shoulders relaxed my body and I felt comforted and safe. (Female participant) Another used a calming blanket during lockdown “for time-outs on my bed (I was confined to a tiny flat at the time and separated from my family). It gave me a safe space”. (Female participant) In a similar vein, journalling provided several participants with “a safe space to explore thoughts and make them more tangible, acting as a consistent mindful practice I could always turn to”. The journal provided consistency throughout the ever-changing lockdown conditions and a strong sense of stability. Recording thoughts daily allowed me to not only process adversity, but draw attention to the areas in my life which I was grateful for … even from home. (Female participant) In addition to fostering mindfulness, the creative practice of journalling enabled this participant to exercise her imagination: writing from the perspectives of other people, from friends to strangers, also allowed me to reflect on the different experiences others had during lockdown. I found this fostered empathy and motivated me to reach out and check in on others, which in turn also benefited my own mental health. (Female participant) Creative practices were critical to sustaining many participants of this study. The Norman family, for example, submitted an acrylic on canvas artwork, Surviving COVID in Port Melbourne (2021), as their object of resilience: this work represents the sentiments and experiences of our family after a year of successive COVID lockdowns. Each section of the canvas has been completed a member of our family – 2 parents and a 21, 18 and 14 year-old. (Norman family) Likewise, musical instruments and sound objects – whether through analogue or digital means – helped participants to stay sane in long lockdowns: wen I didn’t know what to do with myself I always turned to the guitar. (Male participant) Music was so important to us throughout the lockdowns. It helped us express and diffuse big feelings. We played happy songs to amplify nice moments, funny songs to cheer each other up, angry songs to dance out rage. (Family participants) Curating the Lockdown Lounge To enhance the capacity of our project’s connections to the wider community, and respond to the need we felt to gather in person to reflect on what it meant for each of us to endure long lockdowns, we held an in-person exhibition after COVID-19 restrictions had eased in Melbourne in November 2022. The decision to curate the “Lockdown Lounge” art and research exhibition featuring objects submitted by research participants was consistent with a trauma-informed approach to research as described above. According to Crowther, art exhibits have the potential to redirect viewers’ attention from “aesthetic critique” to emotional connection. They can facilitate what Moon describes as “relational aesthetics”, whereby viewers may connect with the art and artists, and enhance their awareness of the self, artist, and the world. As a form of “guided relational viewing” (Potash), art exhibits are non-coercive in that they invite responses, discussion, and emotional involvement while placing no expectation on viewers to engage with or respond to the exhibition in a particular way. When considering such questions, our immersive in-person exhibition featured a range of object-based installations including audio-visual and sound objects, available for viewing in our Zine, The Lockdown Lounge (Walimunige et al.). The living room design was inspired by French-Algerian artist Zineb Sedira’s immersive living room installation, “Dreams Don’t Have Titles”, at the 59th Venice Art Biennale’s French pavilion (Sedira), attended by project co-lead Vivian Gerrand in June 2022. The project team curated the gallery space together, which was located at Deakin University’s city conference venue, “Deakin Downtown”, in Melbourne, Australia. Fig. 1: The Lockdown Lounge, living room. “What Got You through Lockdown?” research exhibition and experience, Deakin Downtown, Melbourne, 21-25 November 2022. In the centre of the Lockdown Lounge’s living room (see fig. 1), for example, a television screen played a looped collection of popular YouTube videos, many of which had gone viral in the early months of the COVID-19 pandemic. There was Victorian Premier Daniel Andrews, admonishing Victorians to avoid non-essential activities through the example of an illicit dinner party held that resulted in a spike in coronavirus cases in March 2020 (ABC News). This short video excerpt of the Premier’s press conference concluded with his advice not to “get on the beers”. While not on display in this instance, many visitors would have been familiar with the TikTok video remix made later in the pandemic that featured the same press conference, with Premier Andrews’s words spliced to encourage listeners to “get on the beers!” (Kutcher). We recalled the ways in which such videos provided light relief through humour at a time of grave illness and trauma: when army trucks were being summoned to carry the deceased from Northern Italian hospitals to makeshift gravesites, those of us privileged to be at home, at a remove from the ravages of the virus, shared videos of Italian mayors shouting at their constituents to “vai a casa!” (Go home!). Or of Italians walking fake dogs to have an excuse to go outside. We finished the loop with a reproduction of the viral Kitten Zoom Filter Mishap, in which in online American courtroom defendant Rod Ponton mistakenly dons a cat filter while telling the judge, ‘I am not a cat’. The extraordinary nature of living in lockdown initially appeared as an opportunity to slow down, and this pandemic induced immobility appeared to prompt a kind of “degrowth” as industries the world over paused operation and pollution levels plummeted (Gerrand). In reflection of this, we included videos in our YouTube playlist of wild animals returning to big cities, and of the waters of Venice appearing to be clear. These videos recalled how the pandemic has necessitated greater appreciation of the power of things. The spread of the novel coronavirus’s invisible variants has permanently altered the conditions and perceptions of human life on the planet, forcing us to dwell on the vitality intrinsic to materiality, and renewing awareness of human lives as taking place within a broader ecology of life forms (Bennett). Within this posthuman perspective, distinctions between life and matter are blurred, and humans are displaced from a hierarchical ontological centre. In an essay titled “The Go Slow Party”, anthropologist Michael Taussig theorises a “mastery of non-mastery” that yields to the life of the object. This yielding – a necessary response to the conditions of the pandemic – can enable greater attentiveness to the interconnectedness and enmeshment of all things, leading to broader understandings of self and of resilience. To understand how participants responded to the exhibition, we asked them to respond to the following questions in the form of open-ended comments: What if anything affected you most? Did any of the objects resonate with you? Did the exhibition provide a safe environment for you to reflect on your sense of resilience during the pandemic? Fig. 2: Research exhibition participant standing beside artwork by the Norman family: Surviving COVID in Port Melbourne, acrylic on canvas (2021), The Lockdown Lounge. Through curating the art exhibition, we engaged in what Wang et al. describe as “art as research”, whereby the artist-researcher aims to “gain a deeper understanding of what art, art creation, or an artistic installation can do or activate … either in terms of personal experiences or environmental circumstances” (15). As Wang et al. write, “the act of creating is simultaneously the act of researching”, neither of which can be distinguished from one another (15). Accordingly, the process of curating the gallery space triggered memories of living in lockdown for members of our team, including one male youth researcher who remembers: as the space gradually began to be populated with object submissions … the objects began to find their place … . We slowly developed an understanding of the specific configurations of objects and the feelings that these combinations potentially could invoke. As we negotiated where my object might be placed, I felt an odd sense of melancholy seeing my record player and guitar at the exhibition, reminiscing about the music that I used to play and listen to with my family when we were all in lockdown … . As my Bon Iver record spun, and the familiar melodies rung out into the space, I felt as if I was sharing an intimate memory with others … . It also reminded me of the times when I had felt the most uplifted, when I was with family, near and far, knowing that we all were a unit. Another of our youth researcher team members served as an assistant curator and agreed to monitor the gallery space by being there for most of the five days of the exhibition’s opening to the public. She describes her work in the gallery thus: my role involved general exhibition upkeep – setup, answering visitor inquiries and monitoring the space – which meant being in the exhibition space for around 7.5 hours a day. Although it cannot be fully compared to living through Melbourne’s lockdowns, being in a space meant to mimic that time meant that comparisons naturally arose. I can see similarities between the things that supported my resilience during the lockdowns and the things that made my time at the gallery enjoyable. Through engaging with the gallery, this researcher was reminded of how spending time engaging in hands-on tasks made physical distancing more manageable. Spending time in the exhibition space also facilitated her experience of the lockdowns and the material conditions supporting resilience. She reflects that the hands-on, creative tasks of setting up the exhibition space and helping design a brochure reminded me of how I turned to baking so I could create something using my hands … . In the beginning, I approached my time at the gallery as a requirement of my work in this project … . Looking back now, I believe I understand both the person I was those years ago, and resilience itself, a little bit better. Fig. 3: Research exhibition participant wearing an Oculus virtual reality headset, watching the film Melbourne Locked Down (van Leeuwen), The Lockdown Lounge, November 2022. As these examples demonstrate, complex assemblages of people, places, and things during the COVID-19 pandemic were, and are, “suffused with multisensory and affective feelings”; exploring the ways affect is distributed through socio-spatialities of human experience enables researchers to better unpack individuals’ COVID experiences in ways that include their surroundings (Lupton). This was further evident in the feedback received from participants who attended the exhibition. Exhibition Feedback Feedback from participants suggested that the public exhibition format enabled them to explore this tension between isolation and orientation to the greater good in a safe and inclusive way (e.g. fig. 2). For Harry (29/m/Argentinian/New Zealand), interacting with the exhibition “reminded me that I wasn’t the only one that went through it”, while Sam (40/m/Chinese Australian) resonated with “many … people’s testimonials” of how objects helped support their resilience during long periods of confinement. Sam further added that participating in the exhibition was a “pleasant, friendly experience”, and that “everyone found something to do”, speaking to the convivial and inclusive nature of the exhibition. This resonates with Chaplin’s observation that “the production and reception of visual art works are social processes” that cannot be understood with reference to aesthetic factors alone (161-2). In the quotes above, it is evident that participants’ experience of the exhibition was inherently entwined with the sociality of the exhibition, evoking a sense of connection to others who had experienced the pandemic (in Harry’s case), and other exhibition attendees, whom he observed “all found something to do”. Additionally, participants’ responses highlighted the crucial role of the “artist researcher”, whom Wang et al. describe as qualitative researchers who use “artistically inspired methods or approaches” to blend research and art to connect with participants (10). In particular, the curation of the exhibition was something participants highlighted as key to facilitating their recollections of the pandemic in ways that were relatable. Nala (19/f/East-African Australian) commented that “the room’s layout allowed for this the most”: “the room was curated so well, it encaptured [sic] all the various stages of COVID lockdown – it made me feel like I was 16 again”. Returning to Wang et al.’s description of “art as research” as a means through which artist researchers can “gain a deeper understanding of what art, art creation, or an artistic installation can do or activate” (15), participant responses suggest that the curation of Lockdown Lounge as a trauma-informed art exhibition allowed participants to re-experience the pandemic lockdowns in ways that did not re-traumatise, but enabled the past and present to coexist safely and meaningfully for participants. Conclusion: Object-Oriented Wellbeing From different sections of the community, “Objects for Everyday Resilience” collected things that tell stories about how people coped in long lockdowns. Displaying the objects and practices that sustained us through the peak of the COVID-19 health crisis helped our participants to safely reflect on their experiences of living through long lockdowns. The variety of objects submitted and displayed draws our attention to the complex nuances of resilience and its material and immaterial intersections. These contributions composed, as fig. 1 illustrates, an almost accidentally curated diorama of a typical lockdown scene, imitating not only the materiality of living room itself but something also, through the very process of contribution, of the strange collectivity that the city of Melbourne experienced during lockdown periods. Precisely partitioned within domestic zones (with important differences for many “essential workers”, residents of public housing high-rises, and other exceptions), lockdowns enforced a different and necessarily unifying rhythm: attention to daily briefings on COVID numbers, affective responses to the heaves and sighs of infection rates, mourning over a new and untameable cause of loss of life, and routine check-ins on newly isolated friends and family. In hindsight, as the city has regained – perhaps redoubled, a sign of impatience with earlier governmental languages of austerity and moderation? – its economic and hedonistic pulse, there are also signs that any lockdown collectivity – which we also acknowledge was always partial and differentiated – has dispersed into the fragmentation of social interests and differences typical of late capitalism. The fascination with “public” objects – the Northface jacket of the state premier, COVID masks and testing kits, even toilet paper rolls, serving metonymically for a shared panic over scarcity – has receded. To the point, less than two years on, of this media attention being a scarcely remembered dream. The Lockdown Lounge is an example of a regathering of experiences through a process that, through its methods, also serves as a reminder of a common sociality integral to resilience. 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