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"Lock, Graham"
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Exploring the scope of communication content of mechanically ventilated patients
Ineffective communication during mechanical ventilation (MV) and critical illness is distressing to many patients. This study aimed to describe the scope of communication content of ventilated critically ill patients.
We performed a prospective qualitative interview study in a multidisciplinary intensive care unit. Ten alert, orientated adult patients who previously underwent MV for at least 24h and were able to speak at the time of interview were recruited. Semi-structured interviews with stimulated recall technique were conducted. A descriptive thematic analysis was performed of the patient-generated content using a free coding technique, where recurrent themes and subthemes were noted, coded and analyzed.
Patients' communication content included medical discussions with clinicians; communication with family to provide advice or comfort, make requests and plans, express feelings and convey personal perspectives on medical care; and expression of their own psychoemotional needs.
The scope of communication content of ventilated ICU patients was broad, extending far beyond task-focused subject matter. Content ranged from conveying symptom-related messages to active participation in medical discussions, to conversing with family about a range of complex multi-dimensional issues, to sharing their own psychoemotional experiences. These patient-centered needs should be recognized and addressed in communication strategies.
•Mechanically ventilated critically ill patients' scope of communication is broad.•Ventilated patients want to communicate complex personal and psychoemotional issues.•Communication during this non-vocal period can be frustrating.•Communication strategies should recognize and address these needs.
Journal Article
Blues on the brush: Rose Piper's 'Blues and Negro Folk Songs' paintings of the 1940s
Discusses the work of Rose Piper who made what were probably the first paintings inspired by blues recordings, including songs by the classic blueswomen of the 1920s Ma Rainey, Bessie Smith and Trixie Smith. The author comments on the lack of recognition for her work, notes her first exhibition 'Blues and Negro Folk Songs' at RoKo Gallery in New York (28 Sept.-30 Oct. 1947) was a great success, and explains how Piper regarded blues music as a valuable form of social commentary on black life. He focuses on some of the works shown in that exhibition, explains how she suffered a number of personal tragedies which forced her to develop a more secure career as a textile and knitwear designer, before returning to painting and a second exhibition in 1989 based on the lyrics to spiritual songs.
Journal Article
The Hearing Eye: Jazz and Blues Influences in African American Visual Art
From Paul Oliver's explorations into the advertising art used to promote early blues recordings to Graham Lock's examination of Rose Piper's representations of blues and folk songs in her 1940s paintings, from Sara Wood's study of the influence of bebop on the abstract expressionist paintings of Norman Lewis to Richard King's sensitive critique of Bob Thompson's struggles to blend particular idioms with universal concerns, this volume consistently illuminates both the similarities and the differences that characterize music and art production among African Americans in the twentieth century. Richard Ings's knowing study of the jazz photographs taken by Roy DeCarava not only focusses attention on a different visual medium, but also reveals how African American music and visual art alike emerged from a complex social world where different forms of dance, display, style, and speech served as sites of struggle and self-affirmation, as repositories of collective memory, and as ways of calling communities into being through performance. Devoting attention both to the internal aesthetic issues that artists face and to the external pressures on African American art and artists imposed by oftentimes hostile critics, curators, and patrons, The Hearing Eye correctly locates artistic choices within a complex matrix of social and cultural institutions. Rhythm and blues artist Johnny Otis won a citywide art contest for his painting of Nat Turner in 1964, exhibited a series of sculptures based on the African understanding of a chair as a symbolic locus of power, and created a series of paintings titled Rhythm and Blues featuring renditions of the microphones, clothing, and neon signs Otis encountered in black night clubs during the 1940s and 1950s.
Journal Article
Expansion and fragmentation
Is the end of the nation-state approaching, now that the international economy takes less and less notice of borders between countries and the European Union has already acquired so much political power? What does national autonomy mean when governments delegate any number of powers to international organizations? Internationalization leads to political change, and the position of the nation-state appears to be undergoing a radical process of erosion.
eBook