The relationship between race and biology is complex. In contemporary medical science, race is a social construct that is measured via self-identification of study participants. But even though race has no biological essence, it is often used as variable in medical guidelines (e.g., treatment recommendations specific for Black people with hypertension). Such recommendations are based on clinical trials in which there was a significant correlation between self-identified race and actual, but often unmeasured, health-related factors such as (pharmaco) genetics, diet, sun exposure, etc. Many teachers are insufficiently aware of this complexity. In their classes, they (unintentionally) portray self-reported race as having a biological essence. This may cause students to see people of shared race as biologically or genetically homogeneous, and believe that race-based recommendations are true for all individuals (rather than reflecting the average of a heterogeneous group). This medicalizes race and reinforces already existing healthcare disparities. Moreover, students may fail to learn that the relation between race and health is easily biased by factors such as socioeconomic status, racism, ancestry, and environment and that this limits the generalizability of race-based recommendations. We observed that the clinical case vignettes that we use in our teaching contain many stereotypes and biases, and do not generally reflect the diversity of actual patients. This guide, written by clinical pharmacology and therapeutics teachers, aims to help our colleagues and teachers in other health professions to reflect on and improve our teaching on race-based medical guidelines and to make our clinical case vignettes more inclusive and diverse.
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This guide documents the design choices regarding the corporate style, user interface and user experience of the AI-Enhanced Data Analysis (AIDA) application.
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A 4*4 PitStop is a metaphor for the work method or format used for a pop-up professional network. The method is designed to allow work, innovation and learning to go hand in hand. This format is based on the goals and direction provided by the participating professionals themselves. With this guide, we are sharing the results with professionals who want to start their own 4*4 PitStop.
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An installation based on the research for the last book in the Ebifananyi series. The book presents a largely visual social biography of the photograph Henry Morton Stanley made in 1875 of Ssekabaka Muteesa 1 of Buganda and his chiefs. The group portrait is one of the first photographs made in the territory currently known as Uganda. The social biography I made is partly based on historical sources and partly ‘written’ in the form of a chain of responses to and interpretations of those historical sources. These responses and interpretations were, as a result of my interest in the photograph, made in 2016 and 2017 by (mostly Ugandan) artists.This installation is what you could call a spatial assemblage. It includes prints, collages, projections and a book. All of these components show – or are directly related to – the pictures made by explorers John Hanning Speke and James Augustus Grant during and around their visit to Muteesa, thirteen years before Stanley made the photograph. Considering Speke’s and Grant’s drawings gives an insight into the appreciation for pictures on the side of the Baganda and the use of these same visual materials by the visitors. It helps to understand the context in which Stanley brought out a camera to make a ‘drawing with light’ that Muteesa and his chiefs may never have had a chance to see themselves.The title “My Guide Through Africa” is taken from words jotted down by James Augustus Grant on the cover of an instruction book on how to make watercolours. He carried the book with him on his journey through ‘Africa’. As this book was a ‘Guide’, so are the drawings made by him and his colleague. Now that we know them, we cannot avoid for our gaze to be moulded by journal notes and drawings made in the 19th century.Recent responses to the historical pictures were made by Violet Nantume, Herman van Hoogdalem, Stella Atal and me (in collaboration with R. Canon Griffin). Additional thoughts about components of the installation can be found in this blogpost and of course in “Ebifananyi 8, Ekifananyi Kya Muteesa – The King has been pictured (by many)” (for sale online in a set with three or all seven other books in the series here).The installation is part of the group show ‘Dwell Act Transform’ on artistic research in the North (of the Netherlands). The historical materials presented are part of the collections of the Royal Geographical Society (Speke), National Library of Scotland (Grant) and The Ugandan Society (Stanley’s and Speke’s books).
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Since 2020, the COVID-19 pandemic has had a major impact on personal, social and societal life worldwide. The virus threatens the physical health, social contacts and financial and economic security of many. The pandemic has led to polarisation in society, to an increase in social inequality, to a threat to democratic rights and to international tensions. Social work has not been left unaffected either. Based on research conducted by the Centre for Social Innovation of HU University of Applied Sciences Utrecht Netherlands and financed by ZonMw, a concise ethical manual was developed for social professionals in crisis situations. It contains a series of questions for reflection that can be used to make the most important ethical challenges explicit and to take action. The guide is also suitable for carrying out a brief ethical review, as it were, individually or collectively, in the hectic day-to-day work.
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This book is for the newcomer to the industry, the curious individual who loves storytelling. If you want to learn how to produce a complex short film project and all the people connected to it, then this guide is for you.The Creative Producer normally does not make the biggest headlines. Fame is more often than not, claimed by the Actor and Director of the film. But it is the Creative Producer who puts together the deals, finds the best possible talent for a project and facilitates an environment that allows the creative minds of cast crew to unfold.This is the true skill of the Creative Producer – find the story, get the best possible people involved and make sure they have everything they need to do their best
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This book is for the newcomer to the industry, the curious individual who loves storytelling. If you want to learn how to produce a complex short film project and all the people connected to it, then this guide is for you.The Creative Producer normally does not make the biggest headlines. Fame is more often than not, claimed by the Actor and Director of the film. But it is the Creative Producer who puts together the deals, finds the best possible talent for a project and facilitates an environment that allows the creative minds of cast crew to unfold.This is the true skill of the Creative Producer – find the story, get the best possible people involved and make sure they have everything they need to do their best
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This quick guide is written to inspire designers, policy makers, company owners, employees, educators and students to change the linear economy into a circular economy by collaborating in local value chains. This guide explains the basics of circular economy, value chains and it gives practical tips for you to work with and practical examples to learn from. It is developed within the context of the Biocup project, part of the BIOCAS Interreg project supported by the North Sea Programme of the European Regional Development Fund of the European Union.
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