Zoekresultaten

Utilising urban or street culture to develop future-proof cities: a practice approach.

Utilising urban or street culture to develop future-proof cities: a practice approach.

An evaluation of three processing methods and the effect of reduced culture times for faster direct identification of pathogens from BacT/ALERT blood cultures by MALDI-TOF MS

Matrix-assisted laser desorption/ionisation time of-flight mass spectrometry (MALDI-TOF MS) is a fast and reliable method for the identification of bacteria from agar media. Direct identification from positive blood cultures should decrease the time to obtaining the result. In this study, three different processing methods for the rapid direct identification of bacteria from positive blood culture bottles were compared. In total, 101 positive aerobe BacT/ALERT bottles were included in this study. Aliquots from all bottles were used for three bacterial processing methods, i.e. the commercially available Bruker's MALDI Sepsityper kit, the commercially available Molzym's MolYsis Basic5 kit and a centrifugation/washing method. In addition, the best method was used to evaluate the possibility of MALDI application after a reduced incubation time of 7 h of Staphylococcus aureus- and Escherichia coli-spiked (1,000, 100 and 10 colony-forming units [CFU]) aerobe BacT/ALERT blood cultures. Sixty-six (65%), 51 (50.5%) and 79 (78%) bottles were identified correctly at the species level when the centrifugation/washing method, MolYsis Basic 5 and Sepsityper were used, respectively. Incorrect identification was obtained in 35 (35%), 50 (49.5%) and 22 (22%) bottles, respectively. Gram-positive cocci were correctly identified in 33/52 (64%) of the cases. However, Gram-negative rods showed a correct identification in 45/47 (96%) of all bottles when the Sepsityper kit was used. Seven hours of pre-incubation of S. aureus- and E. coli-spiked aerobe BacT/ALERT blood cultures never resulted in reliable identification with MALDI-TOF MS. Sepsityper is superior for the direct identification of microorganisms from aerobe BacT/ALERT bottles. Gram-negative pathogens show better results compared to Gram-positive bacteria. Reduced incubation followed by MALDI-TOF MS did not result in faster reliable identification.

Oasistan: an intercultural role-playing simulation game to recognize cultural dimensions

Aim. Although cultural dimensions theory is a topical strand of quantitative cultural research, few intercultural simulation games use it. We present the design and review of the application of OASISTAN, an intercultural role-playing simulation game that is specifically based on cultural dimensions theory. Method. OASISTAN was first designed in 1999 for use in Master’s courses on cross-cultural management at Delft University of Technology in the Netherlands, attracting 20-23 year old students with a Bachelor degree in engineering and from various cultural backgrounds. Since its first design the game has been played approximately 45 times at Delft University of Technology in the Netherlands and three times at Harbin Institute of Technology in China in the years 2006-2008. We reviewed their experiences designing and facilitating OASISTAN since 1999. Results. The game has a no-tech role-play design and revolves around the geopolitically complex region of the Caspian Sea, specifically the fictional country of ‘Oasistan’. The game consists of students forming small teams of Oasistani, Western and non-Western public/private actors collaborating with each other to try and reach the common goal of oil exploration and production in this country. In total 15-30 students were involved. We found that OASISTAN allowed its players not only to intensely experience the difficulty and awkwardness of being confronted with cultural differences, but also to interpret and understand these differences through cultural dimensions. Students who played OASISTAN identified ten out of the 12 dimensions by Maleki and De Jong. The two dimensions that students were not able to identify are uncertainty avoidance and collaborativeness. Conclusion. OASISTAN shows how a game design field (i.e., intercultural simulation gaming) can be reinvigorated in light of new or updated scientific theories pertaining to the field’s subject matter (i.e., cultural dimensions). Several opportunities for future research are identified.

Acceleration of direct identification of S.aureus versus Coagulase Negative Staphylococci from blood culture material: a comparison of six bacterial DNA extraction methods

To accelerate differentiation between Staphylococcus aureus and Coagulase Negative Staphylococci (CNS), this study aimed to compare six different DNA extraction methods from 2 commonly used blood culture materials, i.e. BACTEC and Bact/ALERT. Furthermore, we analyzed the effect of reduced blood culture times for detection of Staphylococci directly from blood culture material. A real-time PCR duplex assay was used to compare 6 different DNA isolation protocols on two different blood culture systems. Negative blood culture material was spiked with MRSA. Bacterial DNA was isolated with: automated extractor EasyMAG (3 protocols), automated extractor MagNA Pure LC (LC Microbiology Kit MGrade), a manual kit MolYsis Plus, and a combination between MolYsis Plus and the EasyMAG. The most optimal isolation method was used to evaluate reduced bacterial culture times. Bacterial DNA isolation with the MolYsis Plus kit in combination with the specific B protocol on the EasyMAG resulted in the most sensitive detection of S.aureus, with a detection limit of 10 CFU/ml, in Bact/ALERT material, whereas using BACTEC resulted in a detection limit of 100 CFU/ml. An initial S.aureus load of 1 CFU/ml blood can be detected after 5 hours of culture in Bact/ALERT3D by combining the sensitive isolation method and the tuf LightCycler assay.

Culture of the selfie

Culture of the Selfie is an in-depth art-historical overview of self-portraiture, using a set of theories from visual studies, narratology, media studies, psychotherapy, and political principles. Collecting information from various fields, juxtaposing them on the historical time-line of artworks, the book focuses on space in self-portraits, shared between the person self-portraying and the viewer. What is the missing information of the transparent relationship to the self and what kind of world appears behind each selfie? As the ‘world behind one’s back’ is gradually taking larger place in the visual field, the book dwells on a capacity of selfies to master reality, the inter-mediate way and, in a measure, oneself.