"D.U.EYE® represents a significant advancement in under-eye rejuvenation Unlike many treatments limited by skin type this clinically researched approach addresses crepey skin and hyperpigmentation in all Fitzpatrick skin types offering a truly customized solution for every patient." a revolutionary under-eye treatment approach addressing multiple concerns simultaneously This clinically researched approach tackles crepey skin offering a comprehensive solution for achieving a more youthful and refreshed under-eye area It leverages the power of regenerative medicine for an inside-out approach to skin health ensuring inclusivity and broad applicability This innovative approach also boasts a significant advantage: no downtime Patients can resume their normal activities immediately Visit https://www.drjutai.ca/dark-under-eye-treatment/ to learn more about the D.U.EYE® and schedule a consultation to discover how this advanced approach can revitalize your under-eye area The D.U.EYE® distinguishes itself through its unique approach to under-eye rejuvenation It is specifically designed to address the multiple concerns often associated with the biological aging process and sun damage in this delicate area of the face The safety across all skin tones is a key differentiating factor making it accessible to a wider range of patients The absence of downtime further enhances its appeal providing a convenient and effective solution Jutai developed the D.U.EYE® in response to the limitations of existing treatments many of which are not suitable for all skin tones The D.U.EYE® was created with inclusivity in mind providing a safe and effective solution for everyone The focus on patient well-being and a commitment to innovation are at the heart of this groundbreaking approach The D.U.EYE® represents a significant advancement in under-eye rejuvenation leads a premier functional medicine and cosmetic dermatology practice with a special focus in women's integrative health care A licensed Naturopathic Doctor since 2017 with prescribing authority and advanced training in hormone restoration Jutai provides comprehensive care that bridges the gap between conventional medicine and evidence-informed adjunctive approaches Our practice distinguishes itself through a holistic understanding of women's health recognizing the intricate connections between skin health Jutai's approach integrates current medical research with evidence-informed natural medicine providing innovative solutions that promote longevity and wellness from the inside out our practice serves women seeking comprehensive healthcare solutions beyond conventional approaches Jutai's commitment to patient advocacy and evidence-based natural medicine has established her as a trusted healthcare partner for women navigating their wellness journey For media inquiries: Dr. Jutai, ND. [email protected] Do not sell or share my personal information: Subscribe to our mailing list to keep up to date with all things When The Horn Blows related We use cookies and similar technologies to run this website and help us understand how you use it Toronto artist Tyra Jutai has just released her new hedonistic track ‘Rebound’ - which sees her blending warm cinematic soundscapes with quirky smooth moments of neo-soul and modern pop Tyra took a moment to talk to us about the inspirations behind her music.  Who are your top three musical inspirations and why?I have too many to count I’ve been inspired by Latin artists like bad bunny and rosalia and learning their melodies and rhythms I’ve also been deep diving into some classic rnb and soul albums D’Angelo is one of my favourite artists and inspirations - I love the way he takes his time to create such complex songs.  Is there a certain film that inspires you and why?I’m inspired by my friends mostly and by those who lead with purpose and love.  What city do you find the most inspiring and why?I love Berlin There is so much life in the creative industries there and art around every corner - art is a public affair there.  Who is the most inspiring person to you and why?Myself I thank my ancestors for instilling that inspiration in me.  What were your inspirations when writing your new track?Feeling lonely and trying to detach myself from people who were holding me back from my growth.  How would you like to inspire people?I’d like to inspire people to listen Stay up-to-date with exclusive events and content Djalma Moreira Lima used to walk throughout the rainforest to collect copal resin He would wander around for hours looking for jatobás Amazonian trees whose trunks secrete the sticky substance which turns hard in contact with the air and falls on the forest floor as little rocks whoever was smart enough to look among the leaves found more,” Lima told Mongabay “We would come back with sacks loaded with 4 or 5 kilos [9-11 pounds] of resin.” Lima’s Suruacá community is located in the Extractivist Reserve Tapajós-Arapiuns an area that was a hub for copal resin production during most of the 20th century is expelled by two species of trees every time there is a wound in their trunks — the jatobá (Hymenaea courbaril) secretes a lighter-colored transparent resin “I think all the communities used to take rosin,” Lima said The material collected by river and traditional communities was sent to Santarém and from there to urban centers in Brazil and abroad the jatobá’s secretion would be used to varnish wood furniture Corrêa estimated Brazil’s production of copal resin at around 120 tons a year during the first half of the 20th century Data from Brazil’s exports varied a lot “Brazil never really stood out as an exporter,” he said mentioning that Europe and the United States would supply most of its resin from Africa But this relevant source of income for Amazon communities has sharply declined in the second half of the 20th century when the natural resin was substituted by petroleum-based varnishes the collection of jutaicica is practically extinct restricted to domestic use in the traditional communities that use it to make fire (it’s flammable) or to waterproof clay pots “I don’t know anyone who works with it anymore,” Lima said owner of a store selling Amazon products in Santarém used to buy the resin from local communities every time a client asked for it “I don’t even buy it because I don’t have anyone to sell it to,” she told Mongabay Although it is unthinkable to return to the production levels of the last century Corrêa said he believes jutaicica could once again have a role in the forest economy we’re talking about small and varied quantities But resin could be one more component in a basket of Amazonian products,” he said A study by the World Resources Institute (WRI) and the New Climate Economy found that boosting the Amazon’s bioeconomy would generate an additional 40 billion reais ($8.3 billion) GDP annually for the Brazilian Amazon the transformation could generate 312,000 additional jobs Besides being a sustainable alternative to petroleum-based varnishes researchers say jutaicica could work as an incentive for keeping the forest standing — around 80% of Amazon vegetal production is associated with timber extraction is a highly coveted wood for flooring,” Côrrea said Jutaicica could even be used to aggregate value in the Amazon timber industry which sells most of the forest’s noble wood as low-valued “You could have objects made from Amazonian wood with a proper design and finished with a local varnish,” Côrrea said adding that universities should have a key role in helping the communities to reintroduce it into the market as a sustainable product Banner image: A jatobá (Hymenaea courbaril) treen in Maui, Hawaii. Image by Forest and Kim Starr via Flickr (CC BY 2.0) Are the Amazon’s biggest trees dying? Forest coroners investigate Côrrea, J.J.L., Almeida, T. E., Pimentel Santos, M. R., & Giacomin, L. L. (2022). Assigning a value to standing forest: a historical review of the use and characterization of copal resin in the region of Santarém, Central Amazonia. Rodriguésia, 73. Retrieved from https://www.scielo.br/j/rod/a/N8mtx4SwBzf4W7F7M79xdSH/?format=pdf&lang=en FEEDBACK: Use this form to send a message to the author of this post The “fortress conservation” model is under pressure in East Africa as protected areas become battlegrounds over history and global efforts to halt biodiversity loss Mongabay’s Special Issue goes beyond the region’s world-renowned safaris to examine how rural communities and governments are reckoning with conservation’s colonial origins and trying to forge a path forward […] Tyra Jutai is an up-and-coming singer-songwriter and producer from Toronto, Canada. Not too long ago, she released a sweet Valentine’s Day tune, entitled, “Nudes” “Can you save a place for me between the two of you I’ll squeeze in between you and your new… Feel in love with you The first boy I ever…made me feel so confident.” – lyrics ‘Nudes’ tells a bittersweet tale of a young woman who finds herself scrolling through her phone she previously sent those same pictures to her first love While thinking about all the good times they shared together in the past she realizes she’s alone and doesn’t have anyone to send her nude photos to The likable tune possesses melodic instrumentation scented with an alternative-pop aroma the song hints at heartbreak and frustration ‘Nudes’ serves as a fantastic indication of what listeners can expect to hear on Tyra Jutai’s upcoming debut EP The charismatic newcomer is certainly an artist to keep your eye on as she begins her claim to fame We recommend adding Tyra Jutai’s “Nudes” single to your personal playlist let us know how you feel about it in the comment section below Your email address will not be published. Required fields are marked * By continuing to use this website, you agree to the use of cookies in order to offer you content and services that are tailored to your interests. It's time to go hoist Sous-Bois-les-Bains' flag on the Moon and their friends don't have time to admire the scenery when a meteor shower sends them off course and directly to an unknown planet will transform this space epic into a story of interplanetary friendship Compétition internationale jeune public Montreal Festival du Nouveau CinémaCanada Vila do Conde International Short Film FestivalPortugal as well as representatives based in the U.S The organisation currently brings together more than 1,000 French cinema and TV content professionals (producers etc.) working together to promote French films and TV programmes among foreign audiences This article was published more than 9 years ago Jutai Toonoo didn't pay much attention to the drawing progam at the famed Kinngait Studios in his hometown of Cape Dorset had done until his death by gunshot at the age of 49 "and I just carried on with what he did." Mr would claim he made his first stone carving at the age of 7 while learning how to sand and polish his father's work Drawing – or at least the kind of drawing that Cape Dorset's West Baffin Eskimo Co-op seemed to think southern audiences preferred – was of no interest to him he had an enduring fascination with the human face the igloos" that seemed the staple subjects of so many Inuit pictures were pretty much a turn-off Then came what Toronto-based art dealer Patricia Feheley calls "the explosion," ignited circa 2005-06 by the drawings of a fellow Cape Dorset artist 10 years Mr mythological sea creatures and fat walruses were not for Ms Pootoogook; she drew her themes from her personal experiences of contemporary Northern life – a life of family but one also informed by domestic violence Toonoo grasped the possibilities of freedom presented by Ms Pootoogook (who went on to win one of Canada's most prestigious arts honours Feheley recently said: "He could not not be drawing." And when family members found him dead at his Cape Dorset home in late December 28 by atherosclerotic hypertensive heart disease a little more than three weeks after his 56th birthday reportedly as he worked on a portrait of his wife of almost 40 years and the mother of their eight children the most iconoclastic [of his peers] … with the most inquiring mind I've ever run into." "His work was sort of the yin to the yang of everyone else's work," William Ritchie Toonoo to the oil stick at Kinngait Studios in 2006 a bird soaring above the Arctic's granitic grandeur a visit to the former tuberculosis sanatorium in Hamilton with Art Gallery of Ontario Canadian art curator Andrew Hunter to see where Inuit patients were treated in the late 1950s Feheley recalled the time in 2012 she and Mr Toonoo were sitting in her Toronto gallery during his solo show talking about cancer – the cancer her sister had the cancer diagnosis that had just been given their artist friend Itee Pootoogook Toonoo asked the dealer if he could use her computer for a couple of hours had made him "mad at the cancer" and he wanted to research it on the Internet Working on the floor of the Feheley gallery over the next two weeks he produced three stunning large oil-stick cancer-themed drawings a canvas called Attacking a Lung Cancer Cell the National Gallery of Canada purchased The Arsenal; it's now one of 10 Toonoos in the gallery's permanent collection A dedicated reader with a deep familiarity with the Bible and the Koran Toonoo often would mark his drawings and sculptures with text as if to say the three-dimensional art object or the two-dimensional image was insufficient for his purposes How can a human being look up to another human being?" Something I Cannot Say Toonoo's mouth clamped tight by his left hand with the words "I am powerless" running down the picture's left side director of Vancouver's Marion Scott Gallery another significant showcase of the Toonoo oeuvre remarked: "I have trouble thinking of him as an Inuit artist and you can think of his work in relation to that tradition he was a modern contemporary Canadian artist the National Gallery's associate curator of indigenous art in 2004 that he didn't think "there is such a thing as Inuit art He was named Jutai Felix Toonoo shortly after his birth on Dec the third of what would be 11 children born to (or adopted by) Toonoo and his wife His parents were living the traditional quasi-nomadic but plentiful construction work and the fledgling art program in Cape Dorset eventually would bring them into the community Jutai was surrounded by artists as he grew up – not only his father and the other artists of Cape Dorset but his mother who got into drawing and print-making in the mid-1960s (only to abandon the activity for almost 35 years before resuming it in 2000) as well as his youngest brother who in 1997 would be given a solo showcase for her carving at the AGO When Radio Canada International produced a documentary on Mr it was called The Rebel – an entirely accurate characterization "He knew he was going against the grain of what was most popular in Inuit art," she said "He wasn't doing it necessarily deliberately; he was just expressing himself but he had the courage to actually do that to not try to fit into a mould that didn't suit him either personally or artistically." Toonoo occasionally left untreated (he was also diagnosed with diabetes in 2011) even to the point of having what one friend called "enemies." Ms studio manager at the West Baffin Co-op: "Jutai and that meant sometimes that he could be quite abrasive when he was being honest about situations in his own life but also in general about the problems people face in the North He didn't shy away from expressing in his art both his personal experiences and those reactions of what he was observing happening in the community He was always experimenting with his techniques and trying new media He never hesitated to see how far he could push." the artist in The Rebel comes across as every inch the modern creator his complaints the stuff you'd hear from a painter in Brooklyn or an installation artist in Vancouver about being "stuck" in his studio and getting frustrated with his work about gallerists being "the greediest bunch of people on the planet," about the impotence of art in effecting social change and how he "can't be a politician because nobody would vote for me even though I know I could make some positive changes." Though very close to his wife and children Toonoo also maintained a separate residence/studio in Cape Dorset where it wasn't uncommon for him to draw without interruption for days at a time visited there in June 2014 with Kevin Hearn keyboardist for the Barenaked Ladies and an avid Toonoo collector "It was just as I imagined," he recalled – a seemingly chaotic space strewn with DVDs "drawings everywhere – and not a clean dish in the place." Manning-Toonoo is remembering her husband as "a very funny man at times someone who was very strong in getting his thoughts across." Yes his health issues were "at times very challenging but we learned to cope with them." Theirs was a life and love Feheley Fine Arts in Toronto is hosting a memorial event to honour Jutai Toonoo on Feb The memorial marks the start of a solo exhibition of his work running through late March An exhibition of his work is also opening in May at the Marion Scott Gallery in Vancouver To submit an I Remember: obit@globeandmail.com Send us a memory of someone we have recently profiled on the Obituaries page Please include I Remember in the subject field Report an editorial error Report a technical issue Editorial code of conduct James Adams is a former national arts correspondent for The Globe and Mail Welcome to The Globe and Mail’s comment community. This is a space where subscribers can engage with each other and Globe staff. Non-subscribers can read and sort comments but will not be able to engage with them in any way. Click here to subscribe If you would like to write a letter to the editor, please forward it to letters@globeandmail.com. Readers can also interact with The Globe on Facebook and Twitter Welcome to The Globe and Mail’s comment community This is a space where subscribers can engage with each other and Globe staff We aim to create a safe and valuable space for discussion and debate If you do not see your comment posted immediately it is being reviewed by the moderation team and may appear shortly We aim to have all comments reviewed in a timely manner Comments that violate our community guidelines will not be posted UPDATED: Read our community guidelines here We have closed comments on this story for legal reasons or for abuse. For more information on our commenting policies and how our community-based moderation works, please read our Community Guidelines and our Terms and Conditions Systematic Review Registration:https://archive.org/details/osf-registrations-f56rb-v1, identifier osf-registrations-f56rb-v1. Volume 5 - 2024 | https://doi.org/10.3389/fragi.2024.1349520 This article is part of the Research TopicGerontechnologies for Home SupportView all 10 articles The critical importance of technological innovation in home care for older adults is indisputable Less well understood is the question of how to measure its performance and impact on the delivery of healthcare to older adults who are living with chronic illness and disability and Ambient Assisted Living Technologies (AAL) systems “work” should certainly include assessing their impact on older adults’ health and ability to function in daily living but that will not guarantee that it will necessarily be adopted by the user or implemented by a healthcare facility or the healthcare system Technology implementation is a process of planned and guided activities to launch introduce and support technologies in a certain context to innovate or improve healthcare which delivers the evidence for adoption and upscaling a technology in healthcare practices Factors in addition to user acceptance and clinical effectiveness require investigation Failure to appreciate these factors can result in increased likelihood of technology rejection or protracted procurement decision at the “adoption decision” stage or delayed or incomplete implementation or discontinuance (following initial adoption) during implementation The aim of our research to analyze research studies on the effectiveness of digital health technologies for older adults to answer the question “How well do these studies address factors that affect the implementation of technology?” We found common problems with the conceptualization and methodology in studies of digital technology that have contributed to the slow pace of implementation in home care and long-term care We recommend a framework for improving the quality of research in this critical area Systematic Review Registration: https://archive.org/details/osf-registrations-f56rb-v1 The critical importance of technological innovation in home care for older adults is indisputable (Rogers and Mitzner, 2017; Linskell et al., 2019; Rajer and Bogataj, 2022). Less well understood is the question of how to measure its performance and impact on the delivery of healthcare to older adults who are living with chronic illness and disability (Matthew-et al., 2016) and Ambient Assisted Living Technologies (AAL) systems “work” should certainly include assessing their impact on older adults’ health and ability to function in daily living because a technology produces clinical benefits and is acceptable to the user it will necessarily work in the sense that it provides solutions for the needs of users and healthcare facilities that will be adopted and implemented Categories of factors that are proposed to affect the implementation of healthcare technologies have been identified in the literature (Kyratsis et al., 2012; Keyworth et al., 2018; van Gemert-Pijnen, 2022) and are depicted in Figure 1 may be more applicable to some residential settings (e.g. long-term care facilities or retirement communities) than others (e.g. issues of governance and care facility management would have lesser importance for older adults who consume technologies in their private homes and apartments but significant importance for agencies that purchase and maintain technologies for older adults who are under their care Categories of factors affecting implementation of digital technologies There will necessarily be variation in implementation performance since different agencies, whether they be households, healthcare facilities, or healthcare systems, will not respond in these categories in the same way (Goggin, 1986) Technology researchers and developers should be aware of this variation and consider how they might assist potential adopters to do implementation planning within their areas of competence and expertise A final set of factors pertains to risk analysis, which helps us understand and prepare responses for the potential risks associated with adopting and implementing the new technologies. Brown and Osborne (Brown and Osborne, 2013) identified the key elements for analysis and classified risks as follows The locus for consequential risk is the individual and refers to direct risk to the user of the digital health service deviation from established approaches to home care for older adults may introduce emotional distress and risks to physical health The locus for organizational risk is the service agency and its staff The risk here involves vulnerable individuals remaining living independently for longer than they might have been able to and the implications for the organizational or professional reputation and/or legitimacy and sustainability of the service agency managers and staff tend to be risk averse and may tend toward concealing errors instead of identifying and learning from them The locus for behavioral risk is the community of interest and involves risk to the stakeholders surrounding a service and/or the wider community while offering a more appropriate response to the needs of community-dwelling older adults can lead to risks to other people in the community such as distress to uncomprehending relatives and neighbors Implementation is undermined by failure to acknowledge and discuss these risks As an important first step toward understanding the state of knowledge on this topic The aim was to characterize the research available to address the question “How well have research studies on the effectiveness of digital health technologies for older adults addressed factors that affect the implementation of these technologies?” In our analysis we looked for evidence that researchers considered the implementation factor categories described above in their studies The research question was composed based on a lack of consensus in the research literature on the most appropriate set of indicators for the successful implementation of digital health systems in all settings that matter It should be noted that we did not evaluate methodological quality of included studies in accordance with the convention for scoping reviews A detailed search strategy for peer-reviewed literature was developed prior to conducting any searches The review protocol was designed and conducted in accordance with the Preferred Reporting Items for Systematic Reviews and Meta-Analyses extension for Scoping Reviews (PRISMA-ScR) (RRID:SCR_018721) guidelines and was registered with Open Science Framework (RRID:SCR_003238) to increase research transparency and prevent any duplication efforts as per best practice guidelines the authors of the original papers did not have to explicitly name “implementation” as an outcome or objective of the study The reviewers included all studies that reported outcome measures relevant to the effectiveness and implementation of digital technologies as noted in the introduction to this article Scoping review search methodology: eligibility criteria The technical information about the search strategy is presented in Appendix A systematic search of the following five academic databases was conducted to identify relevant peer-reviewed results: Ovid MEDLINE/PubMed Ovid PsycINFO and Ovid Cochrane Library (Cochrane Central Register of Trials) The search strings used for the academic databases (available on request from the authors) were developed with guidance from a university librarian with expertise in the health sciences This search of electronic databases was conducted using only English search terms All results retrieved by the search were imported into Covidence (RRID:SCR_016484; Veritas Health Innovation 2020) a web-based software for systematic reviews based on the PRISMA-ScR reporting guidelines PRISMA flow diagram of systematic search of peer-reviewed and grey literature A total of 150 studies were dropped at the full-text screening phase as “wrong outcomes” and 86 as “wrong intervention” Our selection criteria did not exclude outcome measures and digital health technology interventions based upon lists of examples because we did not want to risk overlooking any promising studies Studies that were screened out for the reasons listed above included those that described outcome measures and interventions that were irrelevant for implementation such as bio-signal characteristics and electronic medical records The extracted data included author and publication year population and key results related to the research question JJ) completed validation of the extracted data We subsequently grouped the results by outcome measure and relevancy As scoping reviews typically do not include an assessment of methodological limitations or the potential for evidence bias (Munn et al., 2018) we elected to focus our analysis on the implications for future research design rather than the practical applications of our findings Table 2 presents essential information from the 26 selected articles and implications of the study findings for technology implementation Five of the articles were reviews (scoping or systematic) The populations researched in these articles were overwhelmingly community-dwelling older adults (n = 17) but also long-term care and nursing homes (n = 4) retirement community or village (n = 3) and implementation stakeholders (n = 1) The categories of interventions were information and communication technologies (n = 7) ambient assisted living technologies (n = 6) interventions to overcome barriers to using technologies for aging in place (n = 1) Some articles discussed several different categories (n = 5) The domains in which outcomes were assessed spanned a wide range at the levels of users (or residents) Most of the studies used measures of user acceptance and intention to use technology (derived from the Technology Acceptance Model and its variants) (n = 9) Note that only nine of these studies explicitly discussed the relevance of the findings for implementation From the list of implementation issues identified in the selected studies Communication (technology utilization and functionality poorly communicated to users) need to train users in their homes; need to investigate workflow compatibility) Design (importance of co-design with users and caregivers) need for ongoing processes for assent for users with dementia) Outcome assessment (inconsistent across studies; not comprehensive with respect to user and caregiver needs Quality of research (weak evidence basis; poor methodology; lack of theoretical grounding; lack of cross-product comparisons; lack of longitudinal studies to analyze dynamic variations in physical Technology maturity and readiness (unreliability; malfunction and maintenance concerns) Table 3 presents an analysis of whether the selected articles referred to implementation factors presented in Figure 1 Those marked with an asterisk (*) made explicit reference to the relevance of their research for technology implementation Most of the articles reviewed made only indirect references to implementation The overwhelming focus of studies has been on implementation issues related to features of the technology under investigation and the attitudes and perceptions of technology users and caregivers As previously noted the methodological rigour of these studies was weak Very few studies used a theory-driven approach and validated methods for assessing attitudes and perceptions We were unable to find any studies of the impact of governance and risk analysis on the implementation of digital health technologies for older adults Analysis of implementation factors for the selected studies Our study did not include stakeholder consultation on the scoping review but we plan to conduct stakeholder evaluations of the provisional framework to identify opportunities for its application across the broadest possible range of digital health technologies for older adults Our findings reinforce the view that implementation is often planned and executed only after the design of a technology has been completed. Future studies of technology development should include consideration of the eight categories of factors that can affect implementation. They should acknowledge the implications of the technology not only for individual users, but the healthcare system and society at large (van Gemert-Pijnen, 2022) We recognize that it is challenging for a single study to address all these factors but if indeed the goal for the research is to achieve successful implementation of the technology then researchers should be expected at least to demonstrate their awareness of the issues The original contributions presented in the study are included in the article/Supplementary Material further inquiries can be directed to the corresponding author The author(s) declare that financial support was received for the research This work was supported by the Mitacs Accelerate funding program (Award # IT27530) as part of the project Developing and Implementing Governance and Algorithms for the PATH (Program to Accelerate Technologies for Homecare) Platform of the AGE-WELL Network The authors declare that the research was conducted in the absence of any commercial or financial relationships that could be construed as a potential conflict of interest All claims expressed in this article are solely those of the authors and do not necessarily represent those of their affiliated organizations Any product that may be evaluated in this article or claim that may be made by its manufacturer is not guaranteed or endorsed by the publisher The Supplementary Material for this article can be found online at: https://www.frontiersin.org/articles/10.3389/fragi.2024.1349520/full#supplementary-material Identifying barriers and facilitators to successful implementation of computerized clinical decision support systems in hospitals: a NASSS framework-informed scoping review PubMed Abstract | CrossRef Full Text | Google Scholar Scoping studies: towards a methodological framework CrossRef Full Text | Google Scholar Using health information technology in residential aged care homes: an integrative review to identify service and quality outcomes 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Text | Google Scholar van Gemert-Pijnen A holistic framework to improve the uptake and impact of eHealth technologies PubMed Abstract | CrossRef Full Text | Google Scholar A personalized health monitoring system for community-dwelling elderly people in Hong Kong: design PubMed Abstract | CrossRef Full Text | Google Scholar Bridging the digital divide in older adults: a study from an initiative to inform older adults about new technologies PubMed Abstract | CrossRef Full Text | Google Scholar Bhardwaj D and Hosseini M (2024) Implementation of digital health technologies for older adults: a scoping review Received: 08 December 2023; Accepted: 17 April 2024;Published: 07 May 2024 Copyright © 2024 Jutai, Hatoum, Bhardwaj and Hosseini. This is an open-access article distributed under the terms of the Creative Commons Attribution License (CC BY). The use distribution or reproduction in other forums is permitted provided the original author(s) and the copyright owner(s) are credited and that the original publication in this journal is cited in accordance with accepted academic practice distribution or reproduction is permitted which does not comply with these terms *Correspondence: Jeffrey W. Jutai, amp1dGFpQHVvdHRhd2EuY2E= Disclaimer: All claims expressed in this article are solely those of the authors and do not necessarily represent those of their affiliated organizations Any product that may be evaluated in this article or claim that may be made by its manufacturer is not guaranteed or endorsed by the publisher 94% of researchers rate our articles as excellent or goodLearn more about the work of our research integrity team to safeguard the quality of each article we publish Tyra Jutai is a talented singer-songwriter and producer from Toronto, Canada. Not too long ago, she released a lovely urban-R&B tune, entitled, “Rebound,” featuring City Fidelia ‘Rebound’ tells a heartfelt tale about a young woman who experiences the rebound period after her relationship ended with her significant other all she desires is a distraction to get over her heartbreak What she thinks she needs is something lustful (ex. etc.) or someone who can make the memory of her ex-boyfriend disappear she finds someone new (her fix) who attempts to cure her temporary loneliness ‘Rebound’ contains a post-relationship-based narrative, unique vocalization, and tuneful melodies. The hedonistic tune possesses vibrant instrumentation flavored with neo-soul, contemporary rap, and early-2000s R&B elements. Furthermore, “Rebound” follows mildly on the heels of Tyra Jutai’s previously released single, entitled, “New Shoes.” “Some relationship breakups are painful to get over and the only way you can is to indulge yourself in distractions I wanted to use a lot of language about the lounge life of listening to music at home Music can help heal heartache and can distract you from the funk you’re feeling It’s actually the best drug for that – better than sex Tyra Jutai is the rare modern artist capable of bypassing the conscious mind and making herself at home in her listener’s imagination Jutai creates a compelling sound that is as personal as it is universal “I could hit the bottle or maybe something stronger Douse my moans in mellow tones curated by you a soundtrack while you serve me your stuff.” – lyrics We recommend adding Tyra Jutai’s “Rebound” single to your favorite urban playlist let us know how you feel in the comment section below “That’s All Folks!” Thanks for reading another great article on Bong Mines Entertainment Features  Aug 23, 2013 – 12:50 pm EDT “History can still teach us lessons” The massive installation Iluliaq, which means “iceberg” in Greenlandic Inuktitut, is the work of Greenland artist Inuk Silis Høegh. Iluliaq was commissioned as part of the National Gallery of Canada’s latest exhibition Sakahán: International Indigenous Art and, over the coming weeks, the piece will start to disappear, or “melt” from the top down. (PHOTO BY LISA GREGOIRE) “Skidoo on Canoe,” by Cape Dorset’s Tim Pitsiulak, illustrates the three essential modes of travel in the North, a mixture of traditional and modern technology. (PHOTO BY LISA GREGOIRE) OTTAWA — Micheline Laflamme is standing outside the National Gallery of Canada in Ottawa on a hot, sunny July morning and, above the hum of traffic noise on Sussex Drive and St. Patrick Street, you can hear the unmistakable sound of ice cracking and water dripping. She stares up at the gallery’s Great Hall, the 40-metre-high, glassed-in pyramid whose angled peaks give the gallery its signature profile in the downtown Ottawa skyline. But the hall has been replaced by a massive “iceberg,” constructed by Greenland artist Inuk Silis Høegh. Iluliaq, which means “iceberg” in Greenlandic Inuktitut, is the name Høegh gave to the huge installation which features a composite of iceberg photographs, taken by his father, renowned photographer Ivars Silis, reprinted as a collage on huge PVC-coated panels which completely obscure the hall. “I’ve seen it from afar but this is the first time I’ve seen it up close,” says Laflamme. “For me, it brings a little bit of the North here. I’ve never seen the real thing but it evokes the vastness of those landscapes of the North. Even though it’s in the middle of the city, it brings you somewhere else.” The iceberg, which is made up of 56 panels connected together to cover a surface area of roughly 4,645 square metres, was commissioned by the gallery after the exhibition’s co-curator, Christine Lalonde, saw a similar work by Høegh at the United Nations Climate Change Conference (COP15) in Copenhagen in 2009. The timing couldn’t have been better because the glass in the Great Hall is being replaced this summer so instead of visitors seeing an array of scaffolding, they can instead enjoy a marvellous piece of art. But like the polar ice cap, Iluliaq is disappearing. As the glass panels are replaced, parts of the iceberg will be removed so that in the coming weeks, the iceberg will slowly “melt” away. Iluliaq is part of the Gallery’s latest exhibition Sakahán: International Indigenous Art, which runs until the beginning of September. Sakahán, which means “to light (a fire)” in the language of the Algonquin peoples, brings together more than 150 recent works by more than 80 indigenous artists from 16 countries. Nunavut artists figure prominently in the exhibition including Tim Pitsiulak, William Noah, Jamasee Padluq Pitseolak, Jutai Toonoo, Shuvinai Ashoona, Itee Pootoogook, Annie Pootoogook and Arnait Video Productions. The first thing you see, in fact, when you walk the long hallway toward the Great Hall is another enormous work, this one by Shuvenai Ashoona and collaborator John Noestheden, a Dutch Canadian from Saskatchewan. Earth and Sky, a 50-metre long polyester banner which hangs overhead in the Gallery’s colonnade, contains earth-bound shapes—berries, duck eggs, plants, hills and rocks—which eventually make way for planets, comets and other celestial bodies. In a sense, the work captures one of the exhibition’s major themes: the continuum between physical and spiritual, past and present. Lalonde says contemporary indigenous artists often don’t acknowledge the barriers between those concepts. “There is a continuum. Contemporary times don’t start at a specific point. History doesn’t end a certain point. We are affected by the past, history can still teach us lessons. There’s no rejection of anything. Contemporary indigenous artists embrace it all instead.” “History used to be told from a limited perspective but aboriginal artists have been telling multiple narratives to counter that. So now we have multiple narratives.” Lalonde, whose expertise is in Inuit art, says she was thrilled to see so many Inuit artists included alongside their counterparts in Mexico, Japan, Australia, Hawaii, Norway and beyond. Padluq Pitseolak’s 2011 serpentine sculpture Handcuffs is a wonderful example of traditional Inuit carving style but with a modern message. It features two open hands chained together, a key present but out of reach—hands that are free, yet not. Annie Pootoogook has two pieces in the exhibition which have proven popular with Inuit visitors and others alike. One is a drawing she made in 2005 called Cape Dorset Freezer which she made after the new co-op opened. In it, Inuit in traditional and modern dress stroll past a frozen food freezer with shopping carts surveying pizzas, pogos, chicken wings and concentrated orange juice. Lalonde says southerners still find it quaint and amusing that Inuit have the same kinds of prepared foods that they do. And while Pootoogook used the work to challenge her ability to capture detail and draw reflections on glass, the piece now speaks to modern debates around food security in the North and access to affordable healthy food. Detail from “Cape Dorset Freezer,” a 2005 drawing by Nunavut artist Annie Pootoogook featured in the National Gallery of Canada’s exhibition of international indigenous art called Sakahán. (PHOTO BY LISA GREGOIRE) Use this form to request a PDF of Nunatsiaq News to be sent to you every week on Friday. Δdocument.getElementById( "ak_js_1" ).setAttribute( "value", ( new Date() ).getTime() ); He thought this day was going to be like any other with a nice picnic and a big nap in his comfortable deckchair But everything is turned upside down by a gust of wind and a packet of potato chips stuck in a huge tree Grocroc pulls out the big artillery: a shrinking machine And that's when No-No accidentally passes through the shrinking laser beam and becomes as tiny as an ant FilmetsSpain Montreal Festival du Nouveau CinémaCanada Annecy International Animation Film FestivalFrance Volume 12 - 2021 | https://doi.org/10.3389/fpsyg.2021.659562 This article is part of the Research TopicUsing Technology to Combat Diseases and Help People with DisabilitiesView all 12 articles although no studies have yet been published to systematically study its psychometric properties the purpose of this study was to evaluate measurement properties of the Spanish version of PIADS scale by means of a dataset obtained from its application to a large sample (n = 417) of people with neuromuscular or hearing disabilities that used different assistive devices The results will provide valuable indicators about the measurement quality of the Spanish PIADS scale and will help to promote the use of reliable and valid AT outcome assessment tools for research and clinical purposes the challenges to improve access to assistive technologies are varied and involve government Standards and norms must also be created to ensure the effectiveness and safety of assistive devices as well as to improve manufacturing and distribution processes Two Spanish PIADS versions are available: one for Puerto Rican-Spanish (Orellano and Jutai, 2013; Orellano-Colón et al., 2016) and the other for Spain-Spanish (Quinteiro, 2010) no studies have yet been published to systematically explore the psychometric properties of the Spain-Spanish PIADS version Bearing in mind that construct validity and reliability are critical aspects in order to ensure a good adaptation of an assessment instrument this work aims to study the psychometric properties of the Spanish-PIADS from its application to a large sample of people with neuromuscular the objectives of the research were to analyze the internal consistency and the factorial structure (confirmatory factor analysis) of the Spanish-PIADS Socio-demographic characteristics of the sample by the type of disability The Spanish version of the PIADS scale adapted by Quinteiro (2010) was used in this study The adaptation followed the instructions provided by the authors of the original instrument and roughly consisted of translating and adapting to Spanish the original questionnaire a backward translation into English was carried out which was reviewed and approved by the authors of the original scale The application of the PIADS scale was carried out through different methods including interviews by experienced occupational therapists (85.9%) and a self-administered webform version of the scale (9.1%) The administration procedure of the PIADS scale consisted of showing a list of words or short phrases describing how the use of an assistive device may affect a person (e.g. the participants rated the extent to which they were affected ranging from −3 (maximum negative impact) to +3 (maximum positive impact) with a 0 midpoint indicating no impact or no perceived change as a result of using the assistive device if the participant asked for a definition for a PIADS item the experimenter gave the explanation for the item taken from the PIADS glossary Confirmatory factor analysis (CFA) was performed and the following several indices and cutoffs criteria were used to analyze the goodness of the data fit by the different models: comparative fit index (CFI ≥ 0.90) as incremental fit indices and standardized root mean square residual (SRMR <0.08) and root mean squared error of approximation (RMSEA <0.05) as baseline fit indices Two information criteria (the AIC and the BIC) were also computed Descriptive results showed (Table 2) that the psychosocial impact of assistive devices perceived by the participants was mainly positive with positive mean scores for the three subscales A mixed analysis of variance (ANOVA) with one within-subjects factor with three levels (psychosocial impact and self-esteem) and one between-subjects factor (disability group: hearing or neurological disability) showed a significant main effect of psychosocial impact [F(1.80 745.5) = 68.70; p < 0.001; η2-p = 0.14] as well as a significant interaction psychosocial impact x disability [F(3.60 745.5) = 9.49; p < 0.001; η2-p = 0.04] Post-hoc (Bonferroni corrected) comparisons showed significant greater scores for competence than for adaptability [t(828) = −5.97; p < 0.001; d = – 0.31 – 0.21)] and self-esteem [t(828) = 5.75; p < 0.001; d = 0.24 and also greater adaptability than self-esteem [t(828) = 11.72; p < 0.001; d = 0.43 no differences were observed as a function of disability group significant greater scores were found for the group of hearing disabilities in comparison to neuromuscular [t(546) = 3.25; p < 0.001; d = 0.45 0.72)] or neurological groups [t(546) = 4.93; p < 0.001; d = 0.65 maximum scores in each subscale of the Spanish (Spain) Psychosocial Impact of Assistive Device Scale by the disability group no published studies have assessed the factorial structure of PIADS against the proposed three-factor model that has been extensively used to interpret PIADS scale applications we used confirmatory factor analysis (CFA) models to compare the proposed original factorial structure solution (three correlated factors: competence with different competing models that could also explain the PIADS factorial structure: a single-factor model for testing the key assumption of unidimensionality; a three-uncorrelated-factor model with the same structure as the original (competence which incorporates a superordinate global psychosocial impact factor mediated by a series of subordinates factors (competence including a general factor that loads directly onto all items and three grouping factors (competence which load onto specific items for those subscales for testing orthogonality of the factors with a general factor which assesses the overall fit and the discrepancy between the sample and fitted covariance matrices resulted in rejecting the null hypothesis of the perfect model fit for all models Confirmatory factor analysis (CFA) model fit summary In relation to the models that included all the items of the original scale (models A–E) the measures of the model fit showed the best results for the three-correlated-factor model (model A) and the single-factor model (model B) with measures denoting almost acceptable (CFI very close to 0.90) acceptable (SRMR <0.08) and a good fit (RMSEA ≤ 0.05) all the measures showed a good fit to both the single-factor and the three-correlated-factor models (CFI ≥ 0.90; SRMR < 0.05; RMSEA < = 0.05) denoting a potential problem with the differential response format of these three items The average variance extracted (AVE) for the F model showed values >0.5 for all PIADS subscales (competence = 0.55; adaptability = 0.54; self-esteem = 0.60) Figure 1. Confirmatory Factor Analysis (CFA) of PIADS Scale with no reversed items. Fit indexes (see Table 3) showed the best results for this two models both Cronbach's Alpha and McDonald's Omega showed excellent internal consistency for the whole scale and the competence subscale and good for adaptability and self-esteem subscales When those indexes were also calculated for the model with no reversed items an increment in both Cronbach's alpha and McDonald's omega was verified for the competence (α = 0.93; ω = 0.93) and self-esteem (α = 0.90; ω = 0.90) factors Ordinal Cronbach's alpha and McDonald's omega (with bootstrap confidence intervals) scores in each subscale of the Spanish (Spain) Psychosocial Impact of Assistive Device Scale The present research aimed to obtain psychometric evidence for the use of the PIADS scale in Spain The need for standardized methods for the follow-up of individual interventions with AT especially through outcome measures that show good metric properties motivated the exploration of the factorial structure and internal consistency of the Spanish PIADS scale based on data from its application to a large sample of participants accounting for 61.1% of the total variance But this is the first time that Confirmatory Factor Analysis has been used to test both the validity and the reliability of the PIADS scale we have compared the factorial structure of the original PIADS scale (three correlated factors) with other possible alternative structures The results have shown acceptable fit measures for both a single factor and three correlated factors although slightly favoring the latter but showed worst results for other common factorial structures as the higher-order model or the bifactor model Second, reliability analysis based on the three-factor structure showed that PIADS has a very good internal consistency, confirming the results of many other studies adapting PIADS to other languages (e.g., Chae and Jo, 2014; Tofani et al., 2020), although showing worst results for the self-esteem subscale as has also been verified in other adaptation studies (e.g., Demers et al., 2002; Hsieh and Lenker, 2006) Although there is no agreement in the literature regarding the use of reversed items our results could suggest to change the direction of the reversed items or to include more reversed items to maintain the equivalent proportion of positive and negative items in each subscale significant differences were verified in the dimension of self-esteem as a function of a disability group finding better values for the participants with hearing impairment compared with the participants with neurological or neuromuscular disabilities in particular the use of samples of the participants chosen by convenience sampling procedures and the small sample size of some disability groups and the limited disability profiles considered With random sampling and a higher and more balanced sample size across disability groups it would be possible to study the PIADS subscale's measurement invariance which plays a crucial role in the interpretation of test scores appropriately for individuals from different populations or cultures It would also have been of interest to administer other measures to the entire sample (e.g. quality of life) in order to analyze the convergent validity of the PIADS as well as following-up participants to determine the predictive validity of each factor on the possible future abandonment of the assistive devices These limitations point to future research lines can contribute significantly to better inform the usefulness of the technology-based or supported interventions and thus to improve the quality of life of Spanish-speaking people with disabilities The data analyzed in this study is subject to the following licenses/restrictions: The raw data supporting the conclusions of this article will be made available by the authors, on reasonable requests. 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Available online at: http://www.who.int/disabilities/technology/gate/en/ (accessed August 04 Google Scholar Jiménez-Arberas E and Pousada T (2021) Psychometric Properties of the Spanish Version of Psychosocial Impact of Assistive Devices Scale in a Large Sample of People With Neuromuscular Received: 27 January 2021; Accepted: 11 May 2021; Published: 10 June 2021 Copyright © 2021 Díez, Jiménez-Arberas and Pousada. This is an open-access article distributed under the terms of the Creative Commons Attribution License (CC BY) *Correspondence: Estíbaliz Jiménez-Arberas, ZXN0aWJhbGl6QGZhY3VsdGFkcGFkcmVvc3NvLmVz Tyra Jutai is a singer-songwriter and producer from Toronto, Canada. Not too long ago, she released an indie-R&B tune, entitled, “New Shoes” “‘New Shoes’ is about the pressures of living a big-city life It’s about social climbing and living a double life you’re a glamorous nightlife socialite that everyone begs for an introduction It’s about working your fingers to the bone and then going out on the town where you have to act like you never lift a well-manicured finger.” – Tyra Jutai stated ‘New Shoes’ contains a relatable narrative the fascinating tune possesses vibrant instrumentation flavored with indie-R&B and neo-soul elements “New Shoes” serves as a wonderful presentation of what listeners can expect to hear from Tyra Jutai in the near future as she continues her claim to modern-day fame “‘New Shoes’ is about ‘faking it ‘til you make it’ it’s about dealing with the consequences of surrounding yourself with people who are unfamiliar with your struggle because you refuse to let them see it The lyrics and melody were written over the course of a few years to two different cities: Montreal and Toronto the rest of the story found a way of telling itself in song.” – Tyra Jutai stated ‘New Shoes’ follows hot on the heels of Tyra Jutai previously released singles including “Nudes” and “Still Good” All three tunes will be featured on Jutai’s forthcoming debut EP It’s all a stunt to make you jealous.” – lyrics We recommend adding Tyra Jutai’s “New Shoes” single to your personal playlist 2014This article was published more than 10 years ago The National Gallery of Canada in Ottawa unveiled its third biennial of Canadian contemporary art this week it includes a selection of acquisitions made by the NGC over the past two years in the areas of contemporary a chance to kick the tires: Just what have these curators been up to in the nation’s capitol The show revisits some key moments from the past 24 months such as Shary Boyle’s mise en scene The Cave Painter and staged here with a new proscenium following its vernissage at the 2013 Venice Biennial unconfined by the Canadian Pavilion’s eccentric spaces in Venice.) We can also revisit Geoffrey Farmer’s ambitious sculptural installation Leaves of Grass expanded and extended from its original display at dOCUMENTA (13) in Kassel (The piece now incorporates 20,000 paper cutouts into a diorama of 20th-century history A few mid-career artists took their places here with assurance such as Toronto’s An Te Liu (a handsome suite of plaster and earthenware modernist-seeming sculptures made from casts of industrial packing materials) and Vancouver’s Damian Moppett underserved with just one painting of his studio (He’s one of the strongest painters in Canada today though his reputation as a sculptor still tends to dominate public perception.) The art of Canada’s indigenous peoples continues to be central to the gallery’s acquisitions plan This show is strong in art from the Far North with the NGC continuing to make consistently fine purchases of works by Cape Dorset artists Shuvinai Ashoona of the work of Salish artist Lawrence Paul Yuxweluptun but can refresh their memories here with a number of works donated by Vancouver collectors Jack and Maryon Adelaar They are exhibited alongside the NGC’s recent painting acquisition Red Man Watching White Man Trying to Fix Hole in the Sky (1990) the artist’s early reflection on global warming the ensemble offers a kind of capsule retrospective And a painting fresh from the studio of 86-year-old Abenaki Quebecoise artist Rita Letendre a fiery fury of strokes edging a black void is the strength of some of the fresh voices the curators have brought to the national stage This Afro-Canadian artist is based in Chicago and the suite of works presented in Shine a Light draws our attention to the editorial offices of Johnson Publishing Co a building designed in 1971 by Afro-American architect John Moutoussamy creating an incisive portrait of an aspirational moment in time One photograph shows a test kitchen with orange “Afrofunk” wallpaper Another shows a lobby overseen by a hand-hewn wooden African sculpture of a standing figure sharing space with some filing cabinets and a modernist clock with animal skin wall coverings and peacock wallpaper married to modern The work speaks of a charged moment in American history that is oddly frozen in time (we see Jack Kennedy and Martin Luther King communing in one picture on an office wall) The work of Vancouver artist Luke Parnell will be a striking discovery for many in particular his A Brief History of Northwest Coast Design It’s a suite of vertical painted wooden planks bearing the rust-and-black form-line designs of traditional Northwest coast art (The effect is as if one large panel had been cut into segments.) Concisely the series suggests the developmental story of aboriginal culture in B.C as it moves into and then out of the colonial crisis distressed planks give way to a central trio of boards subjected to whitewashing before the sequence concludes with the final three This sculpture (or is it a painting?) tells a tale of resurgence Canadian filmmaker Norman McLaren made the classic experimental work Pas de Deux in which stop motion effects a la Muybridge transformed a couple’s dance into a feathery flight a Vancouver-born artist who now lives in Berlin has revisited this classic in his new 16-mm film Variation FQ featuring a solo performance by voguing artist Leiomy Maldonado Captured in this work at the conclusion of her transformation from man to woman her movements suggesting a fearless bid for freedom punctuated by heavy falls and dives and puts it through his own McLaren-like paces transforming her by turns into a leaping flame There’s a recklessness to Maldonado’s performance that is mesmerizing as both performer and filmmaker stretch to describe a new kind of gender space I thought they were made of felted wool – so much did they seem like soft (Liz Magor’s 1979 work Four Boys and a Girl came to mind.) It turns out that being carved out of Cape Breton marble – another material made from compression Several things came to mind: the hummock of a body wrapped in carpet oddly menacing; the shape of a seal on a rock; the female body That imprecision is the wonderful thing about them Early 1990s art magazines described Inuit stone carver Ovilu Tunnillie as “avant garde” and “a woman to watch.” In a male-dominated industry she pushed limits sculpting images that challenged southern buyers’ sensibilities While traditional dancing bears and hunters dressed in parkas turned gallery-goers’ heads Tunnillie took a gamble and worked from a more personal point of view treating controversial subjects that others avoided – like alcoholism and domestic abuse Quietly and successfully she challenged tradition and brought a new kind of feminist expression to ignored northern realities It was around 1994 that she carved a sculpture of a reclining woman one hand to her forehead and the other covering her genitals intending it to depict a woman who had just been raped Gallery personnel organizing her show labelled it simply as “Nude” perhaps concerned about the impact her original intention would have on viewers “She made a huge contribution to the women up here,” said her brother “She was a strong person and I think people looked up to her for doing what she did in art.” Toonoo recalled his older sister caring for him as a youngster “Something happened when she was in the hospital for tuberculosis when she was little The government’s practice of removing children who had tuberculosis from their families to languish in southern hospitals had a profound effect on northerners writes Robert Kardosh in the Inuit Art Quarterly the only cure was rest in various white sanatoria Tunnillie spent a year in a Manitoba institution was heartbroken to be sent to a Brandon sanatorium for an additional two years In a 2008 telephone conversation with Kardosh whose Vancouver Marion Scott Gallery features Tunnillie’s work the artist reflected on the difficult re-entry she had to northern life “I had a hard time adjusting (to my parents’ camp) because apparently I had adopted too much of the southern culture and I had lost some of my Inuktitut.” The alienation that informs much of her work can be traced back to this experience In a sculpture called “This Has Touched My Life” Tunnillie shows herself as a small girl standing with three huge adult figures – a man wearing a suit and two women with big handbags Masterful in her ability to convey strong emotions the sculpture exudes loneliness’ and separation The oldest of three children who survived to adulthood one of several small camps lining the south coast of Baffin Island near Cape Dorset helped establish a viable northern arts industry became a respected carver in the early 1960s and her mother participated in Cape Dorset’s graphics program “I watched my father carve,” Tunnillie reports in a video on the Inuit Art Alive website “My first carving was a woman with an amautik (large-hooded parka) but it didn’t have any legs.” Only 17 and extremely shy at the time of her first foray into art Tunnillie was soon selling her sculptures to buy things like canvas material for sewing tents “I was so happy to get things I wanted when I got paid,” she told Kardosh After the birth of her first child she began carving regularly and the couple eventually moved to Cape Dorset to be close to the artist-run co-op She eventually had six children and needed to support her growing family with her art his sister “basically did what the men were doing She thought women should be just as able as the men I think she got that from my mother who raised a whole family by herself after our father died.” so I had a hard time getting accustomed to doing my carvings outdoors especially during the eight months when we have snow,” she told Kardosh set her in a position to confront longstanding gender stereotypes and she continued to break through these constraints throughout her career Her star rose in the 1980s as she became one of the first Inuit artists to create autobiographical works she also became famous for rendering bold female nudes in stone and her version of Sedna (the oft-depicted legendary Inuit sea goddess) had jutting breasts and unmistakable sensuality She made magnificent sculptures of a football player and a woman wearing high-heeled shoes – indicating southern influences – and didn’t shy away from using new materials sometimes expressing her ideas in quartz crystal and white marble with one even brandishing a fat wallet in a playful gesture the women she carved reflected her own personal history of grief and suffering and Among the numerous carvings she sculpted over the years is an angry woman with fists on her hips a tired woman resting her head on a pillow and one who holds her hand to her forehead and her belly entitled “Surprise Pregnancy.” Tunnillie was the solo artist – or was featured in – no less than 46 exhibitions and is considered to be the most accomplished female carver of her generation but continued to carve until she passed away on June 12 News  Jan 27 Capital idea: It doesn’t get more Ottawa than lacing up the skates in January and hitting the frozen canal which is exactly what a handful of second-year students from Nunavut Sivuniksavut did Jan and everyone enjoyed the capital’s most popular homegrown pastry — the beavertail Nicole Hachey (Baker Lake) and Vanessa Aglukkak (Gjoa Haven) See the NS Facebook page for more photos from the day’s event Use this form to request a PDF of Nunatsiaq News to be sent to you every week on Friday Δdocument.getElementById( "ak_js_1" ).setAttribute( "value" watercolour on mitsumata 45-50 gm rice paper In addition to an active exhibition schedule and collectors of all levels acquire the artwork they desire Established in 1998 in Waterton Lakes National Park co-founders Tom Willock and Susan-Sax Willock relocated their gallery to Banff National Park The gallery offers a well-curated selection of work in different media and genres by a strong roster of emerging and established Western Canadian artists They are also the primary representative for several estates contemporary artists like Peter von Tiesenhausen Along with an interesting selection of Cape Dorset sculpture and drawings from such artists as Toonoo Sharky Kavavaow Mannomee and other senior and mid-career artists Artist hand-coats photo paper with platinum Allan Harding MacKay’s take on landscape is contemporary; it feels intimate "Directions of His Own" pays tribute to the late John Chalke and his contributions as an artist and educator who taught at the University of Alberta in Edmonton was renowned for his understanding of glazes Landscape and wildlife painter Dwayne Harty will have dual shows in Banff this summer both highlighting work he’s done over the past three years as part of the Yellowstone to Yukon Conservation Intitiative Robert Sinclair hails from a generation of artists who Spanning a dozen years of Peter von Tiesenhausen’s work not so much in an aural sense but with a reverberation between many of the works on display Chalke first became interested in ceramics in the early ’60s in his native England after he saw an old coal kiln being fired for the last time Natural historian and photographer Tom Willock captures mountain peaks and flora of Southern Alberta particularly of the Waterton area in which he now resides You are supporting the arts and making a lasting impact by donating to Galleries West Whether you choose a monthly contribution or a one-time gift your support helps us spotlight emerging talent and sustain the vibrant creative community across Western Canada we can ensure that our open-access site continues to thrive and inspire for generations to come Information reaching Kossyderrickent has it that Brazilian pedophile burnt alive after he raped a 1 year and 7 month old child in municipality of Jutaí the population invaded the 56th Police Station on the night of Thursday 19th seeking justice for the rape and murder of a 1 year and 7 month old child whose body was thrown into the river.The man was dragged from the police unit and lynched in the street by the angry mob as the man’s body lay bloodied on the ground some beat him with sticks before dousing him with gasoline and setting him alight all amid cries of outrage.Although the police tried to protect the man their numbers were insufficient against the angry mob that took justice into its own hands.Details about the kidnapping rape and murder of the minor are still lacking but the Interior Police Directorate (DPI) is expected to provide more information in the coming hours VIDEO HERE Subscribe to get the latest posts sent to your email and website in this browser for the next time I comment Subscribe now to keep reading and get access to the full archive Jujutsu Kaisen has had a total of 47 episodes up until now since its anime release Jujutsu Kaisen is an anime/manga series created by Gege Akutami and its first official anime debut was on October 3 2020 and the latest was aired on December 28 The anime version of the series was produced by MAPPA and the direction was led by Sunghoo Park The story begins with the boy named Yuji Itadori a student who allied with a discreet organization of Jujutsu sorcerers who gather together to fight against the powerful curse of Ryomen Sukuna Yuji becomes the curse’s host after accidentally consuming one of Sukuna’s fingers Viewers can watch the Jujutsu Kaisen anime adaptation on the following platforms: there are 47 episodes of Jujutsu Kaisen.  Jujutsu Kaisen is streaming on different online platforms Jujutsu Kaisen 0 is a movie but it is set on a timeline prior to that of the main series.  The highly anticipated event for art enthusiasts will showcase modern and contemporary Philippine visual art again next year Set to run from February 16 to 18, Art Fair Philippines 2024 will still take place at The Link in Makati City The organizer shared a glimpse of what visual artworks can be expected for this year's edition on its social media pages These include collections from YSOBEL Art Gallery Art Fair Philippines has been a highlight for locals and foreigners alike offering an immersive experience that surpasses the typical gallery setting which combines some of the most innovative and captivating pieces from the Philippine art scene aims to mirror the vibrant local art scene and continues to generate support for Filipino art practitioners A post shared by Art Fair Philippines (@artfairph) the fair is committed to expanding the local audience for the visual arts making this accessible to enthusiasts and those who want to discover one of Southeast Asia's most exciting art landscapes— from thought-provoking installations to striking paintings and sculptures the fair's 2023 edition marked the first annual event to be held fully face-to-face since 2020 Although the highly anticipated event's return to a physical setup in its original venue was already enough to raise hype for its in-person comeback, the organizers decided to raise the stakes for their special 10th anniversary. It featured a "biophilic" design that gave its visitors a refreshed experience in exploring the exhibits A total of 63 local and international exhibitors participated in 2023 Other activities aside from usual exhibits are yet to be disclosed. You can visit the Art Fair Philippines' website for more updates Yoniel Acebuche is a journalist by profession and a beauty queen by passion She has constantly joined beauty pageants in different cities and fiestas across the Philippines ever since she was 15 Writing and pageantry are her empowering ways to connect to other people as well as to understand herself