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Anthony J. Costello - One of the best experts on this subject based on the ideXlab platform.
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“We Used a Validated Questionnaire”: What Does This Mean and Is It an Accurate Statement in Urologic Research?
Urology, 2015Co-Authors: Adam S. Dowrick, Addie Wootten, Declan G. Murphy, Anthony J. CostelloAbstract:Objective To educate a clinical audience of what the specific meaning of the term “validated questionnaire” means from a research methodology perspective when used in a journal article or a conference presentation. Methods To emphasize what is meant by the term “validated questionnaire,” we reviewed the most commonly used prostate-specific, patient-reported, outcome assessment instruments and discuss which have been appropriately validated for use in patients having surgery for localized prostate cancer. Results Not all the prostate-specific instruments used to assess outcomes after surgical treatment for localized prostate cancer have been validated for use in this population. In particular, the Sexual Health Inventory for Men and the International Prostate Symptom Score–American Urological Association-7, which are commonly used by clinicians to measure potency and urinary function, respectively, have not been validated for use in a population of patients having surgery for localized prostate cancer. Conclusion Although patient-reported outcome assessment instruments are frequently used in the urologic literature, little consideration has been given to ensure that users understand why a questionnaire must be validated and what the term “validated” actually means from a research methodology perspective when used in this context. Whether an instrument displays appropriate measurement properties is not a fixed attribute but is dependent on the context and population being studied. Studies using questionnaires that have not been validated in the population of interest may be subject to measurement error, and any conclusions drawn cannot be made with total confidence. Clinicians should consider this when reading journal articles and designing study protocols.
Adam S. Dowrick - One of the best experts on this subject based on the ideXlab platform.
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“We Used a Validated Questionnaire”: What Does This Mean and Is It an Accurate Statement in Urologic Research?
Urology, 2015Co-Authors: Adam S. Dowrick, Addie Wootten, Declan G. Murphy, Anthony J. CostelloAbstract:Objective To educate a clinical audience of what the specific meaning of the term “validated questionnaire” means from a research methodology perspective when used in a journal article or a conference presentation. Methods To emphasize what is meant by the term “validated questionnaire,” we reviewed the most commonly used prostate-specific, patient-reported, outcome assessment instruments and discuss which have been appropriately validated for use in patients having surgery for localized prostate cancer. Results Not all the prostate-specific instruments used to assess outcomes after surgical treatment for localized prostate cancer have been validated for use in this population. In particular, the Sexual Health Inventory for Men and the International Prostate Symptom Score–American Urological Association-7, which are commonly used by clinicians to measure potency and urinary function, respectively, have not been validated for use in a population of patients having surgery for localized prostate cancer. Conclusion Although patient-reported outcome assessment instruments are frequently used in the urologic literature, little consideration has been given to ensure that users understand why a questionnaire must be validated and what the term “validated” actually means from a research methodology perspective when used in this context. Whether an instrument displays appropriate measurement properties is not a fixed attribute but is dependent on the context and population being studied. Studies using questionnaires that have not been validated in the population of interest may be subject to measurement error, and any conclusions drawn cannot be made with total confidence. Clinicians should consider this when reading journal articles and designing study protocols.
Asensio-wandosell García Carlos - One of the best experts on this subject based on the ideXlab platform.
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La Arquitectura de la Hochschule für Gestaltung Ulm, de la Objetividad a la Revolución (Versión revisada y actualizada)
E.T.S. Arquitectura (UPM), 2016Co-Authors: Asensio-wandosell García CarlosAbstract:Esta tesis tiene como objeto demostrar (hipótesis) que el edificio de la Hochschule für Gestaltung de Ulm no es del arquitecto y artista suizo Max Bill, a pesar de serlo. Esta paradoja constituye una figura de pensamiento en la que hay una incompatibilidad aparente, que se resolverá en el desarrollo de la tesis con un análisis más profundo del que la enuncia. Max Bill no es el autor del edificio de la Hochschule für Gestaltung (HfG). El enunciado más preciso sería que Bill absorbe o deja pasar a través de sí el lenguaje de la Arquitectura, lenguaje que todavía no le pertenece y que aplica en Ulm en unas condiciones muy concretas. ¿Por qué “a pesar de serlo” porque a pesar de no ser arquitecto -o serlo como fueron los primeros Mies o Corbus-, introduce una concepción espacial que, como artista, ya le pertenecía. Max Bill va a pensar el espacio de la HfG como un espacio topológico, entendido como una estructura matemática que le permite la definición formal de conceptos como convergencia, conectividad, continuidad, vecindad. ¿por qué el edificio de Bill ha despertado y despierta interés en el mundo de la arquitectura? ¿Por qué se ha mitificado? En realidad lo que hace Max Bill es poner sobre la mesa temas revolucionarios como lo infinito finito (infinity finite) referido a un espacio no euclidiano sino topológico. El año 1949 publica Bill un texto con el título: “die mathematische denkweise in der kunst unserer zeit” dejando muy clara su posición intelectual. Para él los artistas llegaban al constructivismo, en un camino reduccionista necesario para relacionar el arte con la sociedad. Sin embargo, las matemáticas, en su avance, llegaban a un punto en que perdían claridad: los límites se hacían borrosos. La concepción matemática del arte de los cincuenta no es la matemática en un sentido estricto. Difícilmente servía ya lo que se entendía por matemática exacta. En la opinión de Bill, la geometría euclidiana conservaba solo una vigencia limitada para los hombres de ciencia del siglo XX, y por tanto, su importancia debía ser relativa para el arte. El principio de infinitud finita, se convertía en un recurso indispensable y vital para el pensamiento matemático y físico. Este es el pensamiento en el que estaba Bill cuando regresa en otoño del año 52 a su estudio en Zurich. Allí trabajará durante 7 meses, sin apenas contacto con el círculo de Ulm, con el que había desarrollado, en colaboración directa, todos los anteproyectos. El 5 de Mayo de 1953, después de más de medio año, se presentó la solicitud oficial para construir la escuela en Ulm. Esta contenía un plano de situación (1:500), así como diez planos del edificio (1:100). Faltaría por resolver algunas preguntas fundamentales para que surja el acontecimiento ¿por qué en Ulm? ¿por qué Max Bill? El origen de la escuela es el de una Alemania devastada física y moralmente tras finalizar la Segunda Guerra mundial. La elección de Ulm por los americanos y en particular por Shepard Stone, alto comisionado americano en la Alemania ocupada, se apoya en una estrategia ideológica y territorial: al sur, en Ulm, existía una fundación (Geschwister Sholl Stifftung) creada a partir del asesinato por los nazis de dos jóvenes pertenecientes a la resistencia interna al nacismo. Esta fundación y un grupo de intelectuales de Ulm (Ulmer Kreises) crearon una Volkhochschule o escuela para enseñar a gente mayor sin formación. Los americanos les proponen transformarla en una Hochschule (escuela universitaria), dentro de su política reeducativa antinazi. Los americanos no querían un rector para esta nueva escuela que pudiera tener la mas mínima relación con el nacismo. Por una serie circunstancias que se detallan en la tesis aparece Max Bill en la escena. Suizo y artista con reconocimiento internacional. El edificio de Max Bill se proyecta y se construye en medio de todo esto, convirtiéndose poco a poco en el elemento cristalizador de una revolución hacia una sociedad más justa, igualitaria y en paz. Ni arte calculado ni arte geométrico la tesis intenta transformar una objetividad en un razonamiento que de luz sobre una forma de concebir el espacio arquitectónico absolutamente nueva, que hoy en día reconocemos en algunos de los edificios más paradigmáticos de la contemporaneidad. Mas que la obra de un creador, es la representación de un pensamiento colectivo, en el que el arquitecto actúa casi como médium de una colectividad. ABSTRACT This thesis aims to demonstrate (hypothesis) that the building of the Hochschule für Gestaltung in Ulm is of the swiss architect and artist Max Bill, despite so. This paradox is a figure of thought in which there is an apparent incompatibility, which will be resolved in the development of the thesis with a deeper analysis of the states. Max Bill is not the author of the building of the Hochschule für Gestaltung (HfG). The most Accurate Statement would be that Bill absorbed or allowed to pass through himself the language of architecture, language that does not belong to him and that applies in Ulm in very specific conditions. Why “in spite of being” because despite not being –or to be architect like the first Mies or Corbu were - introduces a spatial conception, as an artist, already he belonged. Max Bill will think the HfG space as a topological space, understood it as a mathematical structure that allows the formal definition of concepts such as convergence, connectivity, sustainability, neighbourhood. Why has the Max Bill building attracted and arouse interest in the world of architecture? Why has it been mythologized? Actually what Max Bill makes is put on the table revolutionary themes like the infinite-finite referred to a non-Euclidean but topological space. In 1949 Bill published a text entitled: “Die Kunst der mathematische Denkweise in unserer Zeit” leaving very clear his intellectual position. For him the artists came to constructivism, in a needed reducionist way in order to link art with society. However, mathematics, in their advance got to a point where they lost clearly, the boundaries became blurred. The mathematical conception of art of the fifties is not in a strict mathematical sense. Hardly it served what was meant by exact mathematics. In the opinion of Bill, the Euclidean geometry retained only a limited effect for the scientists of the twentieth century, and therefore, its importance should be relative to the art. The principle of finite infinity, became an indispensable and vital resource for mathematical and physical thinking. This is the thought site in where Bill was when he returns in the fall of 1952 to his study in Zurich. There he worked for seven months, with little contact with the circle of Ulm, with whom he had developed, in close collaboration, all drafts. On May 5, 1953, after more than half a year, the official request was made to build the school in Ulm. This contained a location map (1: 500), as well as ten building plans (1: 100). It would fail to solve some fundamental questions in order to rise the event up, why in Ulm? Why Max Bill? The origin of the school is from a physically and morally devastated Germany after the end of World War II. The choice of Ulm by the Americans and in particular by Shepard Stone, American high commissioner in occupied Germany, is based on an ideological and territorial strategy: to the south, in Ulm, there was a foundation (Geschwister-Sholl-Stifftung) created from the murders of two young people, who belonged to the internal resistance to Nazism, by the Nazis. This foundation and a group of intellectuals from Ulm (Ulmer Kreis) created a Volkshochschule or a school to teach elderly people without training. The Americans propose them to transform it into a Hochschule (College), within their anti-Nazi re-educational politic. The Americans did not want a dean for this new school that could have the minimal connection with Nazism. Due to variety circumstances detailed in the thesis Max Bill appeared on the scene. He was Swiss and an internationally recognized artist. Max Bill designed and built the new building in the middle of this circunstances, turning it slowly in the crystallizer element of a revolution towards a more just, equitable and peaceful society. Neither calculated art nor geometric art the thesis attempts to transform an objectivity in a reasoning that lights on a way of conceiving the absolutely new architectural space, that today we recognize in some of the most paradigmatic of contemporary buildings. More than the work of a creator, is the representation of a collective thought, where the architect acts almost as a medium of a community
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La Arquitectura de la Hochschule für Gestaltung Ulm, de la Objetividad a la Revolución
'Universidad Politecnica de Madrid - University Library', 2016Co-Authors: Asensio-wandosell García CarlosAbstract:Esta tesis tiene como objeto demostrar (hipótesis) que el edificio de la Hochschule für Gestaltung de Ulm no es del arquitecto y artista suizo Max Bill, a pesar de serlo. Esta paradoja constituye una figura de pensamiento en la que hay una incompatibilidad aparente, que se resolverá en el desarrollo de la tesis con un análisis más profundo del que la enuncia. Max Bill no es el autor del edificio de la Hochschule für Gestaltung (HfG). El enunciado más preciso sería que Bill absorbe o deja pasar a través de sí el lenguaje de la Arquitectura, lenguaje que todavía no le pertenece y que aplica en Ulm en unas condiciones muy concretas. ¿Por qué “a pesar de serlo” porque a pesar de no ser arquitecto -o serlo como fueron los primeros Mies o Corbus-, introduce una concepción espacial que, como artista, ya le pertenecía. Max Bill va a pensar el espacio de la HfG como un espacio topológico, entendido como una estructura matemática que le permite la definición formal de conceptos como convergencia, conectividad, continuidad, vecindad. ¿por qué el edificio de Bill ha despertado y despierta interés en el mundo de la arquitectura? ¿Por qué se ha mitificado? En realidad lo que hace Max Bill es poner sobre la mesa temas revolucionarios como lo infinito finito (infinity finite) referido a un espacio no euclidiano sino topológico. El año 1949 publica Bill un texto con el título: “die mathematische denkweise in der kunst unserer zeit” dejando muy clara su posición intelectual. Para él los artistas llegaban al constructivismo, en un camino reduccionista necesario para relacionar el arte con la sociedad. Sin embargo, las matemáticas, en su avance, llegaban a un punto en que perdían claridad: los límites se hacían borrosos. La concepción matemática del arte de los cincuenta no es la matemática en un sentido estricto. Difícilmente servía ya lo que se entendía por matemática exacta. En la opinión de Bill, la geometría euclidiana conservaba solo una vigencia limitada para los hombres de ciencia del siglo XX, y por tanto, su importancia debía ser relativa para el arte. El principio de infinitud finita, se convertía en un recurso indispensable y vital para el pensamiento matemático y físico. Este es el pensamiento en el que estaba Bill cuando regresa en otoño del año 52 a su estudio en Zurich. Allí trabajará durante 7 meses, sin apenas contacto con el círculo de Ulm, con el que había desarrollado, en colaboración directa, todos los anteproyectos. El 5 de Mayo de 1953, después de más de medio año, se presentó la solicitud oficial para construir la escuela en Ulm. Esta contenía un plano de situación (1:500), así como diez planos del edificio (1:100). Faltaría por resolver algunas preguntas fundamentales para que surja el acontecimiento ¿por qué en Ulm? ¿por qué Max Bill? El origen de la escuela es el de una Alemania devastada física y moralmente tras finalizar la Segunda Guerra mundial. La elección de Ulm por los americanos y en particular por Shepard Stone, alto comisionado americano en la Alemania ocupada, se apoya en una estrategia ideológica y territorial: al sur, en Ulm, existía una fundación (Geschwister Sholl Stifftung) creada a partir del asesinato por los nazis de dos jóvenes pertenecientes a la resistencia interna al nacismo. Esta fundación y un grupo de intelectuales de Ulm (Ulmer Kreises) crearon una Volkhochschule o escuela para enseñar a gente mayor sin formación. Los americanos les proponen transformarla en una Hochschule (escuela universitaria), dentro de su política reeducativa antinazi. Los americanos no querían un rector para esta nueva escuela que pudiera tener la mas mínima relación con el nacismo. Por una serie circunstancias que se detallan en la tesis aparece Max Bill en la escena. Suizo y artista con reconocimiento internacional. El edificio de Max Bill se proyecta y se construye en medio de todo esto, convirtiéndose poco a poco en el elemento cristalizador de una revolución hacia una sociedad más justa, igualitaria y en paz. Ni arte calculado ni arte geométrico la tesis intenta transformar una objetividad en un razonamiento que de luz sobre una forma de concebir el espacio arquitectónico absolutamente nueva, que hoy en día reconocemos en algunos de los edificios más paradigmáticos de la contemporaneidad. Mas que la obra de un creador, es la representación de un pensamiento colectivo, en el que el arquitecto actúa casi como médium de una colectividad. ABSTRACT This thesis aims to demonstrate (hypothesis) that the building of the Hochschule für Gestaltung in Ulm is of the swiss architect and artist Max Bill, despite so. This paradox is a figure of thought in which there is an apparent incompatibility, which will be resolved in the development of the thesis with a deeper analysis of the states. Max Bill is not the author of the building of the Hochschule für Gestaltung (HfG). The most Accurate Statement would be that Bill absorbed or allowed to pass through himself the language of architecture, language that does not belong to him and that applies in Ulm in very specific conditions. Why “in spite of being” because despite not being –or to be architect like the first Mies or Corbu were - introduces a spatial conception, as an artist, already he belonged. Max Bill will think the HfG space as a topological space, understood it as a mathematical structure that allows the formal definition of concepts such as convergence, connectivity, sustainability, neighbourhood. Why has the Max Bill building attracted and arouse interest in the world of architecture? Why has it been mythologized? Actually what Max Bill makes is put on the table revolutionary themes like the infinite-finite referred to a non-Euclidean but topological space. In 1949 Bill published a text entitled: “Die Kunst der mathematische Denkweise in unserer Zeit” leaving very clear his intellectual position. For him the artists came to constructivism, in a needed reducionist way in order to link art with society. However, mathematics, in their advance got to a point where they lost clearly, the boundaries became blurred. The mathematical conception of art of the fifties is not in a strict mathematical sense. Hardly it served what was meant by exact mathematics. In the opinion of Bill, the Euclidean geometry retained only a limited effect for the scientists of the twentieth century, and therefore, its importance should be relative to the art. The principle of finite infinity, became an indispensable and vital resource for mathematical and physical thinking. This is the thought site in where Bill was when he returns in the fall of 1952 to his study in Zurich. There he worked for seven months, with little contact with the circle of Ulm, with whom he had developed, in close collaboration, all drafts. On May 5, 1953, after more than half a year, the official request was made to build the school in Ulm. This contained a location map (1: 500), as well as ten building plans (1: 100). It would fail to solve some fundamental questions in order to rise the event up, why in Ulm? Why Max Bill? The origin of the school is from a physically and morally devastated Germany after the end of World War II. The choice of Ulm by the Americans and in particular by Shepard Stone, American high commissioner in occupied Germany, is based on an ideological and territorial strategy: to the south, in Ulm, there was a foundation (Geschwister-Sholl-Stifftung) created from the murders of two young people, who belonged to the internal resistance to Nazism, by the Nazis. This foundation and a group of intellectuals from Ulm (Ulmer Kreis) created a Volkshochschule or a school to teach elderly people without training. The Americans propose them to transform it into a Hochschule (College), within their anti-Nazi re-educational politic. The Americans did not want a dean for this new school that could have the minimal connection with Nazism. Due to variety circumstances detailed in the thesis Max Bill appeared on the scene. He was Swiss and an internationally recognized artist. Max Bill designed and built the new building in the middle of this circunstances, turning it slowly in the crystallizer element of a revolution towards a more just, equitable and peaceful society. Neither calculated art nor geometric art the thesis attempts to transform an objectivity in a reasoning that lights on a way of conceiving the absolutely new architectural space, that today we recognize in some of the most paradigmatic of contemporary buildings. More than the work of a creator, is the representation of a collective thought, where the architect acts almost as a medium of a community
David K. Dennison - One of the best experts on this subject based on the ideXlab platform.
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Randomized Clinical Trials in Periodontology: Ethical Considerations
Annals of periodontology, 1997Co-Authors: Robert J. Levine, David K. DennisonAbstract:Abstract Ethical justification for starting a clinical trial requires at the outset an Accurate Statement of "no difference" regarding the two or more agents to be compared. This may be expressed as "theoretical equipoise" (no data to support the superiority of one of the agents) or, preferably, as "clinical equipoise" (there are insufficient data to resolve controversy among experts as to which is superior). This presents a problem when a placebo control is proposed, particularly when the outcome measure entails irreversible loss of function; preliminary data often suggest the superiority of the "active agent." Informed consent should ordinarily include the fact that treatment assignments will be accomplished by a process of randomization and, in the case of double-blind designs, that neither the subject nor the investigator will know the subject's treatment assignment until the end of the trial. In general, clinical trials should be monitored by data and safety monitoring boards that have access to unbl...
Declan G. Murphy - One of the best experts on this subject based on the ideXlab platform.
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“We Used a Validated Questionnaire”: What Does This Mean and Is It an Accurate Statement in Urologic Research?
Urology, 2015Co-Authors: Adam S. Dowrick, Addie Wootten, Declan G. Murphy, Anthony J. CostelloAbstract:Objective To educate a clinical audience of what the specific meaning of the term “validated questionnaire” means from a research methodology perspective when used in a journal article or a conference presentation. Methods To emphasize what is meant by the term “validated questionnaire,” we reviewed the most commonly used prostate-specific, patient-reported, outcome assessment instruments and discuss which have been appropriately validated for use in patients having surgery for localized prostate cancer. Results Not all the prostate-specific instruments used to assess outcomes after surgical treatment for localized prostate cancer have been validated for use in this population. In particular, the Sexual Health Inventory for Men and the International Prostate Symptom Score–American Urological Association-7, which are commonly used by clinicians to measure potency and urinary function, respectively, have not been validated for use in a population of patients having surgery for localized prostate cancer. Conclusion Although patient-reported outcome assessment instruments are frequently used in the urologic literature, little consideration has been given to ensure that users understand why a questionnaire must be validated and what the term “validated” actually means from a research methodology perspective when used in this context. Whether an instrument displays appropriate measurement properties is not a fixed attribute but is dependent on the context and population being studied. Studies using questionnaires that have not been validated in the population of interest may be subject to measurement error, and any conclusions drawn cannot be made with total confidence. Clinicians should consider this when reading journal articles and designing study protocols.
