Bakgrund: Prevalensen för att en kvinna ska drabbas av antenatal depression är 20 % och för postpartumdepression är 8-15%. Det vanligaste instrumentet som används för att screena för depression under och efter graviditet är Edinburgh Postnatal Depression Scale. Att vara deprimerad innebär lidande för gravida och nyblivna mödrar men också ett lidande för familj och vänner. De vanligaste symtomen för depression är nedstämdhet, initiativlöshet, ständig oro och ångest, nedsatt intresse och skam med mera. Det är viktigt för barnmorskan att ha god kunskap om depression under och efter graviditet, då det är barnmorskan som har den kontinuerliga kontakten med kvinnan under och efter graviditeten.  Syfte: att beskriva barnmorskors kunskap om depression under och efter graviditet samt att beskriva vilken utbildning barnmorskor får. Metod: En litteraturstudie där 21 artiklar med kvantitativ och kvalitativ ansats har inkluderats. Resultat:De kategorier och subkategorier som har framkommit efter en schematisk översikt genom manifest innehållsanalys är barnmorskors upplevelser och erfarenheter, upplevelser av arbetsmiljön och organisation samt barnmorskors kompetens och utveckling. Om en barnmorska har en god attityd till och förståelse för kvinnor som har depression under och efter graviditet bidrar det till positiv inställning till att arbeta med dessa kvinnor. Barnmorskorna i artiklarna upplevde att det största hindret för att identifiera kvinnor med depression under och efter graviditet var tidsbrist samt att organisationen behöver bättre kontinuitet för kvinnor med depression under och efter graviditet. Barnmorskor som får god kompetens och utvecklingsmöjligheter bidrar till god kunskap. God kunskap bidrar i sin tur till att barnmorskor känner sig mer trygga i sin roll i identifieringen av kvinnor med depression under och efter graviditet. Slutsats:Barnmorskor behöver mer kunskap om ämnet depression under och efter graviditet. Om en gravid eller nyförlöst mamma mår dåligt av sitt moderskap och inte får den hjälp hon behöver skulle det i slutändan bidra till långvarig behandling och vård. Ur ett samhällsekonomiskt perspektiv vore det en brist för samhället om det inte görs rätt från början. / Background:Prevalence for a woman to suffer from antenatal depression is 20% and postpartum depression is 8-15%. The most common instrument used for screening for depression during and after pregnancy is the Edinburgh Postnatal Depression Scale. Being depressed means suffering for pregnant and new mothers but also suffering for family and friends. The most common symptoms of depression are downhearted, lack of initiative, constant concern and anxiety, impaired interest and shame and more. It is important for the midwife to have good knowledge of depression during and after pregnancy since it is the midwife who has continuous contact with the woman during and after pregnancy. Aim: to describe midwives knowledge about depression during and after pregnancy and which education midwives get. Method: A litterature study of 21 articels inlcuding qualitative and quantitative approaches.   Results: The categories and subcategories that have emerged from a schematic overview through manifest content analysis are midwives' experiences, experiences of the work environment and organization and along with midwifery skills and development. If a midwife has a good attitude and understanding of women who have depression during and after pregnancy it contributes positively to working with these women. Midwives in the articles experienced the greatest obstacle to identifying women with depression during and after pregnancy to be lack of time and the need for better continuity for women with depression during and after pregnancy. Midwives who learn good skills and have development opportunities contribute to good knowledge. Good knowledge, in turn, contributes to the fact that midwives feel more secure with their role in identifying women with depression during and after pregnancy. Conclusion:Midwives need more knowledge about the topic of depression during and after pregnancy. If a pregnant or new mother feels bad about her motherhood and does not get the help she needs it would ultimately contribute to prolonged treatment and care. From the socio-economic perspective, it would be a shortcoming for society if it is not done right from the start.

The analysis of volatile organic compounds (VOCs) in breath may be a useful non-invasive tool in the Intensive Care Unit (ICU) to monitor metabolic and oxidative stress or diagnose pulmonary infection. Acetone is produced during starvation and metabolic stress, hydrogen sulphide (H2S) may be a marker of inflammation and infection and hydrogen cyanide (HCN) may also act as a marker of infection, particularly caused by Pseudomonas aeruginosa. Firstly, the effects on measured VOC concentrations of the breath collection equipment and storage were assessed. Sample humidity declined faster than any analyte. Sample losses of 21%, 25% and 24% for acetone, H2S and HCN, respectively, were seen as a result of being passed through the sampling apparatus. Over 90% of initial breath VOC concentrations were detectable after 90 min storage in Tedlar bags at 40°C. Secondly, a breath collection method for off-line analysis was validated in 20 mechanically ventilated patients in the ICU. The effect on VOC concentrations of breath sampling from two locations after two breathing manoeuvres was explored, revealing significantly higher analyte concentrations in samples from the airways than from a T-piece in the breathing circuit, and after tidal breathing compared to a recruitment-style breath. Practical difficulties were encountered using direct airway sampling and delivering recruitment style breaths; end-tidal breath sampling from the T-piece was simplest to perform and results equally reproducible. Breath samples from 26 healthy anaesthetised controls were used to validate a breath collection method in the operating theatre. The effects of altering anaesthesia machine settings on inspiratory and exhaled acetone concentrations were explored. A difference in median inspiratory, but not exhaled, acetone concentrations was observed between the anaesthesia machines (ADU Carestation 276 ppb, Aysis Carestation 131 ppb, p=0.0005). Closing the adjustable pressure limiting (APL) valve resulted in a reduction in exhaled acetone concentration, as did breath sampling distal to the circuit filter, due to dilution by dead space air. Median (range) breath concentrations for samples collected on the patient side of the circuit filter with the APL valve open (n=22): acetone 738 ppb (257–6594 ppb), H2S 1.00 ppb (0.71-2.49 ppb), HCN 0.82 ppb (0.60-1.51 ppb). Breath acetone concentration was related to plasma acetone (rs=0.80, p<0.0001) and beta-hydroxybutyrate concentrations (rs=0.55, p=0.0075). Finally, breath and blood samples were collected daily from 32 mechanically ventilated patients in the ICU with stress hyperglycaemia (n=11) and/or new pulmonary infiltrates on chest radiograph (n=28). Samples were collected over a median 3 days (1-8 days). Median (range) breath VOC concentrations of all samples collected: acetone 853 ppb (162–11,375 ppb), H2S 0.96 ppb (0.22-5.12 ppb), HCN 0.76 ppb (0.31-11.5 ppb). Median initial breath acetone concentration was higher than in anaesthetised controls (1451 ppb versus 812 ppb; p=0.038). There was a trend towards a reduction in breath acetone concentration over time. Relationships were seen between breath acetone and arterial acetone (rs=0.64, p<0.0001) and beta-hydroxybutyrate (rs=0.52, p<0.0001) concentrations. Several patients remained ketotic despite insulin therapy and normal, or near normal, arterial glucose concentrations. Inspired and exhaled H2S and HCN concentrations were not significantly different. Breath H2S and HCN concentrations could not be used to differentiate between patients with pneumonia and those with pulmonary infiltrates due to other conditions. In conclusion, losses due to the sampling apparatus were determined and linear over the range of concentrations tested. End-tidal breath sampling via the T-piece was the simplest technique, with reproducibility comparable to other methods. It was possible to replicate the breath sampling method in the operating theatre; pre-filter samples with inspiratory gas flow rate 6 L/min and APL valve open provided repeatable results avoiding rebreathing. There was no role for the use of breath H2S or HCN in the diagnosis or monitoring of pneumonia in critical illness. There was no relationship between breath acetone concentration and illness severity, however the utility of breath acetone in the modulation of insulin and feeding in critical illness merits further study.

The work I create attempts to explore the vast precipice between adolescence and adulthood. Our whole lives we are essentially labeled one or the other yet we are often striving to be the one we are not. Childhood is fleeting, gone the moment we realize how truly special it is. Adulthood is elusive, ever looming yet continually out of reach. I choose to work with materials and imagery that is commonly known to us as children and attempt to make it a more "grown-up" version of itself. This allows for several layers of meaning. It can be a simple reminder of days past and an encouragement to not take ourselves too seriously. It is also an attempt to find the fine line between children acting like adults and adults being children. Often we dress ourselves up and pretend to be something we're not. Maybe we're fooling everyone. Maybe we're only fooling ourselves.

Femininity, in its normative socially driven state, is not a natural trait but a ghost that bears its past incarnations. I am interested in gender as a haunting social apparatus. Gender roles and representations have shifted throughout history, yet remain firmly attached to their antecedents. My creative research focuses on femininity as set forth in religion, social practices, and cultural phenomena and how these forces intersect at the present moment to create a complicated relationship of gender identity and expectations.

At the state fair, everything comes in candy colors, everything is bright, shining, blinking, glowing, popping, chirping, everyone wins! Even the carnies, dried and brown and tired, push shy teenagers towards each other like smoke-stained Cupids. Why don't you win that pretty girl a rose? How can you help but smile? Laugh? Spin and shriek on the rides, get your hands and face sticky with funnel cake and giant hot dogs and win your girl a prize? The fair is its own world, designed and built to please. But what happens when it isn't being enjoyed? When all its color and flash fail?

In the course of studying painting for the past three years at the University of Iowa, I have found collaborating with other artists to be a great way for me to try on different hats. Two of these collaborations in particular, The Old Man Study Group with Hamlett Dobbins (Memphis, TN) and The Coracle Drawing Club with David Dunlap (Iowa City, IA), have given me the license and opportunity to pretend to be someone else. These collaborative projects have asked me to consider, and at times adopt, even if only for a moment, the interests and concerns of another maker. A few months into these two projects, I noticed that the work I was making on my own, in the isolation of my own studio, was suddenly open to the world's innovations, and not just my own.

Globalization and industrialization has allowed designers and artists to visualize and create artifacts and consumer goods at an extremely rapid rate. As a result, the public consumes and disposes of these objects at a rapid rate as well because these objects are readily available and inexpensive. Technological innovation, clever advertising, and fleeting design trends have led people to overconsumption and obsession over ownership of objects. The integration of computer aided design technologies into object making practices has accelerated the rate of production and consumption. Material objects have become disposable which has proven to have a negative impact on the environment. I am employing Computer Numerical Control and Rapid Prototyping technologies to design and produce functional pieces out of wood and metal. Mechanical production enables me to experiment with form and surface texture but also eliminates direct physical contact with the object. This disconnect causes a tension between the method of production and the intended interaction and interpretation between user and object. This tension influences my work and my objective is to reconcile the rather impersonal production techniques by creating functional objects that evoke feelings of slowness, appreciation and physical interaction. My master's research is to create objects that involve the user in a kinesthetic and sensual experience in order to evoke an emotional response and establish an interaction beyond the appreciation of the visual. I am experimenting with the application of surface texture in order to design objects that can engage the user in a more substantial and personal experience through touch. Through this engagement it is my hope that the life cycle of the object can be extended in order to slow down the cycle of production and consumption.

This is not the creation of a self-contained world rooted in its own interior logic; this is the re-creation of a world through remembering, recording, and reformatting, embedded in a larger system. Ultimately this world investigates humanity's obsessive quest to study, capture, and categorize every living thing. When we get close enough to study each other, we obliterate what we are trying to understand. The forms in my work are cartographic - maps of a place and time but in an experiential rather than a literal sense. As I trace the depictions of the natural world from 17th century botanical engravings to my mother's floral couch circa 1990, I uncover hidden desires embedded in the everyday objects around us. It is deeply rooted in suburban and familial relationships - the desire to surround the home with images of "nature", while nature remains something wild, outside us, beyond the lawns, a counterpoint to humanity. The perception of this distance from the natural world is what allows for our romance and fascination with it, therefore fueling debates over "nature" or "nurture". Rather than create sublime images that reinforce a spellbound vision of nature's dominance over man, or by contrast to create a critique of man's command over nature, I am delving into domestic, artificial, and kitsch representations with equal measures of sentimentality and criticism.

Why do we keep things? To remember. Bedside tables are our modern-day altars, places where habit, respect, mystery, and love collide. Our physical materials wait while we travel through dreams, coaxing us back into activity come morning. Books and remote controls summon sleep, alarm clocks and written reminders startle the mind into a wakeful state. But not all objects are directly linked to sleeping or waking; some things simply exist to comfort us, reflecting our need to gather, collect, and nest.

Over the course of my time here at Iowa, my work has taken a turn I never anticipated. I will reflect on the reasons for my transition from looking out the window to looking in. Although the work has shifted drastically, my motivations to create have remained the same. I owe the limited understanding I have of these motivations to the reading I engage in alongside my creating. If I had to identify the most seminal books of my time in graduate school, I would single out A Place of My Own, by Michael Pollan and Invisible Cities, by Italo Calvino. I will discuss how these and other texts have influenced my work, while accounting for the shifts I have made over the past three years.