Arterial distensibility, assessed by the pulse-wave velocity (PWV), is an independent predictor of cardiovascular risk. We investigated whether natriuretic peptides, acting locally, modify conduit artery distensibility in vivo. All studies were conducted in anesthetized sheep (n = 18) by using a validated ovine hindlimb model. In brief, the PWV was calculated, with the use of the foot-to-foot methodology, from two pressure waveforms recorded simultaneously with a high-fidelity dual pressure-sensing catheter placed in the common iliac artery. Drugs were infused either proximally, via the catheter to perfuse the segment of artery under study, or distally, via the sheath to control for any reflex changes in flow or sympathetic activation. First, the effects of atrial natriuretic peptide (ANP), brain natriuretic peptide (BNP), and c-type natriuretic peptide (CNP) were studied. Second, the role of endogenous ANP was investigated by infusing the natriuretic peptide receptor type A (NPRA)-selective receptor antagonist A71915. Third, A71915 was coinfused with ANP. Fourth, the NPRC-selective agonist cANF was infused. Infusion of CNP or des-[Gln18Ser19Gly20Leu21Gly22]-ANF-(4-23)-NH2 (cANF) had no effect on iliac PWV. However, infusion of ANP, and to a lesser degree BNP, resulted in a reduction in PWV (-9%; P < 0.01 and -6%; P < 0.05, respectively). A71915 increased iliac PWV from 2.97 +/- 0.13 to 3.06 +/- 0.13 m/s; P < 0.01. Coinfusion of A71915 with ANP completely abolished the effects of ANP (P < 0.01). Importantly, ANP-BNP infusion via the sheath did not alter PWV. In conclusion, ANP, and to a lesser extent BNP, modify large artery distensibility via the NPRA receptor. Neither CNP nor cANF altered PWV, suggesting that the NPRB and NPRC receptors do not acutely influence distensibility in vivo.

G i l l A i t k e n a n d K a t e N o b l e o n b e h a l f o f W o m e n W o r k i n g w i t h W o m e n ( N W R e g i o n a l f o r u m f o r w o m e n i n a n d o u t o f m e n t a l h e a l t h a n d f o r e n s i c c a r e ) AbstractThis article focuses on service provision for women who are involuntarily referred under the UK Mental Health Act (1983) into medium and high security care in England and Wales. We explore how physical and procedural security in such settings is prioritized over relational care (see also Fallon Report, Department of Health, 1999a and NHS Executive, 2000 -Tilt Report). We are not arguing against the importance of protecting the public from the acts of dangerous members of our society. However, we are arguing that many of the women in our secure services are inappropriately placed and receive inappropriate forms of treatment and care. Rather than physical security, it is high relational care, which the women require. Further, we argue that current service provision often re-produces forms of violence and violation which have marked many of women's lives prior to their entry into the secure system. Keywords women and violation; secure psychiatric care; relational security; physical security; mental health; forensic psychology At present, in England and Wales, there are about 1,500 people in special hospitals and about 1,500 in regional secure units. Women constitute about 15 per cent of these populations. This generally means that there can be between 51-78 women located in a special hospital which also holds 351-81 men, and up to ve women in a medium secure unit which can hold 60+ men, (WISH, 1997; NHS Executive, 2000 -Tilt Report). Following the Department of Health's organized Listening Panel consultation exercises in 1999, there was anticipation that a national strategy for the provision of women's secure services would be announced at a

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During the pandemic many museums and galleries pivoted from onsite, in‐person delivery to develop a remote offer and to create digital learning resources and activity packs for children and young people. In this article, I draw upon my experience as practitioner researcher on the schools and teachers’ programme at the Fitzwilliam Museum to consider different approaches to supporting participatory creative pedagogies while the museum was closed. After discussing how the work built on and extended existing programming for this audience, I consider effective strategies for facilitating authentic and inclusive encounters with objects and artworks remotely. While some were empowered to take part and to engage, others were locked out through the ever widening social and digital divide. How can we overcome these challenges and make the most of the opportunities which this work has revealed? What are the implications of this work for our understanding of the role, function and future of museum and gallery learning?

At a time of widespread concern over the decline of art teaching in schools, this article considers the findings of a practitioner led action research project exploring the potential of art museum and artist-led CPD (Continued Professional Development) programmes to develop primary teacher knowledge, skills and confidence teaching in art and design. The project involved 68 teachers from over 40 primary schools who were introduced to a Renaissance painting of Cupid and Psyche in a series of training sessions at the museum in early 2019. Schools were then invited to submit art work to an end-of-project exhibition which opened in December. Over the course of the year, more than 500 children aged between 4 and 11 visited the museum to look at the painting and more than 3,800 studied it at school using specially created digital learning resources. We draw on survey and email feedback, interviews, blog posts, photographs and artwork collected during the project to discuss how the project provided expert training about art objects, materials and processes and brought teachers together to transform practice and extend pupil outcomes. We also consider how a constructivist pedagogy might encourage more participatory, open ended and playful approaches to teaching art and design to stimulate careful looking, deep thinking, and experimentation with materials and techniques. The article concludes with a discussion of the potential of communities of practice to bring together artists, teachers and art museum professionals to support the development of visual literacy and creativity in children and young people.