CH sedation allows detailed examination and investigations in the majority of children with few side effects. Patients over 15 kg and need for a top up dose are risk factors for failure and adverse events. This is the largest study in the current literature looking at the use of CH sedation in ophthalmology and confirms its safety and effectiveness.

Architecturally, Nairobi was never a backwater. Modern architecture in Nairobi developed in the context of the tropical climate design vocabulary of Otto Königsberger (1908-1999), Maxwel Fry (1899-1987) and Jane Drew (1911-1996), within a racially segregated plan. Ideas and ideals of Modernism came with refugees, migrants and magazines from many cultures and places including South Africa, Europe, the Indian sub-continent and the Americas. Projects by internationally renowned architects and planners such as Herbert Baker (1862-1946), Ernst May (1886-1970) and Amyas Connell (1901-1980) set high standards of design. The Garden City Movement, International Congresses of Modern Architecture (CIAM), the Modern Architectural Research Group (MARS), and the work of many others was influential.

In the inaugural "Conversation Piece" in British Art Studies, Issue 1, Richard Johns makes the observation that at the National Gallery, London, "British art" is represented by a selection of work by just ten artists-mostly English, all white, male, and born within eighty years of each other. Is it any wonder that British art can appear like an exclusive club with prohibitive requirements for entry? This exclusivity is particularly striking where British women artists are concerned, for the leading female artists in the collection-Rachel Ruysch, Rosalba Carriera, Elisabeth Vigée Le Brun, and Rosa Bonheur-are all from Continental Europe. That these women were all painters is also a reminder of the extent to which gallery acquisitions have traditionally been dominated by painting, on occasion to the detriment of artists working in other media.We think that a broader and more dynamic mapping of women's art work, that pays particular heed to the geographical and disciplinary boundaries of their practice, would assist this quest. For scholars, this task requires us to remain vigilant-to avoid seizing upon surviving evidence of any one individual as "typical" of female practice in favour of a more strongly comparative and interdisciplinary approach. This may require us to ask difficult questions of material that may lie uncomfortably outside our own disciplinary boundaries, and to synthesize it in new ways. Therein, however, may lie possibilities for new kinds of visibility and, indeed, opportunities for institutional consciousness-raising.After our initial three waves, released at two-week intervals, and themed around visibility, reputation and legacy; contexts and networks beyond the studio; and display and re-evaluation, respectively, our fourth wave of contributions will be based around the effective, profile-raising, and collaborative work of a number of recent projects to raise the visibility of female practitioners in the field of art and architecture. This includes a précis of the aims of the 2017 AA XX 100 project to celebrate the centenary of women at the Architectural Association by Yasmin Shariff; an introduction to the exhibition Modern Scottish Women: Painters and Sculptors 1885-1965 by the curator, Alice Strang; and pieces recording and analysing the results of Art + Feminism wiki edit-a-thons held in 2016 at YCBA and the ICA. The Glasgow School of Art and the Paul Mellon Centre are convening a "Still Invisible" edit-a-thon in Glasgow on 25 May 2016 at the Centre for Contemporary Art (CCA), where many of the contributors to this conversation will gather to learn the skills involved in editing wikis, and to create new pages and update existing ones with information about overlooked women artists. In a 2011 survey, 90 percent of wiki editors identified as male (9 percent as female, and 1 percent as transsexual or transgender), which may go some way to explaining the current low coverage of women and the arts on Wikipedia. Through gathering for this event, which will incorporate training with Wikimedian, Sa...

MoMoWo 291 MoMoWo Utopian Beginnings Mary Crowley was born in Bradford in 1907 1 into a Quaker family rooted in the idealism and utopian experimentation of Quaker industrialists, Joseph and Seebohm Rowntree and Ebanezer Howard, and their concept for garden cities. These ideas initially shaped the 150 acre site model village at New Earswick near York and then the Garden Cities in Letchworth and Welwyn where Mary grew up and lived. 2 Parker and Unwin were commissioned to design New Earswick and two years later they started work in 1903 on the first Garden City at Letchworth. 3 Ebanezer Howard's Garden City 4 movement was a reaction to the overcrowding and industrial pollution of Victorian cities. He drew on Quaker precedents at Port Sunlight, Bournville and Robert Owen's 'Vision for a new society', which envisioned 'a happy home for many generations of children where they will be brought up amid surroundings that will benefit them spiritually, mentally and physically'. 5 Mary's father, Ralph Crowley 'became one of the pioneers of the Garden City Movement and at the heart of this utopian idealism was the education and social welfare of children. Ralph Crowley believed that, as he wrote, 'a doctor cannot fulfil his more specific function of treating bodily diseases, if he is indifferent to the patient's environmental conditions and his mental and moral welfare.' 6 Following Ralph's recruitment to the Board of Education in London in 1908, the family

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