Long-term follow-up information was obtained for 39 dogs that had undergone surgical excision of nonlymphomatous, small intestinal tumors. For all dogs evaluated in this study, the median survival time was 10 months, and the one- and two-year survival rates were 40.5% and 33.1%, respectively. There was no difference in survival times between dogs with adenocarcinomas (n=23) and dogs with leiomyosarcomas (n=16). Survival times were significantly (p less than 0.0001) shorter for dogs with histological evidence of metastases at the time of surgery (median, 3.0 months) than for dogs with no histiological evidence of metastases (median, 15.0 months).

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This article presents a unique amalgam across artistic research and rural sociology. We draw on a collaborative art residence programme between a University and an arts organisation in England, which invited an artist to respond to a highly contentious topic in rural England: housing development. The ambition for the residency was, firstly, to provide new perspectives on rural housing research, and, secondly, to provide a space for engagement between the local community, planners and academics. Through our interdisciplinary collaboration, we explore how Sander Van Raemdonck’s artistic process worked towards these ambitions. The artistic practice involved a walk with the local community, a peripatos, in a post‐industrial site proposed for housing development. Drawing on the artistic practice, the interdisciplinary team developed then a second walk, a ‘walkshop’, to mediate between housing/planning experts and reflect on the experience of the artistic practice. Following those artists and social scientists that already utilise walking as a method, we argue that the artistic peripatos can support a multi‐sensory way of communicating, a way to get ‘under the skin of a place’. More critically, we argue that artist in residence programmes provide rich opportunity to develop interdisciplinary research with artists.

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A knowledge exchange programme exploring the role of art in relation to the planning context of the Holy Island of Lindisfarne, this paper explores the role of artistic knowledge in making landscape. During 2013, 25 artistic workshops were developed in collaboration with residents and planning officials, resulting in an exhibition of works produced. From a pragmatist perspective this paper draws on ethnographic accounts of the realisation of the exhibition to reveal artistic knowledge exchange as 'relational knowing'. The contribution of the paper is to recommend we account for artistic work as an ingredient of landscape planning. Although specifically drawing on fieldwork in Holy Island the experiential nature of this article makes a novel contribution across the field of rural planning.

This article is the product of a one-year AHRC experimental pilot project to understand Knowledge Exchange (KE) relationships around the arts in rural Northumberland. There were three strands to the work; Art, Music and Rural Economy with a Research Associate leading on each strand. There were multiple fields in this project; the actual fields of Northumberland and the landscapes in which art and music were practised, the disciplinary fields of the researchers, and the invisible, intangible fields of KE practice. This article reflects on our ‘field’ work – those interactions in fields of landscape, fields of discipline, and fields of social relations, which provided the context for our interventions. Specifically, this article reflects an experimental and experiential relationship with our ‘fields’ most potently around the process of entering and leaving those fields and the multiple interaction between ourselves as researchers and our material and cultural landscape. The article concludes with some of the implications of our ‘field’ practices for future experimental research and the co-production and elaboration of new fields of intervention.

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This article presents a writing collaboration between an ethnographer and two artists. It was developed from a one-week residency at Kultivator, which is an artist-led project situated on an organic farm on the Swedish island of Öland. The writing is informed by classical pragmatist philosophy and gives focus to the organic trope of human-environment continuity. Drawing on the writing experiment the article argues that Kultivator is not simply doing organic farming; but building a farm to think-with organically. Kultivator is presented as a way of knowing continuity; and a way of doing organic philosophy also. As such the artist-led practice of Kultivator has capacity to stretch artistic practice and its discourse beyond human collaboration. The research contributes an experiential account of artist-led practice in a rural context to the field of artist-led practice. Rather than focusing on artworks or 'buildings' this collaboration asks us to consider the way we 'build' our participatory process of living together and the role artistic knowledge can have in doing so.