High-resolution ultrasonography of subretinal structure and assessment of retina degeneration in rat.

The purpose of this work was to evaluate the ability of 80 MHz ultrasonography to differentiate intra-retinal layers and quantitatively assess photoreceptor dystrophy in small animal models. Four groups of 10 RCS rats each (five dystrophic and five controls) were explored at 25, 35, 45 and 55 days post-natal (PN). A series of retina cross-sections were obtained ex vivo from outside intact eyes using an 80 MHz three-dimensional ultrasound backscatter microscope (20-microm-axial resolution). Ultrasound features of normal retina were correlated to those of corresponding histology and thickness measurements of photoreceptor segment and nuclear layers were performed on all groups. To show the ability of 80 MHz ultrasonography to distinguish the retinal degeneration in vivo, one RCS rat was explored at 25 and 55 days post-natal. Ultrasound image of normal retina displayed four distinct layers marked by reflections at neurites/nuclei interfaces and permitted to differentiate the photoreceptor segment and nuclear layers. The backscatter level from the retina was shown to be related to the size, density and organization of the intra-layer structure. Ultrasound thickness measurements highly correlated with histologic measurements. A thinning (p<0.05) of outer nuclear layer (ONL) was detected over time for controls and was thought to be assigned to retina maturation. Retinal degeneration started at PN35 and resulted in a more pronounced ONL thinning (p<0.05) over time. ONL degeneration was accompanied by segment layer thickening (p<0.05) at PN35 and thinning thereafter. These changes may indicate accumulation of outer segment debris at PN35 then progressive destruction. In vivo images of rat intra-retinal structure showed the ability of the method to distinguish the photoreceptor layer changes. Our results indicate that 80 MHz ultrasonography reveals intra-retinal layers and is sensitive to age and degenerative changes of photoreceptors. This technique has great potential to follow-up retinal dystrophy and therapeutic effects in vivo.

In vivo gene transfer into the ocular ciliary muscle mediated by ultrasound and microbubbles.

This study aimed to assess application of ultrasound (US) combined with microbubbles (MB) to transfect the ciliary muscle of rat eyes. Reporter DNA plasmids encoding for Gaussia luciferase, β-galactosidase or the green fluorescent protein (GFP), alone or mixed with 50% Artison MB, were injected into the ciliary muscle, with or without US exposure (US set at 1 MHz, 2 W/cm(2), 50% duty cycle for 2 min). Luciferase activity was measured in ocular fluids at 7 and 30 days after sonoporation. At 1 week, the US+MB treatment showed a significant increase in luminescence compared with control eyes, injected with plasmid only, with or without MB (×2.6), and, reporter proteins were localized in the ciliary muscle by histochemical analysis. At 1 month, a significant decrease in luciferase activity was observed in all groups. A rise in lens and ciliary muscle temperature was measured during the procedure but did not result in any observable or microscopic damages at 1 and 8 days. The feasibility to transfer gene into the ciliary muscle by US and MB suggests that sonoporation may allow intraocular production of proteins for the treatment of inflammatory, angiogenic and/or degenerative retinal diseases.

Discours prononcé à l'ouverture du Conseil général par le gouverneur... / Etablissements français de l'Inde

Périodicité : Annuel

Treatment of malignant gastroduodenal obstruction with a nitinol self-expanding metal stent: An international prospective multicentre registry

Background: Duodenal stenting has become a broadly accepted first line of treatment for patients with advanced malignant gastroduodenal obstruction as these patients are difficult to treat and are poor surgical candidates. Aims: To document duodenal stent performance for palliative management of malignant gastroduodenal obstruction. Methods: Multicentre, single arm, prospective registry documenting peroral endoscopic duodenal stenting procedures in 202 patients. Results: Technical success achieved in 98% (CI. 95%, 99%) of stent placements. Increase of Gastric Outlet Obstruction Score by at least 1 point compared to baseline was achieved in 91% (CI, 86%, 95%) of patients persisting for a median of 184 days (CI, 109, 266). By day 5 (CI, 4,6) after stent placement, 50% of patients experienced a score increase of at least 1 point. Improvement from 14% of patients at baseline tolerating soft solids or low residue/normal diet to 84% at 15 days, 86% at 30 days, 81% at 90 days, 79% at 180 days, and 70% at 270 days. Complications included stent ingrowth and/or overgrowth (12.4%), transient periprocedural symptoms (3%), bleeding (3%), stent migration (1.5%), and perforation (0.5%). Conclusions: Safety and effectiveness of duodenal stenting for palliation of malignant gastroduodenal obstruction was confirmed in the largest international prospective series to date. (C) 2011 Editrice Gastroenterologica Italiana S.r.l. Published by Elsevier Ltd. All rights reserved.

Carême – Pâtissier Architecte Weltgeschichte der Architektur in Zucker

Antonin Carême (1783-1833), Koch, schreibt 1815 eines der ungewöhnlichsten Architekturlehrbücher des 19. Jahrhunderts. Während seiner Ausbildung als Pâtissier wird er zum Spezialisten der klassischen griechischen und römischen Architektur und beginnt seine Kenntnisse in eine eigene Weltgeschichte der Architektur umzusetzen. Seine Entwürfe für "pièces montées", die er in seinem Werk Le pâtissier pittoresque publiziert, stehen in der Tradition architektonischer Tafelaufsätze, sind als Zuckerbauwerke in ihrer Vielfalt und ihrem architektonischen Anspruch jedoch singulär.,

La cabaña moderna. Microrrelatos de arquitecturas en busca de sentido

Desde la revolución ilustrada e industrial de finales del s. XVIII se ha venido desarrollando, con fuerza inigualada a lo largo de la historia, algo que es consustancial al hombre y que le ha permitido constituirse como tal frente al resto de animales: la técnica. Como sentencia Ortega, no hay hombre sin técnica. Pero, al mismo tiempo, va quedando cada vez más claro -como también nos señala Ortega- que el sentido y la causa de la técnica están fuera de ella, y que la técnica no es en rigor lo primero, sino que su finalidad le ha de ser prefijada por un deseo original pre-técnico. Si esto no fuera así el hombre perdería su propio sentido, pues el hombre es puro afán, un ente cuyo ser consiste no en lo que ya es, sino en la que aún no es. Sin embargo, el progresivo desencantamiento del mundo como consecuencia del desarrollo de la sociedad industrial vino a sustituir los viejos mitos por una interpretación racional y abstracta que renunciaba a cualquier búsqueda de sentido que trascendiese los hechos brutos. De este modo, la perdida de sentido del hombre frente a la técnica desarrollada por él mismo le dejaba desnortado y convertido en un sujeto pasivo en manos de un malentendido progreso. Frente a esta pérdida de sentido detectada ya a principios del siglo XX y denunciada con más fuerza a partir de la Segunda Guerra Mundial, el postmodernismo del último tramo del pasado siglo pudo no sólo oficializar su desaparición, sino consignar su deslegitimación. Ante a esto, sostenemos la necesaria existencia de sentido en cualquier arquitectura que se desarrolle plenamente y, especialmente, en la arquitectura de la modernidad -y aún de la modernidad tardía o postmodernidad- muchas de las veces no explicitado como tal frente al sobredimensionamiento técnico que ha venido marcando la pauta desde la revolución industrial. Al mismo tiempo, ya no se puede hablar de un único sentido, universalizable, sino de una pluralidad de sentidos que definirán distintas arquitecturas. Partiendo de la petitio principii de que el tema capital de la arquitectura en la modernidad ha sido la vivienda, el objeto arquitectónico que reúne las mejores características para desarrollar esta búsqueda de sentido lo hemos encontrado en la cabaña moderna, donde se cumple el aforismo corbusierano que señala que “quand l’économie est au maximum, l’intensité est au maximum”. Al mismo tiempo “al representar la plenitud a través de su misma negación”, la cabaña moderna se puede entender como una sublimación de la arquitectura a través de pequeños objetos donde han quedado destiladas las distintas esencias de la modernidad. Mediante el análisis de seis pequeñas construcciones situadas en archipiélagos arquitectónicos radicalmente distantes –el campamento de Ocatillo (F. Ll. Wright, 1929); la Caja (R. Erskine, 1942); el Cabanon (Le Corbusier, 1952); la casa cúpula en Carbondale (R. B. Fuller, 1960); el refugio en Oropesa (F. J. Sáenz de Oíza, c.1967-1977) y el pabellón de invitados en Kempsey (G. Murcutt, 1992)- la aparente aporía que supone la cabaña moderna, frente a la más lógica, en principio, cabaña primitiva, cobra sentido. Efectiva mente, el referente mítico de la cabaña primitiva, tal y como fue enunciado por Laugier, se correspondía con el estadio más primitivo de la modernidad, con sus orígenes, precisamente porque la crítica que se hacía en ella de la arquitectura se basaba en criterios exclusivamente técnicos que remitían a los orígenes constructivos de la arquitectura como fórmula para salir del entramado retórico en el que ésta se encontraba perdida. La cabaña moderna trasciende, sin embargo, aquella primitiva fase de la modernidad, de la que la cabaña de Laugier es paradigma, en la medida en que la crítica que se realiza ahora es doble, pues a la crítica de carácter técnico que encontramos en cada una de las cabañas se le añade una crítica de sentido que no se encuentra supeditada, en ninguno de los casos, a la componente técnica, tal y como sin embargo sucedía con Laugier, donde la pretendida regeneración moral de la arquitectura era consecuencia directa de su depuración técnica. En la cabaña moderna, al contrario, encontramos una pluralidad de sentidos que orientan y fuerzan el desarrollo de la techné en direcciones que llegan a ser radicalmente diferentes, construyendo unos relatos que habrán de ser, por tanto, necesariamente parciales, pero de los que la arquitectura, en cualquier caso no podrá prescindir si es que quiere seguir siendo fiel a sí misma, tal y como, efectivamente, lo comprendieron Wright, Erskine, Le Corbusier, Fuller, Sáenz de Oíza y Murcutt, cuando se esforzaron por que estas pequeñas arquitecturas que hemos visitado, tan sólo unas cabañas, fueran unas cabañas con sentido, unas cabañas modernas. ABSTRACT Since the illustrated and industrial revolution of the XVIII century it has been developing, with unequally strength through history, something that is inherent to man and that has allowed him to become himself against the rest of animals: technique. As Ortega says, there is no man without technique. But, at the same time, it is becoming increasingly clear –as Ortega also says- that the sense and the cause of the technique are beyond technique itself, and that technique is not actually the first thing, but that its purpose must be predefined by a pre-technique original desire. If it were not like this, man would lose his own sense, because man is pure desire, an entity whose being is not what already is, but what still doesn’t is. However, the progressive disenchantment of the world as the result of the development of the industrial society came to change the old myths by a rational and abstract interpretation that renounced to any search of meaning that transcended the brute facts. Thereby, the loss of sense of man against the technique developed by man himself let him aimless and converted in a passive object in the hands of a misunderstood progress. Against this loss of sense already detected at the beginning of the XX century and denounced in a stronger way since the Second World War, the postmodernism of the late decades of the last century could not only formalize its disappearance, but also consign its delegitimization. On the contrary, we maintain the necessary existence of sense in any architecture that is fully developed and, specially, in the modern architecture –and even in the late Modernism or Postmodernism- many times not made explicit as such against the technique oversizing that has been setting the pattern since the industrial revolution. At the same time, we can not talk about an only and universal sense, but about a plurality of senses that will define different architectures. On the basis of the petitio principii that dwelling has been the capital issue of modern architecture, the architectonic object that possesses the best features for developing this search of sense has been found in the modern hut, where is fulfil the Corbusieran aphorism that says that “quand l’économie est au maximum, l’intensité est au maximum”. At the same time, “representing plenitude through its own negation” the modern hut can be understood as a sublimation of architecture through small objects where the different essences of modernity have been distilled. Through the analysis of six small buildings located in radically distant architectonic archipelagos –the Ocatillo dessert camp (F. Ll. Wright, 1929); the Box (R. Erskine, 1942); the Cabanon (Le Corbusier, 1952); the dome-home in Carbondale (R. B. Fuller, 1960); the retreat in Oropesa (F. J. Sáenz de Oíza, c. 1967-1977) and the guest house in Kimpsey (G. Murcutt, 1992)- the apparent aporia that represents the modern hut, against the, initially, more logical primitive hut, makes sense. Indeed, the mythical reference of the primitive hut, as it was enunciated by Laugier, belonged to the most primitive state of modernity, with its origins, precisely because the criticism of the architecture that was made there was based in exclusively technique criteria, referring to the constructive origins of architecture as the formula to get out of the rhetoric labyrinth in which architecture was lost at the moment. However, the modern hut transcends that primitive phase of modernity, of which Laugier’s hut is paradigm, since the criticism that is made is double, because to the criticism on the technique that we find in every hut we must add a criticism on the sense that is never subordinated to the technique component, as it was the case in Laugier, where the intended architectonic moral regeneration was a direct consequence of its technical depuration. In the modern hut, on the contrary, we find a plurality of senses that guides and drives the development of techné in radically different directions, building narratives that must be, then, necessarilly partial, but of which architecture could never leave aside if it still wants to be faithful to itself, as Wright, Erskine, Le Corbusier, Fuller, Sáenz de Oíza and Murcutt seemed to understand when they tried hardly to make these small architectures that we have visited, these huts, huts full of sense, modern huts.

La unidad de lo dual. La cabaña de Tadao Ando y la tienda de Toyo Ito.

Una característica común en la obra de los arquitectos japoneses Tadao Ando y Toyo Ito es el gesto reductor con el que se dieron a conocer. Tanto la Casa en hilera de Sumiyoshi de Ando como la Cabaña de plata de Ito son obras que nos remiten a la choza primitiva de Laugier. Con ellas, ambos arquitectos pretendían establecer unos prototipos espaciales y arquitectónicos que pudieran servir para refundar la disciplina arquitectónica contemporánea. Pero mientras en la Cabaña de Plata la intención era aligerar el conjunto del edificio como si fuera una lona y hacerla ondear en el aire, la Casa en hilera de Sumiyoshi parecía encontrar una vía alternativa en la reinterpretación del megaron griego.

Teoría de la Arquitectura. 13_Docencia

Documentación gráfica y escrita (ppt/pdf) que desarrolla las aportaciones de los teóricos y docentes más relevantes en el entorno del siglo XVIII: rigoristas (Lodoli, Milizia), primitivistas (Laugier), académicos (Blondel, Durand); se asiste a definición de 'tipo' y 'tipología' y se profundiza en las relaciones entre uso y forma en la arquitectura a través de las familias de tipologías arquitectónicas.

Traité des remèdes vulnéraires, dans lequel on explique leur nature & leurs effets, avec la théorie des accidens qui se rencontrent dans les playes suivant les anciennes & nouvelles opinions, & par la mécanique... /

Mode of access: Internet.

Histoire des etats barbaresques qui exercent la piraterie ... /

Mode of access: Internet.

Historia del Reyno de Argel : su gobierno, fuerzas de mar y tierra, sus rentas, policía, justicia, política y comercio /

Mode of access: Internet.