Fitting an MSD (Mini Scleral Design) rigid contact lens in advanced keratoconus with INTACS

Keratoconus is a bilateral degenerative disease characterized by a non-inflammatory, progressive central corneal ectasia (typically asymmetric) and decreased vision. In its early stages it may be managed with spectacles and soft contact lenses but more commonly it is managed with rigid contact lenses. In advanced stages, when contact lenses can no longer be fit, have become intolerable, or corneal damage is severe, a penetrating keratoplasty is commonly performed. Alternative surgical techniques, such as the use of intra-stromal corneal ring segments (INTACS) have been developed to try and improve the fit of rigid contact lenses in keratoconic patients and avoid penetrating keratoplasties. This case report follows through the fitting of rigid contact lenses in an advanced keratoconic cornea after an INTACS procedure and discusses clinical findings, treatment options, and the use of mini-scleral and scleral lens designs as they relate to the challenges encountered in managing such a patient. Mini-scleral and scleral lenses are relatively easy to fit, and can be of benefit to many patients, including advanced keratoconic patients, post-INTAC patients and post-penetrating keratoplasty patients. © 2011 British Contact Lens Association.

An update on the characteristics of patients attending the Kooyong Low Vision Clinic

BACKGROUND: Since 1972, the Australian College of Optometry has worked in partnership with Vision Australia to provide multidisciplinary low-vision care at the Kooyong Low Vision Clinic. In 1999, Wolffsohn and Cochrane reported on the demographic characteristics of patients attending Kooyong. Sixteen years on, the aim of this study is to review the demographics of the Kooyong patient cohort and prescribing patterns. METHODS: Records of all new patients (n = 155) attending the Kooyong Low Vision Clinic for optometry services between April and September 2012 were retrospectively reviewed. RESULTS: Median age was 84.3 years (range 7.7 to 98.1 years) with 59 per cent female. The majority of patients presented with late-onset degenerative pathology, 49 per cent with a primary diagnosis of age-related macular degeneration. Many (47.1 per cent) lived with their families. Mean distance visual acuity was 0.57 ± 0.47 logMAR or approximately 6/24. The median spectacle-corrected near visual acuity was N8 (range N3 to worse than N80). Fifty patients (32.3 per cent) were prescribed new spectacles, 51 (32.9 per cent) low vision aids and five (8.3 per cent) were prescribed electronic magnification devices. Almost two-thirds (63.9 per cent) were referred for occupational therapy management and 12.3 per cent for orientation and mobility services. CONCLUSIONS: The profile of patients presenting for low-vision services at Kooyong is broadly similar to that identified in 1999. Outcomes appear to be similar, aside from an expected increase in electronic devices and technological solutions; however, the nature of services is changing, as treatments for ocular diseases advance and assistive technology develops and becomes more accessible. Alongside the aging population and age-related ocular disease being the predominant cause of low vision in Australia, the health-funding landscape is becoming more restrictive. The challenge for the future will be to provide timely, high-quality care in an economically efficient model.

On-screen pre-deblurring of digital images using the wavefront aberration function of the human eye to improve computer access for the visually impaired

Traditional Optics has provided ways to compensate some common visual limitations (up to second order visual impairments) through spectacles or contact lenses. Recent developments in wavefront science make it possible to obtain an accurate model of the Point Spread Function (PSF) of the human eye. Through what is known as the "Wavefront Aberration Function" of the human eye, exact knowledge of the optical aberration of the human eye is possible, allowing a mathematical model of the PSF to be obtained. This model could be used to pre-compensate (inverse-filter) the images displayed on computer screens in order to counter the distortion in the user's eye. This project takes advantage of the fact that the wavefront aberration function, commonly expressed as a Zernike polynomial, can be generated from the ophthalmic prescription used to fit spectacles to a person. This allows the pre-compensation, or onscreen deblurring, to be done for various visual impairments, up to second order (commonly known as myopia, hyperopia, or astigmatism). The technique proposed towards that goal and results obtained using a lens, for which the PSF is known, that is introduced into the visual path of subjects without visual impairment will be presented. In addition to substituting the effect of spectacles or contact lenses in correcting the loworder visual limitations of the viewer, the significance of this approach is that it has the potential to address higher-order abnormalities in the eye, currently not correctable by simple means.

Um olhar sobre “Água Suja” e o “Moleque”: tradição, fé, cultura e teatralidade

This thesis addresses two spectacles: “Moleque tão Grande Otelo” and “Água Suja”, in which both have had my participation as producer and actress. The spectacle “Moleque tão Grande Otelo” reveals the racial-ethnic questions that surrounds the play and permeates the artist’s life whose name is the same. The play deals how the actor Grande Otelo life events’ had implied in his art, the facts that marked his career and they are shown at the spectacle, the reason why to articulate: art, life, fantasy and reality. Aiming to unveil the actor, I refer it to my history as an actress and the roots’ similarity to Sebastião Bernardes de Souza Prata, who became Grande Otelo to the world. In the staging of “Água Suja”, we also expose familial and religious memories and experiences of a people that overflow faith in a real spectacle, which takes place every year, in August, in our region, more specifically in Romaria – MG. While creating “Água Suja”, we experienced the act of keeping a promise and believing in the saint’s miracle, thus this experience is told in the spectacle and investigated in this study.

DESENVOLVIMENTO DO TEATRO MUSICAL BRASILEIRO À LUZ DA NOTORIEDADE MIDIÁTICA DAS ADAPTAÇÕES E DOS ARTISTAS

O trabalho tem a proposta de analisar os desdobramentos do teatro musical brasileiro desde a primeira encenação em território nacional de adaptações de espetáculos do Teatro de Revista, gênero originário da França, até as superproduções musicais realizadas nos últimos 16 anos de adaptações de espetáculos americanos. O panorama histórico e analítico será estudado, com ênfase no teatro musical que se utiliza de elementos midiatizados para estar inserido em uma sociedade em que a produção cultural é vista como internacionalizada e mercantilizada. Como forma de marketing, os produtores utilizam-se da notoriedade midiática presente em formatos estrangeiros já consagrados, adaptações renomadas e bem aceitas pelo público, além da fama de celebridades que são escaladas para os musicais. Tudo para a conquista de um patrocinador que, por sua vez, acaba fazendo exigências que interferem de maneira decisiva na montagem dos espetáculos. Em meio a um processo onde são tantos os direcionamentos pré-estabelecidos por patrocinadores, onde se encontra o genuíno teatro musical brasileiro? A pesquisa abrange o ineditismo da presença de temáticas nacionais em formatos estrangeiros e agrega o conjunto de fatores que possibilitam que um roteiro de musical saia do papel e adentre os palcos, tais como as políticas públicas de incentivos fiscais; a ligação de empresas patrocinadoras e suas marcas a musicais; o fato de que, mesmo as produções sendo pagas por dinheiro público, possuírem ingressos que não são a preços populares. Para auxiliar nas conjecturas a serem formadas, será utilizada uma metodologia histórico-descritiva com foco na relação do tema com elementos notórios na mídia, como os artistas e obras a serem adaptadas no palco.

Exploring business models to provide a foundation for enhanced eye care services in high street optometric practice

High street optometric practices are for-profit businesses. They mostly provide sight testing and eye examination services and sell optical products, such as spectacles and contact lenses. The sight testing services are often sold at a vastly reduced price and profits are generated primarily through high margin spectacle sales, in a loss leading strategy. Published literature highlights weaknesses in this strategy as it forms a barrier to widening the scope of services provided within optometric practices. This includes specialist non-refraction based services, such as shared care. In addition this business strategy discourages investment in advanced diagnostic equipment and higher professional qualifications. The aim of this thesis was to develop a greater understanding of the traditional loss-leading strategy. The thesis also aimed to assess the plausibility of alternative business models to support the development of specialist non-refraction services within high street optometric practice. This research was based on a single independent optometric practice that specialises in advanced retinal imaging and offers a broad range of shared care services. Specialist non-refraction based services were found to be poor generators of spectacle sales likely due to patient needs and presenting concerns. Alternative business strategies to support these services included charging more realistic professional fees via cost-based pricing and monthly payment plans. These strategies enabled specialist services to be more self-sustainable with less reliance on cross-subsidy from spectacle sales. Furthermore, improving operational efficiency can increase stand-alone profits for specialist services.Practice managers may be reluctant to increase professional fees due to market pressures and confidence. However, this thesis found that patients were accepting of increased professional fees. Practice managers can implement alternative business models to enhance eye care provision in high street optometric practices. These alternative business models also improve revenues and profits generated via clinical services and improve patient loyalty.

Entre lo público y lo privado: empleadores y trabajadoras domésticas frente al Tribunal del Trabajo Doméstico de la ciudad de Buenos Aires

El servicio doméstico ocupa un lugar ambiguo entre los mundos público y privado. Desarrollado en el interior de los hogares de los empleadores, da lugar a relaciones en las que lo laboral y lo afectivo están imbricados. Los juicios laborales entre empleadores y trabajadoras domésticas constituyen un escenario privilegiado para observar el solapamiento de estas dimensiones. Si las demandas de las trabajadoras frente a las instituciones de justicia sitúan esta relación en el mundo público, las respuestas de los empleadores muchas veces buscan resituarlas en el orden privado. Por otra parte, en algunos escenarios, las demandas de las trabajadoras son también expresadas en un lenguaje que remite a lo privado. En este artículo analizamos las lógicas de la confl ictividad judicial establecidas en las estrategias de empleadores y trabajadoras frente al Tribunal del Trabajo Doméstico (TTD), un organismo creado en 1956 para atender los confl ictos individuales que derivan de las relaciones de trabajo de este sector en la ciudad de Buenos Aires. Tomamos dos horizontes temporales caracterizados por cambios en la regulación del trabajo, en general, y del servicio doméstico, en particular: el de los primeros años de funcionamiento del TTD y el cambio de siglo.

Self-refraction, ready-made glasses and quality of life among rural myopic Chinese children: a non-inferiority randomized trial.

PURPOSE: To study, for the first time, the effect of wearing ready-made glasses and glasses with power determined by self-refraction on children's quality of life. METHODS: This is a randomized, double-masked non-inferiority trial. Children in grades 7 and 8 (age 12-15 years) in nine Chinese secondary schools, with presenting visual acuity (VA) ≤6/12 improved with refraction to ≥6/7.5 bilaterally, refractive error ≤-1.0 D and <2.0 D of anisometropia and astigmatism bilaterally, were randomized to receive ready-made spectacles (RM) or identical-appearing spectacles with power determined by: subjective cycloplegic retinoscopy by a university optometrist (U), a rural refractionist (R) or non-cycloplegic self-refraction (SR). Main study outcome was global score on the National Eye Institute Refractive Error Quality of Life-42 (NEI-RQL-42) after 2 months of wearing study glasses, comparing other groups with the U group, adjusting for baseline score. RESULTS: Only one child (0.18%) was excluded for anisometropia or astigmatism. A total of 426 eligible subjects (mean age 14.2 years, 84.5% without glasses at baseline) were allocated to U [103 (24.2%)], RM [113 (26.5%)], R [108 (25.4%)] and SR [102 (23.9%)] groups, respectively. Baseline and endline score data were available for 398 (93.4%) of subjects. In multiple regression models adjusting for baseline score, older age (p = 0.003) and baseline spectacle wear (p = 0.016), but not study group assignment, were significantly associated with lower final score. CONCLUSION: Quality of life wearing ready-mades or glasses based on self-refraction did not differ from that with cycloplegic refraction by an experienced optometrist in this non-inferiority trial.

Archivage de répétitions et médiations du spectacle vivant. Le cas du projet spectacle en ligne(s)

Cet article revient sur les résultats du programme Spectacle en ligne(s) à partir desquels une réflexion est menée sur le changement de nature de l’archive nativement numérique et de son statut culturel. La constitution d’une archive vidéo annotée des répétitions de deux spectacles vivants nous a permis d’explorer les médiations de l’archive dans le contexte culturel. Notre réflexion sur la médiation se positionne ainsi à la croisée de l’innovation institutionnelle en la matière, et des problématiques scientifiques liées à l’archive numérique. À travers les expérimentations d’éditorialisation de l’archive, menées lors du projet, l’article introduit l’idée que l’archive nativement numérique n’accède au statut d’objet culturel qu’au travers de ses usages, lors de la génération des formes intermédiaires propre à l’éditorialisation de l’archive.

Étude communicationnelle des pratiques culturelles au Québec: analyses des enquêtes ministérielles (1979-2009). Facteurs et prédicteurs, générations et cycles de vie, et découpages territoriaux

Cette thèse porte sur les pratiques culturelles des Québécois et des Québécoises et, plus spécifiquement dans un premier temps, sur les facteurs qui les influencent. Elle traite ensuite des comparaisons entre les individus selon les générations et les cycles de vie. Finalement, elle porte sur les découpages territoriaux régionaux sur le plan des pratiques culturelles et sur les questions liées au territoire. Tous les résultats sont tirés des enquêtes sur les pratiques culturelles au Québec menées à tous les cinq ans depuis 1979 par les ministères en charge de la culture. Les deux principaux référents théoriques sont la théorie de la légitimité de Bourdieu et la figure de l’omnivore de Peterson. Dans la première partie, cette thèse a cherché à savoir si les usages d’Internet sont associés à une ouverture culturelle ou à un confinement. Les résultats montrent que l’âge, la scolarité et les usages culturels que l’on fait d’Internet sont des prédicteurs importants des visites des lieux culturels et des sorties au spectacle. Les modèles qui incluent les usages d’Internet et des variables sociodémographiques sont plus performants que ceux ne considérant que ces dernières. Dans la deuxième partie, les quasi-cohortes à l’étude ont été comparées afin de voir si leurs comportements culturels diffèrent selon les cycles de vie et si leur parcours culturel a varié dans le temps. Finalement, la diversification des pratiques des quasi-cohortes a été étudiée afin d’estimer si elles deviennent plus omnivores avec le temps et d’une quasi-cohorte à l’autre. Le modèle explicatif créé affiche des différences dans le parcours culturel selon les cycles de vie, de même qu’au fil du temps. Il met également en lumière des différences d’une génération à l’autre, de même que des différences entre les générations lorsqu’elles traversent un même cycle de vie. À la différence de ceux de Peterson (2004), les résultats ne permettent pas de conclure que les quasi-cohortes plus âgées sont plus omnivores qu’avant ni que les jeunes sont plus omnivores que leurs aînés. La troisième partie de ce travail avait un objectif comparatif : il s’agissait de voir si les régions administratives du Québec, lorsqu’elles sont étudiées sous l’angle des pratiques culturelles, se regroupent conformément à la typologie des espaces culturels régionaux développée par Harvey et Fortin (1995) sur la base de l’offre culturelle. Les résultats montrent que les regroupements ne sont pas toujours conformes à la typologie et que les pratiques sont très hétérogènes, ce qui permet difficilement d’établir une constance dans les regroupements. Aussi semble-t-il indiqué de fonder la comparaison des territoires sur la prise en compte de l’objet (p. ex. offre ou pratique culturelle), de l’échelle territoriale (p. ex. bibliothèque municipale ou musée national) et de la nature du produit ou de la pratique (p. ex. mobile ou immobile). En conclusion, la pertinence d’élargir l’horizon des pratiques culturelles mesurées dans les enquêtes et d’y inclure des phénomènes transcendants, comme les valeurs, les contraintes et la motivation a été remise en question. À titre d’exemple, l’étude de la motivation pourrait permettre de préciser la figure de l’omnivore au Québec. Il est également apparu pertinent de poursuivre la réflexion en étudiant la manière dont les pratiques culturelles sont consommées afin de voir si, et comment, le cas échéant, s’opère la distinction.

Trajetos cênicos do grupo parafolclórico da UFRN:que dança é essa?

This paper aims at studying UFRN Parafolclórico Group, whose aesthetic formation is subjected to our analysis, specially at its two last performances, that is, Flor do Lírio (Lily Flower), 2004, and Debaixo do Barro do Chão (Under the Mud of the Ground), 2008. Three targets are envisaged here: to analyze the aesthetic ideas backing Parafolclórico Group exhibitions; to evaluate how their many folk elements interact with different artist languages in order to compose a certain choreography; and finally, to identify the aesthetic conformation placed behind the two different choreographs of the last performances, their trends and innermost features that differentiate them. In accordance with the Analysis of Contents (BARDIN, 2006), interviews have been made with the choreographers and the staff of the spectacles, resulting in elucidating answers to the understanding of their thematic axis. On the first chapter we called attention to motivating subjects as recollection, personal experiences, bibliography research, research in loco regarded as propelling forces of the creative works. Herein, folk culture is depicted as a dynamic process opening a frank dialogue with contemporary events and reinforcing their continuity. On the second chapter, we approached the aesthetic conformation and the scenic elements (costumes, light, scenario, make-up), integrating the studied spectacles and disseminating folk songs in various ways. As what concerns the subjects discourse, we have obtained support in authors like Robatto (1994); Lobo; Navas (2008); Burke (1989); Canclini (2006); Dufrenne (2005); Medeiros (2005); Pavis (2005); Silva (2005), among others. Those authors have provided us with an indispensable theoretic support which, added to the interviews, convinced us that the Parafolclórico Group s aesthetic conception tends to identify itself with the artist languages and other techniques of that Group. It also made sure that the Group s course aims at an aesthetic conception which is not limited to popular culture manifestations, like dance, but admits to play with other media in order to communicate its art. In view of this situation, we arrived to two conclusions: first: the group s interchanges emphasize the dynamic character of popular culture which, by establishing contacts with different realities, receives influences capable of extending its own continuity; second: the contemporary state of arts also improves multiple interchanges opening way, so, for many accomplishments in their field. Therefore, UFRN Parafolclórico Group inserts itself in the contemporary scenery by performing new evaluations of the popular dances as long as it puts them in contact with different technical, aesthetic, artist and culture combinations

Archivage de répétitions et médiations du spectacle vivant. Le cas du projet spectacle en ligne(s)

Cet article revient sur les résultats du programme Spectacle en ligne(s) à partir desquels une réflexion est menée sur le changement de nature de l’archive nativement numérique et de son statut culturel. La constitution d’une archive vidéo annotée des répétitions de deux spectacles vivants nous a permis d’explorer les médiations de l’archive dans le contexte culturel. Notre réflexion sur la médiation se positionne ainsi à la croisée de l’innovation institutionnelle en la matière, et des problématiques scientifiques liées à l’archive numérique. À travers les expérimentations d’éditorialisation de l’archive, menées lors du projet, l’article introduit l’idée que l’archive nativement numérique n’accède au statut d’objet culturel qu’au travers de ses usages, lors de la génération des formes intermédiaires propre à l’éditorialisation de l’archive.

Trajetos cênicos do grupo parafolclórico da UFRN:que dança é essa?

This paper aims at studying UFRN Parafolclórico Group, whose aesthetic formation is subjected to our analysis, specially at its two last performances, that is, Flor do Lírio (Lily Flower), 2004, and Debaixo do Barro do Chão (Under the Mud of the Ground), 2008. Three targets are envisaged here: to analyze the aesthetic ideas backing Parafolclórico Group exhibitions; to evaluate how their many folk elements interact with different artist languages in order to compose a certain choreography; and finally, to identify the aesthetic conformation placed behind the two different choreographs of the last performances, their trends and innermost features that differentiate them. In accordance with the Analysis of Contents (BARDIN, 2006), interviews have been made with the choreographers and the staff of the spectacles, resulting in elucidating answers to the understanding of their thematic axis. On the first chapter we called attention to motivating subjects as recollection, personal experiences, bibliography research, research in loco regarded as propelling forces of the creative works. Herein, folk culture is depicted as a dynamic process opening a frank dialogue with contemporary events and reinforcing their continuity. On the second chapter, we approached the aesthetic conformation and the scenic elements (costumes, light, scenario, make-up), integrating the studied spectacles and disseminating folk songs in various ways. As what concerns the subjects discourse, we have obtained support in authors like Robatto (1994); Lobo; Navas (2008); Burke (1989); Canclini (2006); Dufrenne (2005); Medeiros (2005); Pavis (2005); Silva (2005), among others. Those authors have provided us with an indispensable theoretic support which, added to the interviews, convinced us that the Parafolclórico Group s aesthetic conception tends to identify itself with the artist languages and other techniques of that Group. It also made sure that the Group s course aims at an aesthetic conception which is not limited to popular culture manifestations, like dance, but admits to play with other media in order to communicate its art. In view of this situation, we arrived to two conclusions: first: the group s interchanges emphasize the dynamic character of popular culture which, by establishing contacts with different realities, receives influences capable of extending its own continuity; second: the contemporary state of arts also improves multiple interchanges opening way, so, for many accomplishments in their field. Therefore, UFRN Parafolclórico Group inserts itself in the contemporary scenery by performing new evaluations of the popular dances as long as it puts them in contact with different technical, aesthetic, artist and culture combinations

Boris Vian adaptateur de la légende arthurienne : étude comparée de la pièce de théâtre et de l'opéra Le Chevalier de Neige

Ce mémoire interroge la posture d'adaptateur de Boris Vian, encore fort méconnue. En 1953, il a repris à son compte la littérature arthurienne afin d'écrire – en réponse à une commande de la part du Festival dramatique de Caen – une pièce de théâtre, Le Chevalier de Neige. Par la suite, cette pièce est devenue un opéra, produit à Nancy en 1957. Malgré le succès de ces deux spectacles, le souvenir de cette œuvre n'a pas dépassé la mort de son auteur. Il n'en reste aujourd'hui que les textes et les partitions musicales, puisqu'aucun des spectacles n'a été enregistré. L'objectif de ce mémoire est de mettre en lumière ce travail d'adaptation et de réécriture d'un auteur phare du XXème siècle, connu principalement pour ses romans et ses chansons, et qui a consacré ses dernières années à la création d'une œuvre globale alliant texte, musique et art de la scène. Qu'est-il possible de savoir sur l'entreprise du Chevalier de Neige? Quel est le poids de l'intertexte médiéval et contemporain dans ces deux réécritures? Quels furent les procédés d'adaptation mis en œuvre dans l'élaboration de cette pièce, puis de cet opéra? C'est à toutes ces questions que nous nous proposons de répondre, afin de découvrir l'importance et l'intérêt du Chevalier de Neige dans le parcours littéraire de Boris Vian.

Long-term efficacy of orthokeratology contact lens wear in controlling the progression of childhood myopia

Purpose: The primary outcome of this study is to compare the axial length growth of white European myopic children wearing orthokeratology contact lenses (OK) to a control group (CT) over a 7-year period. Methods: Subjects 6–12 years of age with myopia −0.75 to −4.00DS and astigmatism ≤1.00DC were prospectively allocated OK or distance single-vision spectacles (SV) correction. Measurements of axial length (Zeiss IOLMaster), corneal topography, and cycloplegic refraction were taken at 6-month intervals over a 2-year period. Subjects were invited to return to the clinic approximately 5 years later (i.e., 7 years after the beginning of the study) for assessment of their ocular refractive and biometric components. The CT consisted of 4 SV and 12 subjects who switched from SV to soft contact lens wear after the initial 2 years of SV lens wear. Changes in axial length relative to baseline over a 7-year period were compared between groups. Results: Fourteen and 16 subjects from the OK and CT groups, respectively, were examined 6.7 ± 0.5 years after the beginning of the study. Statistically significant changes in the axial length were found over time and between groups (both p <0.001), but not for the time*group interaction (p = 0.125). The change in the axial length for the OK group was 22% (p = 0.328), 42% (p = 0.007), 40% (p = 0.020), 41% (p = 0.013), and 33% (p = 0.062) lower than the CT group following 6, 12, 18, 24, and 84 months of lens wear, respectively. Conclusion: A trend toward a reduction in the rate of axial elongation of the order of 33% was found in the OK group in comparison to the CT group following 7 years of lens wear.