Do registro ao indicador: gestão da produção da informação assistencial nos hospitais

A valorização da utilização de indicadores assistenciais no monitoramento do desempenho dos sistemas de serviços de saúde cresceu de forma significativa nas últimas décadas. A expansão do Sistema Único de Saúde/SUS e do Sistema de Saúde Suplementar, e as formas de gestão adotadas estimularam o uso de indicadores na avaliação do desempenho, qualidade e segurança nos hospitais, sendo propostos sistemas de indicadores. Não houve uma correspondente preocupação com as condições de produção dos dados e informações para esses indicadores nos serviços de saúde. O artigo discute algumas das condições necessárias para a qualidade nos indicadores para a gestão da assistência nos hospitais: uma cultura de valorização da informação clínica, administrativa e de pesquisa, compartilhada por todos, e a adequada gestão dos registros clínicos, estatísticas hospitalares e sistemas de informações hospitalares. Não existem propostas prontas para a gestão da informação nos hospitais, fazendo-se necessário desenvolver uma capacidade institucional de incorporar e utilizar, na forma mais adequada para cada instituição e contexto, competências e recursos materiais e humanos diversificados, para que a gestão da informação se transforme em um processo dinâmico e parte da gestão do serviço como um todo

Percorsi di gender performance: fotografia tra arte e moda dagli anni Novanta ad oggi

My project explores and compares different forms of gender performance in contemporary art and visual culture according to a perspective centered on photography. Thanks to its attesting power this medium can work as a ready-made. In fact during the 20th century it played a key role in the cultural emancipation of the body which (using a Michel Foucault’s expression) has now become «the zero point of the world». Through performance the body proves to be a living material of expression and communication while photography ensures the recording of any ephemeral event that happens in time and space. My questioning approach considers the gender constructed imagery from the 1990s to the present in order to investigate how photography’s strong aura of realism promotes and allows fantasies of transformation. The contemporary fascination with gender (especially for art and fashion) represents a crucial issue in the global context of postmodernity and is manifested in a variety of visual media, from photography to video and film. Moreover the internet along with its digital transmission of images has deeply affected our world (from culture to everyday life) leading to a postmodern preference for performativity over the more traditional and linear forms of narrativity. As a consequence individual borders get redefined by the skin itself which (dissected through instant vision) turns into a ductile material of mutation and hybridation in the service of identity. My critical assumptions are taken from the most relevant changes occurred in philosophy during the last two decades as a result of the contributions by Jacques Lacan, Michel Foucault, Jacques Derrida, Gilles Deleuze who developed a cross-disciplinary and comparative approach to interpret the crisis of modernity. They have profoundly influenced feminist studies so that the category of gender has been reassessed in contrast with sex (as a biological connotation) and in relation to history, culture, society. The ideal starting point of my research is the year 1990. I chose it as the approximate historical moment when the intersection of race, class and gender were placed at the forefront of international artistic production concerned with identity, diversity and globalization. Such issues had been explored throughout the 1970s but it was only from the mid-1980s onward that they began to be articulated more consistently. Published in 1990, the book "Gender trouble: feminism and the subversion of identity" by Judith Butler marked an important breakthrough by linking gender to performance as well as investigating the intricate connections between theory and practice, embodiment and representation. It inspired subsequent research in a variety of disciplines, art history included. In the same year Teresa de Lauretis launched the definition of queer theory to challenge the academic perspective in gay and lesbian studies. In the meantime the rise of Third Wave Feminism in the US introduced a racially and sexually inclusive vision over the global situation in order to reflect on subjectivity, new technologies and popular culture in connection with gender representation. These conceptual tools have enabled prolific readings of contemporary cultural production whether fine arts or mass media. After discussing the appropriate framework of my project and taking into account the postmodern globalization of the visual, I have turned to photography to map gender representation both in art and in fashion. Therefore I have been creating an archive of images around specific topics. I decided to include fashion photography because in the 1990s this genre moved away from the paradigm of an idealized and classical beauty toward a new vernacular allied with lifestyles, art practices, pop and youth culture; as one might expect the dominant narrative modes in fashion photography are now mainly influenced by cinema and snapshot. These strategies originate story lines and interrupted narratives using models’ performance to convey a particular imagery where identity issues emerge as an essential part of fashion spectacle. Focusing on the intersections of gender identities with socially and culturally produced identities, my approach intends to underline how the fashion world has turned to current trends in art photography and in some case turned to the artists themselves. The growing fluidity of the categories that distinguish art from fashion photography represents a particularly fruitful moment of visual exchange. Varying over time the dialogue between these two fields has always been vital; nowadays it can be studied as a result of this close relationship between contemporary art world and consumer culture. Due to the saturation of postmodern imagery the feedback between art and fashion has become much more immediate and then increasingly significant for anyone who wants to investigate the construction of gender identity through performance. In addition to that a lot of magazines founded in the 1990s bridged the worlds of art and fashion because some of their designers and even editors were art-school graduates encouraging innovation. The inclusion of art within such magazines aimed at validating them as a form of art in themselves supporting a dynamic intersection for music, fashion, design and youth culture: an intersection that also contributed to create and spread different gender stereotypes. This general interest in fashion produced many exhibitions of and about fashion itself at major international venues such as the Victoria and Albert Museum in London, the Metropolitan Museum of Art and the Solomon R. Guggenheim Museum in New York. Since then this celebrated success of fashion has been regarded as a typical element of postmodern culture. Owing to that I have also based my analysis on some important exhibitions dealing with gender performance like "Féminin-Masculin" at the Centre Pompidou of Paris (1995), "Rrose is a Rrose is a Rrose. Gender performance in photography" at the Solomon R. Guggenheim Museum of New York (1997), "Global Feminisms" at the Brooklyn Museum (2007), "Female Trouble" at the Pinakothek der Moderne in München together with the workshops dedicated to "Performance: gender and identity" in June 2005 at the Tate Modern of London. Since 2003 in Italy we have had Gender Bender - an international festival held annually in Bologna - to explore the gender imagery stemming from contemporary culture. In few days this festival offers a series of events ranging from visual arts, performance, cinema, literature to conferences and music. Being aware that any method of research is neither race nor gender neutral I have traced these critical paths to question gender identity in a multicultural perspective taking account of the political implications too. In fact, if visibility may be equated with exposure, we can also read these images as points of intersection of visibility with social power. Since gender assignations rely so heavily on the visual, the postmodern dismantling of gender certainty through performance has wide-ranging effects that need to be analyzed. In some sense this practice can even contest the dominance of visual within postmodernism. My visual map in contemporary art and fashion photography includes artists like Nan Goldin, Cindy Sherman, Hellen van Meene, Rineke Dijkstra, Ed Templeton, Ryan McGinley, Anne Daems, Miwa Yanagi, Tracey Moffat, Catherine Opie, Tomoko Sawada, Vanessa Beecroft, Yasumasa Morimura, Collier Schorr among others.

Organizational Frames for Professional Claims: Private Military Corporations and the Rise of the Military Paraprofessional

Corporations, nongovernmental organizations, and other organizational forms are major players in the sodal world. Recently, sociological scholarship on organizations has converged with research on the professions to discuss the ways in which professions are shaped or influenced by different organizational forms. In this article, I borrows from the notion of framing within social movement research to argue that organizational forms frame the bids of aspiring professionals. More specifically, I argue that certain organizational forms-such as that of the modern corporation-can aid would-be professionals in making their claims for professional recognition. Organizations do this, I argue, by providing aspiring professionals with a ready-made setting, rationale, and guarantees that make the newcomers more easily recognizable as professionals to outside audiences. I explore this argument by examining how the corporate form has facilitated private military contractors in their attempts to legitimate and develop this highly controversial new industry. The data are drawn from my interviews with private military contractors, state officials, and other interested parties surrounding private military corporations, as well as from archival data that detail the rise of the private military industry.

Pensar su tiempo, deshilvanar el orden social

Edgardo Antonio Vigo fue un artista plástico que utilizó distintas técnicas y formas de expresión, como la poesía visual, las performances urbanas, el arte correo, la escritura de manifiestos y otros textos, así como la edición de revistas, entre otras actividades. Vigo produjo su poética en clave de rebeldía de su tiempo, especialmente entre los '60 y '70, pero su rebelión transcurrió también por fuera del estereotipo más consolidado para la época. La obra de Vigo retoma algunos procedimientos de las vanguardias, como la utilización del objeto ya hecho, el uso de espacios alternativos de producción y difusión de sus obras, el abandono casi completo del formato de cuadro, entre otros. Interesa pensar en este trabajo de qué modo esta apropiación de técnicas y procedimientos previos, se combina con otra ruptura dirigida no sólo al sistema artístico, sino también al orden social. En este sentido, la obra de Vigo piensa su tiempo. ;Así como tematizó ciertos acontecimientos de relevancia política de los ámbitos nacional e internacional, también realizó una operación novedosa en su obra: la utilización del discurso judicial-administrativo. Se analizan en este trabajo algunos de sus usos en acciones artísticas. Concluimos en que se trató de una materia que incorporaría en su poética para desnaturalizarla de su lugar original, aristocrático y privatista. En este sentido, toma un aspecto no menor del funcionamiento del orden social disociándolo de su lugar normal y, al ofrecerlo a todos a través de acciones artísticas, permite una apropiación descentrada, fuera de los límites impuestos por su naturaleza

El efecto Duchamp

En una literatura en la que ha desaparecido el valor y los fantasmas perdieron consistencia, el lenguaje es un ready made de clichés. Algunas novelas actuales, sin embargo, han merecido el epíteto de verdaderas" (Jarkowski 2008) o "auténticas" (Lemus 2004). La magia ha regresado, y los narradores, aunque sus relatos sean inconclusos, indiferentes e incluso frívolos, interpelan al lector como los grandes realistas (Lukács 1971) porque el efecto de los textos es indicial. Señalan -con brutalidad o con delicia- el desfasaje entre lo que se dice y lo que se hace o lo que se deja de hacer. Nombran así, con palabras comunes y sin ninguna distancia, deseos singulares: los suyos y los nuestros (Aira 1988: 59)

El efecto Duchamp

En una literatura en la que ha desaparecido el valor y los fantasmas perdieron consistencia, el lenguaje es un ready made de clichés. Algunas novelas actuales, sin embargo, han merecido el epíteto de verdaderas" (Jarkowski 2008) o "auténticas" (Lemus 2004). La magia ha regresado, y los narradores, aunque sus relatos sean inconclusos, indiferentes e incluso frívolos, interpelan al lector como los grandes realistas (Lukács 1971) porque el efecto de los textos es indicial. Señalan -con brutalidad o con delicia- el desfasaje entre lo que se dice y lo que se hace o lo que se deja de hacer. Nombran así, con palabras comunes y sin ninguna distancia, deseos singulares: los suyos y los nuestros (Aira 1988: 59)

Pensar su tiempo, deshilvanar el orden social

Edgardo Antonio Vigo fue un artista plástico que utilizó distintas técnicas y formas de expresión, como la poesía visual, las performances urbanas, el arte correo, la escritura de manifiestos y otros textos, así como la edición de revistas, entre otras actividades. Vigo produjo su poética en clave de rebeldía de su tiempo, especialmente entre los '60 y '70, pero su rebelión transcurrió también por fuera del estereotipo más consolidado para la época. La obra de Vigo retoma algunos procedimientos de las vanguardias, como la utilización del objeto ya hecho, el uso de espacios alternativos de producción y difusión de sus obras, el abandono casi completo del formato de cuadro, entre otros. Interesa pensar en este trabajo de qué modo esta apropiación de técnicas y procedimientos previos, se combina con otra ruptura dirigida no sólo al sistema artístico, sino también al orden social. En este sentido, la obra de Vigo piensa su tiempo. ;Así como tematizó ciertos acontecimientos de relevancia política de los ámbitos nacional e internacional, también realizó una operación novedosa en su obra: la utilización del discurso judicial-administrativo. Se analizan en este trabajo algunos de sus usos en acciones artísticas. Concluimos en que se trató de una materia que incorporaría en su poética para desnaturalizarla de su lugar original, aristocrático y privatista. En este sentido, toma un aspecto no menor del funcionamiento del orden social disociándolo de su lugar normal y, al ofrecerlo a todos a través de acciones artísticas, permite una apropiación descentrada, fuera de los límites impuestos por su naturaleza

El efecto Duchamp

En una literatura en la que ha desaparecido el valor y los fantasmas perdieron consistencia, el lenguaje es un ready made de clichés. Algunas novelas actuales, sin embargo, han merecido el epíteto de verdaderas" (Jarkowski 2008) o "auténticas" (Lemus 2004). La magia ha regresado, y los narradores, aunque sus relatos sean inconclusos, indiferentes e incluso frívolos, interpelan al lector como los grandes realistas (Lukács 1971) porque el efecto de los textos es indicial. Señalan -con brutalidad o con delicia- el desfasaje entre lo que se dice y lo que se hace o lo que se deja de hacer. Nombran así, con palabras comunes y sin ninguna distancia, deseos singulares: los suyos y los nuestros (Aira 1988: 59)

Effect of control method on impedance-based interactions in a buck converter

All the interconnected regulated systems are prone to impedance-based interactions making them sensitive to instability and transient-performance degradation. The applied control method affects significantly the characteristics of the converter in terms of sensitivity to different impedance interactions. This paper provides for the first time the whole set of impedance-type internal parameters and the formulas according to which the interaction sensitivity can be fully explained and analyzed. The formulation given in this paper can be utilized equally either based on measured frequency responses or on predicted analytic transfer functions. Usually, the distributed dc-dc systems are constructed by using ready-made power modules without having thorough knowledge on the actual power-stage and control-system designs. As a consequence, the interaction characterization has to be based on the frequency responses measureable via the input and output terminals. A buck converter with four different control methods is experimentally characterized in frequency domain to demonstrate the effect of control method on the interaction sensitivity. The presented analytical models are used to explain the phenomena behind the changes in the interaction sensitivity.

The future of the Franco-German tandem. OSW Commentary No. 83, 2012-07-11

Following the victories of François Hollande in the presidential election and the Socialist Party in the parliamentary election, the existing model of relations between Germany and France as symbolised by the Merkel-Sarkozy duo is undergoing a transformation. Along with the defeat for Sarkozy, who had fostered close cooperation with the German Chancellor, we are witnessing a change in the German-French modus operandi, which was based on making confidential agreements concerning the anti-crisis measures in the eurozone and then presenting ready-made solutions to other EU members (as in the case of the successive versions of the document currently known as the fiscal pact). However, a conflict in bilateral relations, which would mean a total breakdown of the Franco-German engine, is rather unlikely. In fact, François Hollande’s proposals have diminished the appearance of the two states’ exceptional compatibility, and have restored the specific relationship affected by the natural rivalry between two states, who because of their economies’ different orientation have divergent interests. Nevertheless, both sides are destined to reach a compromise, as neither can attain its goals in the face of the other’s opposition. In the long term, Hollande is likely to maintain a common front with Germany in fighting the crisis, while at the same time trying (with his allies from the south of the EU) to limit Berlin’s political and economic superiority.

Neoplastic Transformation of T Lymphocytes through Transgenic Expression of a Virus Host Modification Protein

Virus host evasion genes are ready-made tools for gene manipulation and therapy. In this work we have assessed the impact in vivo of the evasion gene A238L of the African Swine Fever Virus, a gene which inhibits transcription mediated by both NF-κB and NFAT. The A238L gene has been selectively expressed in mouse T lymphocytes using tissue specific promoter, enhancer and locus control region sequences for CD2. The resulting two independently derived transgenic mice expressed the transgene and developed a metastasic, angiogenic and transplantable CD4(+)CD8(+)CD69(-) lymphoma. The CD4(+)CD8(+)CD69(-) cells also grew vigorously in vitro. The absence of CD69 from the tumour cells suggests that they were derived from T cells at a stage prior to positive selection. In contrast, transgenic mice similarly expressing a mutant A238L, solely inhibiting transcription mediated by NF-κB, were indistinguishable from wild type mice. Expression of Rag1, Rag2, TCRβ-V8.2, CD25, FoxP3, Bcl3, Bcl2 l14, Myc, IL-2, NFAT1 and Itk, by purified CD4(+)CD8(+)CD69(-) thymocytes from A238L transgenic mice was consistent with the phenotype. Similarly evaluated expression profiles of CD4(+)CD8(+) CD69(-) thymocytes from the mutant A238L transgenic mice were comparable to those of wild type mice. These features, together with the demonstration of (mono-)oligoclonality, suggest a transgene-NFAT-dependent transformation yielding a lymphoma with a phenotype reminiscent of some acute lymphoblastic lymphomas.

Pensar su tiempo, deshilvanar el orden social

Edgardo Antonio Vigo fue un artista plástico que utilizó distintas técnicas y formas de expresión, como la poesía visual, las performances urbanas, el arte correo, la escritura de manifiestos y otros textos, así como la edición de revistas, entre otras actividades. Vigo produjo su poética en clave de rebeldía de su tiempo, especialmente entre los '60 y '70, pero su rebelión transcurrió también por fuera del estereotipo más consolidado para la época. La obra de Vigo retoma algunos procedimientos de las vanguardias, como la utilización del objeto ya hecho, el uso de espacios alternativos de producción y difusión de sus obras, el abandono casi completo del formato de cuadro, entre otros. Interesa pensar en este trabajo de qué modo esta apropiación de técnicas y procedimientos previos, se combina con otra ruptura dirigida no sólo al sistema artístico, sino también al orden social. En este sentido, la obra de Vigo piensa su tiempo. ;Así como tematizó ciertos acontecimientos de relevancia política de los ámbitos nacional e internacional, también realizó una operación novedosa en su obra: la utilización del discurso judicial-administrativo. Se analizan en este trabajo algunos de sus usos en acciones artísticas. Concluimos en que se trató de una materia que incorporaría en su poética para desnaturalizarla de su lugar original, aristocrático y privatista. En este sentido, toma un aspecto no menor del funcionamiento del orden social disociándolo de su lugar normal y, al ofrecerlo a todos a través de acciones artísticas, permite una apropiación descentrada, fuera de los límites impuestos por su naturaleza

The Japanisation process in Malaysia

This thesis examines the empirical evidence for the transferability of Japanese soft technology (JST) or Japanese work organisation within two government-initiated, Malaysian-Japanese strategic alliances: PROTON and PERNEC. The government, through its Look East Policy (LEP) began in 1982, taking Japan (and South Korea) as models and partners in Malaysian economic and industrial development process, and expected these alliances to learn the good aspects of Japanese work organisations and management styles in order for them to become independent companies, both technologically and economically. The thesis found that the alliances have been successfully taking and utilising Japanese parts, components, tools, robots and machines; i.e. the 'ready-made hard technology'. [Whereas the important element of soft technology has been ignored]. The soft technology has been slowly and marginally transferred because neither local parties nor their Japanese counterparts within the alliances consider the acquisition or transfer of soft technology to be the main concern or a part of business plan. Although many factors influence management transfer, the thesis has focused on the eagerness and the capability of Malaysian managerial teams to acquire and, to a lesser extent, the readiness of the Japanese to transfer the technology. It was found that there is a lack of demand on technology acquisition by Malaysian managers and lack of responsibility to transfer the technology among Japanese experts. However, the political and social pressures on these alliances, the industrial climate and labour market, leaderships and management system of alliances, and Japanese MNCs regional and global corporate strategies have contributed to the high level of transfer of JST at PROTON compared to PERNEC. The research also found that Malaysian industrial and investment policies have favoured foreign investment but there is a lack of strategies for nurturing indigenous technological development.On the other hand the Japanese MNCs and public agencies have been operating in Malaysia and guided by their regional and global corporate strategies and less concerned with Malaysian technological development. In conclusion, empirically, the JST transfer is minimal. The transfer has been influenced by internal contingency factors of organisation; external industrial, political and cultural environmental factors; and last but not least the Japanese MNCs' global and regional corporate strategies. The transfer of Japanese management in this research is inclined towards core-periphery transfer model, it is also related to organisational and national technological capability.

Research strategies for organizational history:a dialogue between historical theory and organization theory

If history matters for organization theory, then we need greater reflexivity regarding the epistemological problem of representing the past; otherwise, history might be seen as merely a repository of ready-made data. To facilitate this reflexivity, we set out three epistemological dualisms derived from historical theory to explain the relationship between history and organization theory: (1) in the dualism of explanation, historians are preoccupied with narrative construction, whereas organization theorists subordinate narrative to analysis; (2) in the dualism of evidence, historians use verifiable documentary sources, whereas organization theorists prefer constructed data; and (3) in the dualism of temporality, historians construct their own periodization, whereas organization theorists treat time as constant for chronology. These three dualisms underpin our explication of four alternative research strategies for organizational history: corporate history, consisting of a holistic, objectivist narrative of a corporate entity; analytically structured history, narrating theoretically conceptualized structures and events; serial history, using replicable techniques to analyze repeatable facts; and ethnographic history, reading documentary sources "against the grain." Ultimately, we argue that our epistemological dualisms will enable organization theorists to justify their theoretical stance in relation to a range of strategies in organizational history, including narratives constructed from documentary sources found in organizational archives. Copyright of the Academy of Management, all rights reserved.

Applied web traffic analysis for numerical encoding of SQL Injection attack features.

SQL Injection Attack (SQLIA) remains a technique used by a computer network intruder to pilfer an organisation’s confidential data. This is done by an intruder re-crafting web form’s input and query strings used in web requests with malicious intent to compromise the security of an organisation’s confidential data stored at the back-end database. The database is the most valuable data source, and thus, intruders are unrelenting in constantly evolving new techniques to bypass the signature’s solutions currently provided in Web Application Firewalls (WAF) to mitigate SQLIA. There is therefore a need for an automated scalable methodology in the pre-processing of SQLIA features fit for a supervised learning model. However, obtaining a ready-made scalable dataset that is feature engineered with numerical attributes dataset items to train Artificial Neural Network (ANN) and Machine Leaning (ML) models is a known issue in applying artificial intelligence to effectively address ever evolving novel SQLIA signatures. This proposed approach applies numerical attributes encoding ontology to encode features (both legitimate web requests and SQLIA) to numerical data items as to extract scalable dataset for input to a supervised learning model in moving towards a ML SQLIA detection and prevention model. In numerical attributes encoding of features, the proposed model explores a hybrid of static and dynamic pattern matching by implementing a Non-Deterministic Finite Automaton (NFA). This combined with proxy and SQL parser Application Programming Interface (API) to intercept and parse web requests in transition to the back-end database. In developing a solution to address SQLIA, this model allows processed web requests at the proxy deemed to contain injected query string to be excluded from reaching the target back-end database. This paper is intended for evaluating the performance metrics of a dataset obtained by numerical encoding of features ontology in Microsoft Azure Machine Learning (MAML) studio using Two-Class Support Vector Machines (TCSVM) binary classifier. This methodology then forms the subject of the empirical evaluation.