Incidence of adverse events associated with percutaneous muscular biopsy among healthy and diseased subjects

The development of the percutaneous muscle biopsy technique is recognized as one of the most important scientific contributions in advancing our understanding of skeletal muscle physiology. However, a concern that this procedure may be associated with adverse events still exists. We reported the incidence of adverse outcomes associated with percutaneous muscle biopsy in healthy and diseased subjects. Medical records of 274 volunteers (496 muscle biopsies) were reviewed. This included 168 healthy subjects (330 muscle biopsies) as well as 106 chronically ill patients (166 muscle biopsies). This latter group encompassed patients with type II diabetes (n=28), osteoarthritis (n=39), inclusion body myositis (n=4), polymyositis (n=4), and chronic heart failure (n=31). The most common occurrences were pain (1.27%), erythema (1.27%), and ecchymosis (1.27%). Panic episode, bleeding, and edema were also reported (0.21%, 0.42%, and 0.84%, respectively), while infection, hematoma, inflammation, denervation, numbness, atrophy, and abnormal scarring were not verified. The percent of incidents did not differ between healthy and ill individuals. In conclusion, the incidence of complications associated with percutaneous muscle biopsy is scarce and of minor clinical relevance. Additionally, the rate of adverse events is comparable between healthy and chronically ill subjects.

Aldo Rossi, autobiografia scientifica: scrittura come progetto. Indagine critica tra scrittura e progetto di architettura

«In altri termini mi sfuggiva e ancora oggi mi sfugge gran parte del significato dell’evoluzione del tempo; come se il tempo fosse una materia che osservo dall’esterno. Questa mancanza di evoluzione è fonte di alcune mie sventure ma anche mi appartiene con gioia.» Aldo Rossi, Autobiografia scientifica. The temporal dimension underpinning the draft of Autobiografia scientifica by Aldo Rossi may be referred to what Lucien Lévy-Bruhl, the well-known French anthropologist, defines as “primitive mentality” and “prelogical” conscience : the book of life has lost its page numbers, even punctuation. For Lévy-Bruhl, but certainly for Rossi, life or its summing up becomes a continuous account of ellipses, gaps, repetitions that may be read from left to right or viceversa, from head to foot or viceversa without distinction. Rossi’s autobiographical writing seems to accept and support the confusion with which memories have been collected, recording them after the order memory gives them in the mental distillation or simply according to the chronological order in which they have happened. For Rossi, the confusion reflects the melting of memory elements into a composite image which is the result of a fusion. He is aware that the same sap pervades all memories he is going to put in order: each of them has got a common denominator. Differences have diminished, almost faded; the quick glance is prevalent over the distinction of each episode. Rossi’s writing is beyond the categories dependent on time: past and present, before and now. For Rossi, the only repetition – the repetition the text will make possible for an indefinite number of times – gives peculiarity to the event. As Gilles Deleuze knows, “things” may only last as “singleness”: more frequent the repetition is, more singular is the memory phenomenon that recurs, because only what is singular magnifies itself and happens endlessly forever. Rossi understands that “to raise the first time to nth forever”, repetition becomes glorification . It may be an autobiography that, celebrating the originality, enhances the memory event in the repetition; in fact it greatly differs from the biographical reproduction, in which each repetition is but a weaker echo, a duller copy, provided with a smaller an smaller power in comparison with the original. Paradoxically, for Deleuze the repetition asserts the originality and singularity of what is repeated. Rossi seems to share the thought expressed by Kierkegaard in the essay Repetition: «The hope is a graceful maiden slipping through your fingers; the memory of an elderly woman, indeed pretty, but never satisfactory if necessary; the repetition is a loved friend you are never tired of, as it is only the new to make you bored. The old never bores you and its presence makes you happy [...] life is but a repetition [...] here is the beauty of life» . Rossi knows well that repetition hints at the lasting stability of cosmic time. Kierkegaard goes on: «The world exists, and it exists as a repetition» . Rossi devotes himself, on purpose and in all conscience, to collect, to inventory and «to review life», his own life, according to a recovery not from the past but of the past: a search work, the «recherche du temps perdu», as Proust entitled his masterpiece on memory. If you want the past time to be not wasted, you must give it presence. «Memoria e specifico come caratteristiche per riconoscere se stesso e ciò che è estraneo mi sembravano le più chiare condizioni e spiegazioni della realtà. Non esiste uno specifico senza memoria, e una memoria che non provenga da un momento specifico; e solo questa unione permette la conoscenza della propria individualità e del contrario (self e non-self)» . Rossi wants to understand himself, his own character; it is really his own character that requires to be understood, to increase its own introspective ability and intelligence. «Può sembrare strano che Planck e Dante associno la loro ricerca scientifica e autobiografica con la morte; una morte che è in qualche modo continuazione di energia. In realtà, in ogni artista o tecnico, il principio della continuazione dell’energia si mescola con la ricerca della felicità e della morte» . The eschatological incipit of Rossi’s autobiography refers to Freud’s thought in the exact circularity of Dante’s framework and in as much exact circularity of the statement of the principle of the conservation of energy: in fact it was Freud to connect repetition to death. For Freud, the desire of repetition is an instinct rooted in biology. The primary aim of such an instinct would be to restore a previous condition, so that the repeated history represents a part of the past (even if concealed) and, relieving the removal, reduces anguish and tension. So, Freud ask himself, what is the most remote state to which the instinct, through the repetition, wants to go back? It is a pre-vital condition, inorganic of the pure entropy, a not-to-be condition in which doesn’t exist any tension; in other words, Death. Rossi, with the theme of death, introduces the theme of circularity which further on refers to the sense of continuity in transformation or, in the opposite way, the transformation in continuity. «[...] la descrizione e il rilievo delle forme antiche permettevano una continuità altrimenti irripetibile, permettevano anche una trasformazione, una volta che la vita fosse fermata in forme precise» . Rossi’s attitude seems to hint at the reflection on time and – in a broad sense – at the thought on life and things expressed by T.S. Eliot in Four Quartets: «Time present and time past / Are both perhaps present in time future, / And time future is contained in time past. / I all time is eternally present / All time is unredeemable. / What might have been is an abstraction / Remaining perpetual possibility / Only in a word of speculation. / What might have been and what has been / Point to one end, which is always present. [...]» . Aldo Rossi’s autobiographical story coincides with the description of “things” and the description of himself through the things in the exact parallel with craft or art. He seems to get all things made by man to coincide with the personal or artistic story, with the consequent immediate necessity of formulating a new interpretation: the flow of things has never met a total stop; all that exists nowadays is but a repetition or a variant of something existing some time ago and so on, without any interruption until the early dawnings of human life. Nevertheless, Rossi must operate specific subdivisions inside the continuous connection in time – of his time – even if limited by a present beginning and end of his own existence. This artist, as an “historian” of himself and his own life – as an auto-biographer – enjoys the privilege to be able to decide if and how to operate the cutting in a certain point rather than in another one, without being compelled to justify his choice. In this sense, his story is a matter very ductile and flexible: a good story-teller can choose any moment to start a certain sequence of events. Yet, Rossi is aware that, beyond the mere narration, there is the problem to identify in history - his own personal story – those flakings where a clean cut enables the separation of events of different nature. In order to do it, he has to make not only an inventory of his own “things”, but also to appeal to authority of the Divina Commedia started by Dante when he was 30. «A trent’anni si deve compiere o iniziare qualcosa di definitivo e fare i conti con la propria formazione» . For Rossi, the poet performs his authority not only in the text, but also in his will of setting out on a mystical journey and handing it down through an exact descriptive will. Rossi turns not only to the authority of poetry, but also evokes the authority of science with Max Plank and his Scientific Autobiography, published, in Italian translation, by Einaudi, 1956. Concerning Planck, Rossi resumes an element seemingly secondary in hit account where the German physicist «[...] risale alle scoperte della fisica moderna ritrovando l’impressione che gli fece l’enunciazione del principio di conservazione dell’energia; [...]» . It is again the act of describing that links Rossi to Planck, it is the description of a circularity, the one of conservation of energy, which endorses Rossi’s autobiographical speech looking for both happiness and death. Rossi seems to agree perfectly to the thought of Planck at the opening of his own autobiography: «The decision to devote myself to science was a direct consequence of a discovery which was never ceased to arouse my enthusiasm since my early youth: the laws of human thought coincide with the ones governing the sequences of the impressions we receive from the world surrounding us, so that the mere logic can enable us to penetrate into the latter one’s mechanism. It is essential that the outer world is something independent of man, something absolute. The search of the laws dealing with this absolute seems to me the highest scientific aim in life» . For Rossi the survey of his own life represents a way to change the events into experiences, to concentrate the emotion and group them in meaningful plots: «It seems, as one becomes older. / That the past has another pattern, and ceases to be a mere sequence [...]» Eliot wrote in Four Quartet, which are a meditation on time, old age and memory . And he goes on: «We had the experience but missed the meaning, / And approach to the meaning restores the experience / In a different form, beyond any meaning [...]» . Rossi restores in his autobiography – but not only in it – the most ancient sense of memory, aware that for at least 15 centuries the Latin word memoria was used to show the activity of bringing back images to mind: the psychology of memory, which starts with Aristotele (De Anima), used to consider such a faculty totally essential to mind. Keith Basso writes: «The thought materializes in the form of “images”» . Rossi knows well – as Aristotele said – that if you do not have a collection of mental images to remember – imagination – there is no thought at all. According to this psychological tradition, what today we conventionally call “memory” is but a way of imagining created by time. Rossi, entering consciously this stream of thought, passing through the Renaissance ars memoriae to reach us gives a great importance to the word and assumes it as a real place, much more than a recollection, even more than a production and an emotional elaboration of images.

Dall'involucro all'invaso. Lo spazio a pianta centrale nell'opera architettonica di Adalberto Libera

An archetype selected over the centuries Adalberto Libera wrote little, showing more inclination to use the project as the only means of verification. This study uses a survey of the project for purely compositional space in relation to the reason that most other returns with continuity and consistency throughout his work. "The fruit of a type selected over centuries", in the words of Libera, is one of the most widely used and repeated spatial archetypes present in the history of architecture, given its nature as defined by a few consolidated elements and precisely defined with characters of geometric precision and absoluteness, the central space is provided, over the course of evolution of architecture, and its construction aspects as well as symbolic, for various uses, from historical period in which it was to coincide with sacred space for excellence, to others in which it lends itself to many different expressive possibilities of a more "secular". The central space was created on assumptions of a constructive character, and the same exact reason has determined the structural changes over the centuries, calling from time to time with advances in technology, the maximum extent possible and the different applications, which almost always have coincided with the reason for the monumental space. But it’s in the Roman world that the reason for the central space is defined from the start of a series of achievements that fix the character in perpetuity. The Pantheon was seen maximum results and, simultaneously, the archetype indispensable, to the point that it becomes difficult to sustain a discussion of the central space that excludes. But the reason the space station has complied, in ancient Rome, just as exemplary, monuments, public spaces or buildings with very different implications. The same Renaissance, on which Wittkower's proving itself once and for all, the nature and interpretation of sacred space station, and thus the symbolic significance of that invaded underlying interpretations related to Humanism, fixing the space-themed drawing it with the study and direct observation by the four-sixteenth-century masters, the ruins that in those years of renewed interest in the classical world, the first big pieces of excavation of ancient Rome brought to light with great surprise of all. Not a case, the choice to investigate the architectural work of Libera through the grounds of the central space. Investigating its projects and achievements, it turns out as the reason invoked particularly evident from the earliest to latest work, crossing-free period of the war which for many authors in different ways, the distinction between one stage and another, or the final miss. The theme and the occasion for Libera always distinct, it is precisely the key through which to investigate her work, to come to discover that the first-in this case the central plan-is the constant underlying all his work, and the second reason that the quota with or at the same time, we will return different each time and always the same Libera, formed on the major works remained from ancient times, and on this building method, means consciously, that the characters of architectural works, if valid, pass the time, and survive the use and function contingent. As for the facts by which to formalize it, they themselves are purely contingent, and therefore available to be transferred from one work to another, from one project to another, using also the loan. Using the same two words-at-issue and it becomes clear now how the theme of this study is the method of Libera and opportunity to the study of the central space in his work. But there is one aspect that, with respect to space a central plan evolves with the progress of the work of Libera on the archetype, and it is the reason behind all the way, just because an area built entirely on reason centric. It 'just the "center" of space that, ultimately, tells us the real progression and the knowledge that over the years has matured and changed in Libera. In the first phase, heavily laden with symbolic superstructure, even if used in a "bribe" from Free-always ill-disposed to sacrifice the idea of architecture to a phantom-center space is just the figure that identifies the icon represents space itself: the cross, the flame or the statue are different representations of the same idea of center built around an icon. The second part of the work of clearing the space station, changed the size of the orders but the demands of patronage, grows and expands the image space centric, celebratory nature that takes and becomes, in a different way, this same symbol . You see, one in all, as the project of "Civiltà Italiana" or symbolic arch are examples of this different attitude. And at the same point of view, you will understand how the two projects formulated on the reuse of the Mausoleum of Augustus is the key to its passage from first to second phase: the Ara Pacis in the second project, making itself the center of the composition "breaks" the pattern of symbolic figure in the center, because it is itself an architecture. And, in doing so, the transition takes place where the building itself-the central space-to become the center of that space that itself creates and determines, by extending the potential and the expressiveness of the enclosure (or cover) that defines the basin centered. In this second series of projects, which will be the apex and the point of "crisis" in the Palazzo dei Congressi all'E42 received and is no longer so, the symbol at the very geometry of space, but space itself and 'action' will be determined within this; action leading a movement, in the case of the Arco simbolico and the "Civiltà Italiana" or, more frequently, or celebration, as in the great Sala dei Recevimenti all’E42, which, in the first project proposal, is represented as a large area populated by people in suits, at a reception, in fact. In other words, in this second phase, the architecture is no longer a mere container, but it represents the shape of space, representing that which "contains". In the next step-determining the knowledge from which mature in their transition to post-war-is one step that radically changes the way centric space, although formally and compositionally Libera continues the work on the same elements, compounds and relationships in a different way . In this last phase Freedom, center, puts the man in human beings, in the two previous phases, and in a latent, were already at the center of the composition, even if relegated to the role of spectators in the first period, or of supporting actors in the second, now the heart of space. And it’s, as we shall see, the very form of being together in the form of "assembly", in its different shades (up to that sacred) to determine the shape of space, and how to relate the parts that combine to form it. The reconstruction of the birth, evolution and development of the central space of the ground in Libera, was born on the study of the monuments of ancient Rome, intersected on fifty years of recent history, honed on the constancy of a method and practice of a lifetime, becomes itself, Therefore, a project, employing the same mechanisms adopted by Libera; the decomposition and recomposition, research synthesis and unity of form, are in fact the structure of this research work. The road taken by Libera is a lesson in clarity and rationality, above all, and this work would uncover at least a fragment.

Ärztliche Untersuchungsbefunde bei polizeilich auffälligen Personen unter dem Einfluss von Amphetaminderivaten

Das Auftreten von Psychostimulantien im Straßenverkehr und eine Beeinträchtigung der Fahrtüchtigkeit durch diese spielt in Deutschland zunehmend eine wichtige Rolle. Das Ziel der hier vorliegenden Arbeit war es retrospektiv die dokumentierten Ausfallserscheinungen von Personen unter Einfluss von Amphetaminderivaten anhand von ärztlichen Untersuchungsbögen, die bei polizeilich angeordneten Blutentnahmen ausgefüllt werden, des Zeitraums 2001 bis 2005 in Rheinland-Pfalz zu untersuchen. Aufgrund der hohen Fallzahlen konnten sehr strenge Auswahlkriterien angewandt werden, sodass lediglich reine Amphetaminderivat-Intoxikationen (Amphetamin, Methamphetamin, MDA, MDMA, MDE, MBDB) bei 923 Personen untersucht werden konnten. Es zeigten sich als verkehrsrelevante Beeinflussung die Erweiterung der Pupille mit einer geringeren Lichtreagibilität, eine Verlängerung des Drehnachnystagmus sowie eine Unsicherheit beim Rombergtest. Eine Dosis-Wirkungs-Beziehung konnte lediglich bei der Pupillenweite ansatzweise gefunden werden. Bei MDMA zeigte sich ein deutlich stärkerer Einfluss auf die Pupillenweitenregulation als bei Amphetamin. Die zur Detektion von alkoholbedingten Ausfallserscheinungen sinnvollen Gleichgewichts- und Koordinationstests waren im Falle der hier betrachteten Psychstimulantien nicht aussagekräftig. Es erscheint empfehlenswert die durchgeführten Untersuchungen mit Hilfe von einheitlichen Lichtverhältnissen und festgelegten Untersuchungsprozedere zu standardisieren ggf. auch durch die Einführung der Videookulographie. Die Einführung eines Reaktionstests sollte in Erwägung gezogen werden.

[Rehabilitation of an abraded occlusion with Procera-ZrO2 all-ceramic crowns. A case report]

The rehabilitation of a patient with advanced tooth wear by means of Procera ZrO2 ceramic crowns is described. A healthy, 60 year old patient complained about front teeth esthetics and impaired function due to reduced tooth height. He was aware of bruxism and wished full mouth rehabilitation. The clinical examination showed that tooth wear was generalized, but most teeth could be maintained in both jaws. A staged procedure was planned, starting with a splint therapy and a provisional fixed prosthesis to reestablish correct vertical dimension of occlusion (VDO) and stable occlusal contacts. The new ZrO2 material with the Procera technique was chosen to restore all teeth in both jaws, except the mandible front teeth. In the second treatment phase, crown lengthening of the maxillary front teeth was performed and one implant placed to replace a maxillary premolar. After final tooth preparation, impression taking and bite registration the ZrO2 crown-copings were scanned, processed and completed by veneering. A flat occlusal scheme with stable front teeth guidance was established. The advantage of the presented treatment is the esthetic result in combination with a material of high mechanical and biological quality.

GRASP with Hybrid Path Relinking for Bi-Objective Winner Determination in Combinatorial Transportation Auctions

The procurement of transportation services via large-scale combinatorial auctions involves a couple of complex decisions whose outcome highly influences the performance of the tender process. This paper examines the shipper's task of selecting a subset of the submitted bids which efficiently trades off total procurement cost against expected carrier performance. To solve this bi-objective winner determination problem, we propose a Pareto-based greedy randomized adaptive search procedure (GRASP). As a post-optimizer we use a path relinking procedure which is hybridized with branch-and-bound. Several variants of this algorithm are evaluated by means of artificial test instances which comply with important real-world characteristics. The two best variants prove superior to a previously published Pareto-based evolutionary algorithm.

Anaesthesia with medetomidine-ketamine-isoflurane with and without midazolam, in eight captive Chimpanzees (Pan troglodytes) premedicated with oral zuclopenthixol

In 8 captive adult chimpanzees of various ages premedicated with oral zuclopenthixol anaesthesia was induced intramuscularly with a combination of medetomidine and ketamine (40 or 50 µg/kg and 5 mg/kg, IM, respectively), with and without midazolam (0.05 mg/kg), and maintained with isoflurane in oxygen. At the end of the procedure, sedation was reversed with atipamezole (0.25 mg/kg, IM) and sarmazenil (0.005 mg/kg, IM) when midazolam had been administered. Oral zuclopenthixol resulted in tranquillization of the whole group and only one animal required a second dart injection to achieve adequately deep anaesthesia. Effective and reliable anaesthesia was achieved in all apes; the depth of hypnosis was stable and sudden arousal did not occur. Physiological parameters remained within normal ranges in the majority of the animals; however, manageable anaesthesia-related complications, namely apnoea after darting, hypotension, hypoventilation, hypoxemia and prolonged recovery, occurred in 6 out of 8 animals. The use of monitoring devices was essential to guarantee adequate management of these complications.

Experience with the delegation of anaesthesia for disbudding and castration to trained and certified livestock owners

BACKGROUND: Anaesthesia is mandatory for disbudding and castrating calves and lambs of any age, in Switzerland. According to the "anaesthesia delegation model" (ADM), anaesthesia for disbudding calves <3 weeks of age and castrating calves and lambs <2 weeks of age may be administered by certified farmers. Experience with this unique model is not available. The aim was to evaluate the experience of the veterinary practitioners with the ADM. The response rate was 42%. The survey consisted of one questionnaire for each procedure. Procedure I was the delegation of anaesthesia for disbudding calves and procedures II and III were anaesthesia for castrating calves and lambs. RESULTS: Procedure I was performed with local anaesthesia in all farms of 51.8% of the veterinary practices, while this was only 39.3% and 7.6% for procedures II and III (p < 0.001). Anaesthesia for procedure I was administered technically correctly by farmers in at least 66% of the farms of 58.3% of the practitioners, while this was 45.4% and only 23.6% for procedures II and III (p < 0.001). The ADM was assessed as a moderate to very good model to reinforce the legal obligations for procedures I, II, or III by 74.8%, 76.5% and 62.0% of the veterinary practitioners (p < 0.005). CONCLUSIONS: The delegation of anaesthesia to certified farmers may be a promising model to reinforce the obligation to provide local anaesthesia for disbudding and castrating calves, but to a lesser extent for castrating lambs.

Juan Navarro Baldeweg : el dibujo de la mano como herramienta en el proceso creativo

Esta investigación es una incursión en el tránsito de Juan Navarro desde sus “habitaciones y horizontes”, las manifestaciones espontáneas de la mano y el proyectar, a la obra que nos devuelve a la experiencia física y corporal del mundo. Juan Navarro debe a sus manos gran parte de sus inquietudes y capacidades. Sus manos están presentes en su obra como materia –piezas de manos-, como herramienta -el dibujo por la mano- y como desencadenante en los procesos creativos de su obra de arquitectura. Las distintas obras remiten a una preocupación común: la de visualizar el espacio a través de un imaginario personal. Sin embargo, el proceso creativo en cada disciplina se desarrolla teniendo en cuenta la especificidad del medio y la experiencia que provoca en el espectador. La obra, como concreción del proceso creativo, se explica por las continuidades y discontinuidades entre las herramientas, mecanismos y estrategias utilizadas en los distintos medios. La tesis se estructura en dos partes, en la primera se estudia cómo se producen los procesos creativos, sus mecanismos en los distintos medios plásticos y el dibujo como herramienta transversal. Se identifican los conceptos y temas que dan lugar a la obra profundizando en el papel de la mano como presencia orgánica, biológica y responsable de una forma de representación personal. La segunda parte se articula en dos capítulos que, a través del dibujo, muestran la arquitectura como modelo e identifican los mecanismos utilizados en su forma de proyectar y su relación con la obra en distintos proyectos. El texto se estructura como una secuencia de ideas articuladas alrededor de un universo gráfico que nos conduce por múltiples itinerarios desde los que atisbar los procesos creativos de Juan Navarro. Estos caminos son hilos con los que se teje una visión personal de la relación entre las herramientas y mecanismos utilizados por Juan Navarro y su obra. La manera cómo se produce el proceso creativo, los mecanismos y las herramientas que los ponen en marcha constituyen una forma de abordar la obra, que hasta la fecha, se ha tratado aisladamente sin una intención de construir un cuerpo estructurado de conocimiento. En la arquitectura Juan Navarro existe un vacío de conocimiento teórico y gráfico sobre el propio proceso y su forma de proyectar. Se ha persistido en la explicación de la obra, sus referencias, temas abordados, relaciones y trasvases sin ahondar en la especificidad del medio. Estos vacíos establecen la necesidad y justificación de esta tesis doctoral. La investigación comienza descifrando una obra que desde sus inicios trabaja con la dualidad de lo gestual y lo conceptual. Plantea una forma de ordenación del mundo, de la sensación sometida a la medida en la que finalmente la obra se recibe como signo que desencadena sentimientos y te devuelve al mundo. Propone la recuperación de los sentidos a través de una arquitectura como vivencia no reductible al espacio geométrico. Identifica los mecanismos y herramientas que se establecen en este proceso y termina concluyendo que el dibujo es la herramienta doblemente transversal porque atiende de forma desigual a las distintas disciplinas y a los dos extremos en que se presenta la actividad creatividad en el trabajo de Juan Navarro. Estos extremos se corresponden con un conocimiento corporal inconsciente y un trabajo constante guiado por la motivación, la predeterminación y la conceptualización. El dibujo por la mano es el espacio de encuentro entre lo que representa la mano y la posibilidad de expresión proyectual codificada. Se produce en un territorio que se extiende desde lo analógico subyacente –que se nutre de imágenes complejas- y el dominio simbólico construido. Abstract. This research is a foray into Juan Navarro’s transition from his "Rooms and Horizons", -spontaneous demonstrations of the hand-, to the project, -the work that brings us back to experiencing the physical world-. Juan Navarro owes his hands much of his capacities and inquisitiveness. His hands are present in his work as the subject –“Hand Pieces”-, as a tool -through hand-drawing - and as a trigger in the creative processes of his work of architecture. The various works refer to a common theme: the viewing space through a personal imagery. However, the creative process in each discipline develops taking into account the specificity of the medium and the experience that arouses in the observer. The work, as completion of the creative process, is explained by the continuities and discontinuities between the tools, mechanisms and strategies used in the different media. The thesis is structured in two parts, the first studies how the creative processes are iniciated, their mechanisms in the different plastic art media, as well as drawing as a transversal tool. In this section the investigation identifies the concepts and themes that give rise to the art work, exploring the role of the hand as the organic, biological presence responsible for a way of personal representation. The second part is divided into two chapters, which, via the drawing, show the architecture as a model and identify the mechanisms used in the his way of projecting form of the project and its the relationship of hand-drawing to with his work ilustrated with different projects. The text is structured as a sequence of ideas, articulated around a graphic universe that leads us by multiple paths, letting us glimpse into the creative processes of Juan Navarro. These paths are threads that weave a personal vision of the relationship between the tools and mechanisms used by Juan Navarro in his work. The way the creative process takes place, the mechanisms and tools that set it in action, constitutes a way of dealing with the work, that, hithergo, has been treated in isolation without an intention to build a structured body of knowledge. In Navarro Baldeweg’s architecture there is a vacuum of theoretical and graphic knowledge of the process itself and his way of projecting. So far, emphasis has been placed mainly on his work’s explanation, its references, the subjects covered, connections and transfers, without delving into the specificity of each medium. These academic gaps justify the need for this doctoral thesis. The investigation begins deciphering a work that, since its very beginning, deals with the duality of the gesture and the concept. It poses a way of managing the world and the sensations which are submitted until it finally detects the work as a sign that triggers feelings and returns the observer to the real world. It proposes the recovery of the senses through an architecture that is sensed as an experience and not merely reduced to geometric space. It identifies the mechanisms and tools that are set out in this process and concludes that drawing is a core tool working in two directions, because it caters unevenly to the various disciplines and to both ends of the creative activity presented in the work of Juan Navarro. These ends correspond with an unconscious physical knowledge and a continuous work guided by motivation, predetermination and conceptualization. Hand-drawing is the meeting space between what the hand represents, and the possibility of an encoded, projectual expression. Thus, hand-drawing takes place in a territory that covers the underlying analogue - which feeds on complex images - to the symbolic built domain.

Reciclagem seletiva de canais radiculares

Introdução: O presente trabalho introduz um novo tema na área da Endodontia: Reciclagem Seletiva de Canais Radiculares. Tem os mesmos princípios de desinfecção, conformação e obturação que o retratamento endodôntico não cirúrgico convencional, no entanto é menos invasivo. Está indicado em casos de insucesso prévio no tratamento endodôntico e na presença de próteses. Objetivos: Esta dissertação tem como objectivo principal apresentar um possível novo tratamento na área da Endodontia. Procedeu-se a uma revisão bibliográfica, analisando a literatura que versa o tema, de modo a introduzi-lo dentro da área do retratamento endodôntico não cirúrgico nos seus diferentes procedimentos: Desobturação e materiais utilizados, instrumental utilizado, irrigantes e a sua utilidade e aplicabilidade na prática clínica. Materiais e Métodos: Para a elaboração da presente dissertação, foi realizada uma pesquisa bibliográfica, no presente ano, recorrendo-se aos motores de pesquisa on-line: b-On, Pubmed, Scielo e Google Académico, realizando a pesquisa através das palavras-chave: “endodontic retreatment”, ”root canal system”, “endodontic irrigation”, “endodontic solvent”, “pro-taper”, “reciproc”, “clorohexidine”, “sodium hipoclorite”, “obturation” que foram então combinadas entre si de múltiplas e sucessivas formas. Foram utilizados 50 artigos dos 87 seleccionados, um livro e uma revista. Discussão: Na literatura científica, são comparados vários materiais para a realização do retratamento endodôntico não cirúrgico, como solvente o que melhores resultados apresenta na dissolução da Gutta-Percha é o Xilitol seguido do clorofórmio. Como solução irrigante a Clorohexidina tem um grande potencial nos casos de retratamento por ser mais eficaz em bactérias Gram+ e pela sua substantividade que permite que a sua actividade bacteriana seja contínua. O sistema Reciproc® pela sua forma em S no corte transversal e possuir dois bordos cortantes, aliados à sua composição pela nova liga M-Wire, mais resistente à torção e fadiga cíclica parece ser a melhor opção tanto para desobturação do SCR como re-instrumentação. Com a imagiologia tridimensional, a Reciclagem Selectiva de Canais Radiculares pode ser explorada e tornar-se uma técnica mais conservadora em casos de retratamento ao conseguir-se determinar qual a raiz com lesão apical. Conclusão: Perante este novo método mais conservador de realizar o retratamento endodôntico não cirúrgico, o exame radiológico por CBCT é o grande responsável pela sua realização. Com ele podemos ter acesso à tridimensionalidade de todas as estruturas orais e consequentemente atingir um diagnóstico correcto, com mais informação disponível. Este novo método, aliado aos melhores materiais utilizados no RTENC convencional poderão permitir ao clínico a realização de um retratamento não cirúrgico seguro, mais conservador para a estrutura dentária e para potenciais próteses que possam estar presentes. São necessários mais estudos com um follow-up mais prolongado para determinar a real efetividade deste tratamento.

Gestão democrática caminhos e possibilidades : um estudo de caso em uma escola pública de ensino fundamental em Belém

A linha de pesquisa desenvolvida nesta dissertação não é inédita, todavia, apresenta algumas peculiaridades a respeito da gestão democrática para a educação brasileira, mais especificamente em Belém do Pará, que são no mínimo, um contributo à sociedade. Principalmente porque demonstra sucintamente, no primeiro e segundo capítulos a trajetória sócio histórica e a política-pedagógica da gestão democrática no Brasil a partir dos meados do século XVI, até a implementação da LDB nº 9394/96. No terceiro capítulo trato a respeito das Leis de Diretrizes e Bases da Educação Nacional, nº 5692/71 e da LDB nº 9394/96, esta última objetivou romper com os resquícios deixados pela 5692/71, vale frisar que o primeiro estado a implementar as Leis de Diretrizes e Bases, assentadas na Lei nº 9394/96, foi o estado do Pará. Nos capítulos: quarto e quinto destaco a Metodologia aplicada à pesquisa de campo; às análises dos dados coletados e mensurados, e construo uma triangulação e/ou cruzamento (Teoria-Práxis-Teoria que resultará à práxis), entre a teoria pesquisada e analisada, com as referências bibliográficas e com os dados coletados no campo acerca dos caminhos e possibilidades necessários para articular a gestão democrática no município de Belém. Para construir esse trajeto recorri às leituras bibliográficas de autores que já aprofundaram o assunto como: José Júlio Chiavenato, Luiz Fernando Dourado, Paulo Freire, Moacir Gadotti, Carlos Libâneo, João Monlevad, Vítor Paro, Michel Thiollent, Sofia Lérché Vieira entre outros autores que contribuíram para a construção teórica e prática, e que estão citados na referência. No que concerne a pesquisa de campo foi efetivada uma sondagem prévia e uma apresentação do tema à direção da escola e para a presidente do Conselho Escolar, em seguida foram feitos contatos com os profissionais da educação através de conversas informais a cerca do assunto. Após esse processo foram aplicados questionários com vinte e seis perguntas objetivas e duas perguntas subjetivas, que estão expostas no anexo desta dissertação; outros mecanismos utilizados na pesquisa de campo foram as entrevistas in lócus com alguns profissionais da escola pesquisada, utilizou-se também a observação participante com o viés na abordagem sócio histórica. O trabalho de campo e as referências bibliográficas coadunadas à observação participante, no cotidiano da comunidade escolar, foram essenciais para a consolidação deste trabalho dissertativo que envolveu um tema, que certamente, está em voga na educação brasileira e que serviu como base para o título desta dissertação: Gestão democrática caminhos e possibilidades:. Um estudo de caso em uma escola pública de ensino fundamental em Belém. A dissertação em questão também apresenta no capítulo quinto o tripé básico para a análise científica relacionada a gestão democrática que são: Eleição direta para o Conselho Escolar, eleição direta para o diretor/articulador/social, eleição para o grêmio estudantil, esta sob a direção dos alunos. A base desse tripé deve estar assentada na participação qualitativa de todas as categorias da comunidade escolar, preservando e respeitando a autonomia de cada categoria, bem como demonstra a aproximação e a contribuição da comunidade externa para o processo de ensino-aprendizagem. E, por fim, não menos importante, proponho algumas sugestões que estão expostas nas conclusões e demonstram claramente a necessidade de implementação de alguns caminhos a serem seguidos e implementados para que de fato e de direito se processe a gestão democrática participativa, à luz dos conceitos apresentados nesta dissertação que estão diretamente relacionados à formação, à participação, e à autonomia, para isso é necessário alguns ajustes na lei nº 7.722/94, na resolução nº036/2008 e o conhecimento e domínio da Lei nº 9394/96.__ ABSTRACT: The line of research developed in this thesis is not new, however, presents some peculiarities about the democratic management in Brazilian education, specifically in Belem, which are at least a contribution to society. Mainly because it shows succinctly in the first and second chapters the history and socio-historical political-pedagogical democratic management in Brazil since the mid-sixteenth century through implementation of the LDB 9394/96. ln the third chapter dealing with respect to the Laws of Directives and Bases of National Education, 5692/71 and 9394/96 LDB, the latter aimed to break with the remnants left over from 5692/71, it is worth stressing that the first state to implement the laws Guidelines and Bases, sitting in the Law 9394/96, was the Para The fourth and fifth chapters highlight the Methodology applied to field research, the analysis of data collected and measured and construct a triangulation and I or intersection (Theory-Praxis-Theory resulting praxis), between theory researched and analyzed with the references and the data collected in the field about the ways and possibilities necessary to articulate the democratic management at the education system in the municipality of Belém. To construct this path resorted to reading literature by authors who have explored the subject as: Jose Julio Chiavenato, Luiz Fernando Dourado, Paulo Freire, Moacir Gadotti, Carlos Libâneo John Monlevade, Paro Vítor, Michel Thiollent, Sofia Lerche Vieira and others who contributed to the theoretical and practical construction andare cited in the reference. Regarding the field research, it was carried a survey and a preliminary presentation of the theme to the school principal and to the School Board president, then were made contacts with professionals in education, through informal conversations about the subject. After this procedure were applied questionnaires with twenty-six objective questions and two subjective questions that are exposed in the appendix of this thesis. Other mechanisms used in field research were interviews in locus with some professionals of the surveyed. It was also used participant observation with the bias in the socio-historical approach. The field research and the references link ed to the participant observation in daily school community. were essential for the consolidation of this dissertational work involving a theme, which certainly, is in vogue in the Brazilian education and That served as the basis for this title dissertation: Management democratic ways and possibilities: A in a public elementary school case study in Belém. This dissertation Thesis presents in Its fifth chapter the basic tripod for scientific analysis related to the democratic management which are: Direct election for the School Board, direct election for chief articulator/social, for students union, this last one under the direction of the students. The basis of this tripod must be seated in the qualitative participation of all categories of the school community, preserving and respecting the autonomy of each on and demonstrates the approach and the contribution of the externa! community to the process of teaching and learning. At finally, but not less important propose some suggestions that are exposed on the conclusion and clearly demonstrate the need to implement some ways to be followed and implemented so that actually and by law the participatory democratic management, may be conducted according to Ulrich the concepts of this dissertation, are directly related to education, participation, and autonomy. However, this requires some adjustments in the Law 7.722/94, in its resolution 036/2008, and indeed the knowledge mastery of the Law 9394/96.

Fluidodinâmica de sementes de brócolos em leito fluizado e leito de jorro

The spouted and fluidized bed technologies are usually employed in operations of drying, coating and granulation of particles by the chemical and pharmaceutical industries. The use of these techniques in agronomy is limited to the treatment of some species of seeds. In this work, the objective was to analyse the fluid-dynamics of fluidized and spouted beds when broccoli (Brassica oleracea L. var. Italica) seeds are used and also to verify the influence on seed germination after 60 min of seed exposition to spouting or fluidization, at room temperature. The fluid-dynamics was defined by the measurements of the bed pressure drop as a function of the air flow rate for different seeds loads. The experimental conditions were based on the physical properties of the seeds and were limited by the apparatus dimensions. The cone-cylindrical bed was constructed in plexyglass to permit flow visualization. The values of the parameters: maximum pressure drop, minimum spouting flow rate and pressure drop, and stable spout pressure drop were experimentally obtained from the fluid-dynamic analysis and were compared with the values calculated by empirical equations found in the literature. The same procedure was carried out with the fluidized bed and the important parameters for this regime were the air velocity and the bed pressure drop at minimum fluidization. The analysis of seed germination indicated that no damage was caused to the seeds by the spout or fluidization processes.

Autoscopia: um procedimento de pesquisa e de formação

This article considers a procedure for data collection called autoscopy. Autoscopy entails the video recording of a practice with the purpose of allowing analysis and self-evaluation by one of the protagonists of that practice. The objective of the video recording is that of apprehending the actions of the agent (or agents), the scenario, and the plot that make up a situation. The recorded material is subjected to sessions of analysis after the action that aim at the understanding of the reflective process of the agent (or agents) through their verbalizations during the analysis of video recorded scenes. The present text introduces a theoretical basis for the procedure of autoscopy, deals with advantages and limitations of its use, as well as with aspects that deserve attention and, finally, describes the authors' experiences in two studies in which the procedure was employed. Starting from these two experiences, differences and similarities are pointed out between the studies, especially regarding the participants, object, and the time distribution of the video recordings. The authors draw considerations about the formative-reflective potential of the procedure, both for research situations and for the learning and training of various professionals, considering it to be an excellent educational instrument. It is, however, vital to keep in mind the need to recognize and return to the teacher, as an autoscopic participant, his condition as subject of his own profession, thereby promoting, besides the self-evaluation, also the autonomy of his thinking and doing.

Evaluation of laser induced breakdown spectrometry for the determination of macro and micronutrients in pharmaceutical tablets

The aim of this work is to demonstrate the feasibility of laser induced breakdown spectrometry (LIBS) for the determination of macro and micronutrients in multielement tablets. The experimental setup was designed by using a laser Q-switch (Nd:YAG, 10 Hz, lambda = 1064 nm) and the emission signals were collected by lenses into an optical fiber coupled to an echelle spectrometer equipped with a high-resolution intensified charge coupled device (ICCD). Tablets were cryogenically ground and thereafter pelletized before LIBS analysis. Calibration curves were made by employing samples and mixtures of commercial multielement tablets with binders at different ratios. Best results were achieved by using the following experimental conditions: 29 J cm(-2) laser fluence, 165 mm lens to sample distance (f = 200 mm), 2.0 mu s delay time, 5.0 mu s integration time and 5 accumulated laser pulses. In general, the results obtained by the proposed LIBS procedure were in agreement with those obtained by ICP OES from the corresponding acid digests and coefficients variation of LIBS measurements varied from 2 to 16%. The metrological figures of merit indicate that LIBS fits for the intended purposes, and can be recommended for the analysis of multielement tablets and similar matrices aiming the determination of Ca, Cu, Fe, Mg, Mn, P and Zn.

The natural force density method for the shape finding of taut structures

This work presents, with the aid of the natural approach, an extension of the force density method for the initial shape finding of cable and membrane structures, which leads to the solution of a system of linear equations. This method, here called the natural force density method, preserves the linearity which characterizes the original force density method. At the same time, it overcomes the difficulties that the original procedure presents to cope with irregular triangular finite element meshes. Furthermore, if this method is applied iteratively in the lines prescribed herewith, it leads to a viable initial configuration with a uniform, isotropic plane Cauchy stress state. This means that a minimal surface for the membrane can be achieved through a succession of equilibrated configurations. Several numerical examples illustrate the simplicity and robustness of the method. (C) 2008 Elsevier B.V. All rights reserved.