935 resultados para Contemporary art


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Coma after cardiac arrest (CA) is an important cause of admission to the ICU. Prognosis of post-CA coma has significantly improved over the past decade, particularly because of aggressive postresuscitation care and the use of therapeutic targeted temperature management (TTM). TTM and sedatives used to maintain controlled cooling might delay neurologic reflexes and reduce the accuracy of clinical examination. In the early ICU phase, patients' good recovery may often be indistinguishable (based on neurologic examination alone) from patients who eventually will have a poor prognosis. Prognostication of post-CA coma, therefore, has evolved toward a multimodal approach that combines neurologic examination with EEG and evoked potentials. Blood biomarkers (eg, neuron-specific enolase [NSE] and soluble 100-β protein) are useful complements for coma prognostication; however, results vary among commercial laboratory assays, and applying one single cutoff level (eg, > 33 μg/L for NSE) for poor prognostication is not recommended. Neuroimaging, mainly diffusion MRI, is emerging as a promising tool for prognostication, but its precise role needs further study before it can be widely used. This multimodal approach might reduce false-positive rates of poor prognosis, thereby providing optimal prognostication of comatose CA survivors. The aim of this review is to summarize studies and the principal tools presently available for outcome prediction and to describe a practical approach to the multimodal prognostication of coma after CA, with a particular focus on neuromonitoring tools. We also propose an algorithm for the optimal use of such multimodal tools during the early ICU phase of post-CA coma.

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Référence bibliographique : Weigert, 247

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A la infància, Enric Canadell químic teòric i Àlex Nogué artista visual comparteixen pupitre i jocs de carrer a Castellfollit de la Roca, un poble de la Garrotxa, Girona. Segueixen trajectes vitals ben diferents i desenvolupen una ampla experiència professional internacional en la ciència i l'art. Quaranta-cinc anys més tard es retroben novament sota el projecte "En comptes de la revolució, converses" promogut per Cafè Central i l'Associació per les Arts Contemporànies H.ACC per tal de cercar coincidències en les seves activitats professionals aparentment tan dispars i en la seva forma de viure-les.

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This paper presents the preliminary findings of pH and colour measurements carried out on artworks on paperand on wood that had been treated with a poly(vinyl acetate) (PVAC) based adhesive in the 1980s. In both cases, areas treated with PVAC proved to be less acidic than untreated areas. Contrary to expectations, the conservation treatments have not, as yet, increased acidity levels in the objects under study. Colour measurements of the works on paper showed that those that had been backed with a cotton fabric using a mixture of methylcellulose and PVAC were less yellow than those from the same print run that had not been backed. This finding suggests that the backing somehow prevented the natural degradation of the support. In view of these preliminary results, further research is clearly needed. This study forms part of a broader ongoing project to assess the role of PVAC in the conservation of a range of cultural assets.

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PURPOSE: To ascertain the prevalence of piercing among a nationally representative sample of adolescents; to assess whether having a piercing is a marker for risk behaviors; and to determine whether having more than one piercing is a cumulative marker for risk behaviors. METHODS: Data were drawn from a cross-sectional survey of a nationally representative sample of adolescents aged 16 to 20 years (N=7548). Controlling for background variables, pierced and non-pierced youth were compared on risk behaviors related to drug use, sexual behavior, and suicide. In a second step, adolescents having one piercing were compared with those having more than one. In both cases, statistically significant variables in the bivariate analysis were included in a logistic regression. Analyses were conducted separately by gender. RESULTS: Overall, 20.2% of our sample had a piercing (excluding earlobes), and it was significantly more prevalent among females than among males (33.8% vs. 7.4%; P<.001). In the bivariate analysis, all risk behaviors were significantly associated with having a piercing, and most of them remained significant in the multivariate analysis. One third of pierced subjects had more than one piercing, with no gender difference in prevalence. In the multivariate analysis, females with more than one piercing were more likely to have had multiple partners and to use cannabis, while no differences were noted for males. CONCLUSIONS: Body piercing is becoming popular among Swiss adolescents, especially females. Having a body piercing seems to be a risk marker for risk behaviors. Moreover, having multiple piercings is a cumulative risk marker for females.

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La «modernité» de la psychanalyse, comme entreprise à la fois thérapeutique et de savoir, dépend-elle, pour tout ou partie, du fond animique prétendument archaïque ou primitif défini par cette discipline comme son principal objet d'étude? Rapportée à l'horizon épistémique de la psychanalyse, cette articulation entre archaïsme et modernité aurait-elle seulement été du goût de Freud? En interrogeant de manière critique les rapports de Freud à l'art «moderne», à l'art «classique» et aux arts «primitifs», ce texte entend simultanément mettre en évidence l'importance du paradigme des arts dans la constitution de l'identité épistémique de la psychanalyse et proposer une possible relecture des relations entre nature et culture ou du phénomène de sublimation, tels que définis par le fondateur de la psychanalyse.

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This paper explores analytically the contemporary pottery-making community of Pereruela (north-west Spain) that produces cooking pots from a mixture of red clay and kaolin. Analyses by different techniques (XRF, NAA, XRD, SEM and petrography) showed an extremely high variability for cooking ware pottery produced in a single production centre, by the same technology and using local clays. The main source of chemical variation is related to the use of different red clays and the presence of non-normally distributed inclusions of monazite. These two factors induce a high chemical variability, not only in the output of a single production centre, but even in the paste of a single pot, to an extent to which chemical compositions from one"workshop", or even one"pot", could be classified as having different provenances. The implications for the chemical characterization and for provenance studies of archaeological ceramics are addressed.