Max Bill in Italia . Lo spazio logico dell'architettura

I Max Bill is an intense giornata of a big fresco. An analysis of the main social, artistic and cultural events throughout the twentieth century is needed in order to trace his career through his masterpieces and architectures. Some of the faces of this hypothetical mural painting are, among others, Le Corbusier, Walter Gropius, Ernesto Nathan Rogers, Kandinskij, Klee, Mondrian, Vatongerloo, Ignazio Silone, while the backcloth is given by artistic avant-gardes, Bauhaus, International Exhibitions, CIAM, war events, reconstruction, Milan Triennali, Venice Biennali, the School of Ulm. Architect, even though more known as painter, sculptor, designer and graphic artist, Max Bill attends the Bauhaus as a student in the years 1927-1929, and from this experience derives the main features of a rational, objective, constructive and non figurative art. His research is devoted to give his art a scientific methodology: each work proceeds from the analysis of a problem to the logical and always verifiable solution of the same problem. By means of composition elements (such as rhythm, seriality, theme and its variation, harmony and dissonance), he faces, with consistent results, themes apparently very distant from each other as the project for the H.f.G. or the design for a font. Mathematics are a constant reference frame as field of certainties, order, objectivity: ‘for Bill mathematics are never confined to a simple function: they represent a climate of spiritual certainties, and also the theme of non attempted in its purest state, objectivity of the sign and of the geometrical place, and at the same time restlessness of the infinity: Limited and Unlimited ’. In almost sixty years of activity, experiencing all artistic fields, Max Bill works, projects, designs, holds conferences and exhibitions in Europe, Asia and Americas, confronting himself with the most influencing personalities of the twentieth century. In such a vast scenery, the need to limit the investigation field combined with the necessity to address and analyse the unpublished and original aspect of Bill’s relations with Italy. The original contribution of the present research regards this particular ‘geographic delimitation’; in particular, beyond the deep cultural exchanges between Bill and a series of Milanese architects, most of all with Rogers, two main projects have been addressed: the realtà nuova at Milan Triennale in 1947, and the Contemporary Art Museum in Florence in 1980. It is important to note that these projects have not been previously investigated, and the former never appears in the sources either. These works, together with the most well-known ones, such as the projects for the VI and IX Triennale, and the Swiss pavilion for the Biennale, add important details to the reference frame of the relations which took place between Zurich and Milan. Most of the occasions for exchanges took part in between the Thirties and the Fifties, years during which Bill underwent a significant period of artistic growth. He meets the Swiss progressive architects and the Paris artists from the Abstraction-Création movement, enters the CIAM, collaborates with Le Corbusier to the third volume of his Complete Works, and in Milan he works and gets confronted with the events related to post-war reconstruction. In these years Bill defines his own working methodology, attaining an artistic maturity in his work. The present research investigates the mentioned time period, despite some necessary exceptions. II The official Max Bill bibliography is naturally wide, including spreading works along with ones more devoted to analytical investigation, mainly written in German and often translated into French and English (Max Bill himself published his works in three languages). Few works have been published in Italian and, excluding the catalogue of the Parma exhibition from 1977, they cannot be considered comprehensive. Many publications are exhibition catalogues, some of which include essays written by Max Bill himself, some others bring Bill’s comments in a educational-pedagogical approach, to accompany the observer towards a full understanding of the composition processes of his art works. Bill also left a great amount of theoretical speculations to encourage a critical reading of his works in the form of books edited or written by him, and essays published in ‘Werk’, magazine of the Swiss Werkbund, and other international reviews, among which Domus and Casabella. These three reviews have been important tools of analysis, since they include tracks of some of Max Bill’s architectural works. The architectural aspect is less investigated than the plastic and pictorial ones in all the main reference manuals on the subject: Benevolo, Tafuri and Dal Co, Frampton, Allenspach consider Max Bill as an artist proceeding in his work from Bauhaus in the Ulm experience . A first filing of his works was published in 2004 in the monographic issue of the Spanish magazine 2G, together with critical essays by Karin Gimmi, Stanislaus von Moos, Arthur Rüegg and Hans Frei, and in ‘Konkrete Architektur?’, again by Hans Frei. Moreover, the monographic essay on the Atelier Haus building by Arthur Rüegg from 1997, and the DPA 17 issue of the Catalonia Polytechnic with contributions of Carlos Martì, Bruno Reichlin and Ton Salvadò, the latter publication concentrating on a few Bill’s themes and architectures. An urge to studying and going in depth in Max Bill’s works was marked in 2008 by the centenary of his birth and by a recent rediscovery of Bill as initiator of the ‘minimalist’ tradition in Swiss architecture. Bill’s heirs are both very active in promoting exhibitions, researching and publishing. Jakob Bill, Max Bill’s son and painter himself, recently published a work on Bill’s experience in Bauhaus, and earlier on he had published an in-depth study on ‘Endless Ribbons’ sculptures. Angela Thomas Schmid, Bill’s wife and art historian, published in end 2008 the first volume of a biography on Max Bill and, together with the film maker Eric Schmid, produced a documentary film which was also presented at the last Locarno Film Festival. Both biography and documentary concentrate on Max Bill’s political involvement, from antifascism and 1968 protest movements to Bill experiences as Zurich Municipality councilman and member of the Swiss Confederation Parliament. In the present research, the bibliography includes also direct sources, such as interviews and original materials in the form of letters correspondence and graphic works together with related essays, kept in the max+binia+jakob bill stiftung archive in Zurich. III The results of the present research are organized into four main chapters, each of them subdivided into four parts. The first chapter concentrates on the research field, reasons, tools and methodologies employed, whereas the second one consists of a short biographical note organized by topics, introducing the subject of the research. The third chapter, which includes unpublished events, traces the historical and cultural frame with particular reference to the relations between Max Bill and the Italian scene, especially Milan and the architects Rogers and Baldessari around the Fifties, searching the themes and the keys for interpretation of Bill’s architectures and investigating the critical debate on the reviews and the plastic survey through sculpture. The fourth and last chapter examines four main architectures chosen on a geographical basis, all devoted to exhibition spaces, investigating Max Bill’s composition process related to the pictorial field. Paintings has surely been easier and faster to investigate and verify than the building field. A doctoral thesis discussed in Lausanne in 1977 investigating Max Bill’s plastic and pictorial works, provided a series of devices which were corrected and adapted for the definition of the interpretation grid for the composition structures of Bill’s main architectures. Four different tools are employed in the investigation of each work: a context analysis related to chapter three results; a specific theoretical essay by Max Bill briefly explaining his main theses, even though not directly linked to the very same work of art considered; the interpretation grid for the composition themes derived from a related pictorial work; the architecture drawing and digital three-dimensional model. The double analysis of the architectural and pictorial fields is functional to underlining the relation among the different elements of the composition process; the two fields, however, cannot be compared and they stay, in Max Bill’s works as in the present research, interdependent though self-sufficient. IV An important aspect of Max Bill production is self-referentiality: talking of Max Bill, also through Max Bill, as a need for coherence instead of a method limitation. Ernesto Nathan Rogers describes Bill as the last humanist, and his horizon is the known world but, as the ‘Concrete Art’ of which he is one of the main representatives, his production justifies itself: Max Bill not only found a method, but he autonomously re-wrote the ‘rules of the game’, derived timeless theoretical principles and verified them through a rich and interdisciplinary artistic production. The most recurrent words in the present research work are synthesis, unity, space and logic. These terms are part of Max Bill’s vocabulary and can be referred to his works. Similarly, graphic settings or analytical schemes in this research text referring to or commenting Bill’s architectural projects were drawn up keeping in mind the concise precision of his architectural design. As for Mies van der Rohe, it has been written that Max Bill took art to ‘zero degree’ reaching in this way a high complexity. His works are a synthesis of art: they conceptually encompass all previous and –considered their developments- most of contemporary pictures. Contents and message are generally explicitly declared in the title or in Bill’s essays on his artistic works and architectural projects: the beneficiary is invited to go through and re-build the process of synthesis generating the shape. In the course of the interview with the Milan artist Getulio Alviani, he tells how he would not write more than a page for an essay on Josef Albers: everything was already evident ‘on the surface’ and any additional sentence would be redundant. Two years after that interview, these pages attempt to decompose and single out the elements and processes connected with some of Max Bill’s works which, for their own origin, already contain all possible explanations and interpretations. The formal reduction in favour of contents maximization is, perhaps, Max Bill’s main lesson.

Active tectonics in the NW-German Basin: Evidence from correlations between the modern landscape and deep geological structures (Lower Saxony, river Hunte)

KurzfassungIm Einzugsgebiet der Hunte (NW-Deutsches Becken, Niedersachsen) wurde untersucht, ob die Landschaftsgenese durch tektonische Bewegungen der Oberkruste beeinflußt ist. Krustenbewegungen führten im Bereich einer Hauptschollengrenze zu einer Hebung der weichselzeitlichen Niederterrasse (durchschnittliche Hebungssrate von ~0,5 mm/a über die letzten 12000 Jahre). Tektonischer Einfluß auf die heutige Landoberfläche ist über einem permischen Salzkissen zu verzeichnen, wo sich das Gefälle der holozänen Aue umkehrt. Krustenbewegungen haben mit großer Wahrscheinlichkeit Vorzugsrichtungen verursacht, die an der Tertiärbasis und in der heutigen Landschaft nachweisbar sind (0-5° und 90-95°). Das Abfließen der Hunte nach Norden scheint durch eine aktive, nordwärts gerichtete Kippung des NW-Deutschen Beckens verursacht zu sein. Hohe lineare Korrelationskoeffizienten zwischen Tiefenlage der Tertiärbasis und Höhenlage der heutigen Landoberfläche weisen auf eine aktive Kippung des Beckens hin. Beckensubsidenz hat möglicherweise die Akkumulation der weichselzeitlichen Niederterrasse gesteuert, da eine Übereinstimmung zwischen rezenter Beckensubsidenz und durchschnittlicher Sedimentationsrate des Niederterrassenkörpers besteht. Untersuchungen an einer geschlossenen Hohlform deuten auf eine aktive Sackungsstruktur hin, da sich Anomalien des geologischen Untergrundes mit der topographischen Lage der Struktur decken.

Der Vergleich der deutschen und der schweizerischen Rundfunkordnung unter dem Aspekt des Dualismus

Der Vergleich der deutschen und der schweizerischen Rundfunkordnung unter dem Aspekt des Dualismus 1.Einleitung: Bedeutung und Grundlagen des „Dualismus“ 2.Das „duale System“ in der deutschen Rundfunkordnung 2.1 Die Genese des „dualen Systems“ - Historische und rechtliche Rahmenbedingungen 2.2 Die aktuelle Ausgestaltung des „dualen Systems“ 2.3 Das „duale System“ im europäischen Raum – europarechtliche Einflüsse und Vorgaben 3. Das „duale System“ in der schweizerischen Rundfunkordnung 3.1 Die Genese des „dualen Systems“ - Historische und rechtliche Rahmenbedingungen 3.2 Die aktuelle Ausgestaltung des „dualen Systems“ 3.3 Vergleichende Betrachtung unterschiedlicher Ausprägungen des „dualen Systems“ im Rahmen der Revision des RTVG 4. Vergleichende Betrachtung der „dualen Systeme“ 4.1 Historische und gesetzliche Rahmenbedingungen 4.2 Die spezifischen Besonderheiten des schweizerischen Rundfunkmarktes 4.3 Die einzelnen Elemente der Rundfunkordnung 5. Endergebnis Duale Systeme im Bereich des Rundfunkrechtes bedeuten Koexistenz von privaten und öffentlich-rechtlichen Rundfunkveranstaltern. Die in der Verfassung der Bundesrepublik Deutschland angelegte Rundfunkordnung ist im wesentlichen durch die Rechtsprechung des Bundesverfassungsgerichts geprägt worden. Das aufgrund dieser Vorgaben gewachsene duale System besteht aus einem starken öffentlich-rechtlichen Rundfunk, dessen Position durch die vorrangige Finanzierung aus Gebühren privilegiert wird. Im Gegenzug wird ihm die zentrale Aufgabe zur Sicherung der Grundversorgung zugewiesen. Daneben bestehen die privaten Rundfunkveranstalter, die sich aus Werbeeinnahmen und Nutzungsentgelten finanzieren und insoweit dem Wettbewerb im Markt in höherem Maße ausgeliefert sind. Im europäischen Bereich fällt der Schutz von Pluralismus und Meinungsvielfalt in erster Linie in den Zuständigkeitsbereich der Mitgliedstaaten. Die Medienlandschaften der Mitgliedstaaten sind durch vielfältige Eigenheiten und Traditionen geprägt, die gerade erhalten bleiben sollen. Die Ausgestaltung des dualen Systems im europäischen Rahmen wirft mithin Bedenken allein im Hinblick auf die Finanzierung der öffentlich-rechtlichen Veranstalter aus öffentlichen Ressourcen und die darauf basierende Wettbewerbsverzerrung auf. Mit dem Radio- und Fernsehgesetz von 1991 wurde in der Schweiz ein duales Rundfunksystem eingeführt. Das Treuhandmodell wurde ergänzt durch das Marktmodell. Allerdings galt das duale System für Rundfunk und Fernsehen in der Schweiz nur in der abgeschwächten Form eines staatlich geordneten Wettbewerbs. Es bestand ein Drei-Ebenen-Modell, das eine direkte Konkurrenz zwischen der nationalen Dachorganisation SRG (Schweizerische Rundfunkgesellschaft) und privaten Unternehmen weitestgehend vermied. Die Hauptverpflichtung des Service public oblag der SRG, die auch die Gebühren erhielt. Daneben wurden allerdings alle Veranstalter zu Service-public-Leistungen verpflichtet. Im Gegenzug dazu sah der Gesetzgeber in marktschwachen Regionen ein Gebührensplitting vor. Mit dem neuen RTVG soll dem Service Public eine Bestands- und Entwicklungsgarantie zugesichert werden. Anstelle einer scharfen Trennung zwischen gebühren- und werbefinanzierten Anbietern mit entsprechend unterschiedlichen Funktionen im Mediensystem sollen allerdings die elektronischen Medien in der Schweiz großflächig subventioniert und vermehrt mit Leistungsaufträgen gesteuert werden. Gerade auf lokaler Ebene wird eine Ausweitung des Gebührensplittings vorgesehen. Nicht nur einer, sondern eine Vielzahl von Veranstaltern soll künftig mit der Grundversorgung beauftragt werden. Insbesondere der Service public régional soll von privaten Anbietern und der SRG erbracht werden. Eine Inpflichtnahme sämtlicher privater Rundfunkveranstalter wird indes nicht vorgesehen. Anhand dieser Masterarbeit sollen weiterhin die Unterschiede herausgearbeitet werden, die einzelne nationale Rundfunksysteme aufweisen können und damit auch die rundfunkpolitischen Modelle trotz des gleich bleibenden Grundgedankens, hier des Dualismus. Die Modelle sind stets in ihrem spezifischen politischen und kulturellen Kontext zu sehen, woraus sie historisch gewachsen sind. Durch den Vergleich sollen auf der einen Seite die Probleme der Rundfunkmodelle dargelegt werden, die diesen unabhängig von ihrer Ausgestaltung in mehr oder minder ausgeprägter Form generell innewohnen (Definition der Grundversorgung - des Service public/ Ressourcenknappheit/ Krisen des dualen Systems). Andererseits sollen die spezifischen Probleme der Schweiz aufgrund ihrer mehrsprachigen, kleinstaatlichen Struktur verdeutlicht werden (Hoher Marktanteil an ausländischen, überwiegend deutschsprachigen Programmen an der Fernsehnutzung; Mehrsprachigkeit; Kleinräumigkeit von Zuschauer- und Zuhörermärkten sowie der Werbemärkte).

Luis Cernuda: la realizzazione del desiderio

Le traduzioni di Luis Cernuda, poeta spagnolo della Generazione del '27, da testi poetici di autori francesi, tedeschi ed inglesi, la cui scelta è dettata da ragioni di coerenza artistica, non hanno valore secondario rispetto alla produzione poetica autoriale. Nel presente studio si delinea l'uniformità del percorso creativo di Luis Cernuda nel ruolo duplice ed apparentemente contraddittorio di poeta-traduttore, attraverso un tracciato spazio-temporale, al contempo realistico e metaforico, che si svolge lungo gran parte della vita del misconosciuto poeta sivigliano. Ad una preliminare presentazione analitica del concetto di traduzione, della funzione che la stessa riveste nel genere letterario specifico della poesia e nell'attività creativa di Cernuda, segue l'analisi comparativa delle traduzioni cernudiane con le rispettive fonti straniere. L'argomento si svolge in tre capitoli successivi, organizzati rispettando lo svolgimento cronologico del percorso traduttorio cernudiano, svolto in parallelo alla produzione poetica personale. Il secondo capitolo verte sulla traduzione da testi poetici in francese. Il terzo capitolo, sul periodo immediatamente successivo agli anni della sperimentazione francese, analizza lo studio della poesia tedesca e della sperimentazione in traduzione. Tale incontro si propone anche come momento di scissione definitiva dalla lirica romanza, piuttosto esornativa, e di accostamento alla più essenziale lirica germanica. Il quarto capitolo raccoglie le versioni poetiche da autori inglesi, che si contraddistinguono per la grande somiglianza alla poesia di Cernuda nelle scelte contenutistico-formali. Le conclusioni vertono sulla coesione perseguita nel tradurre, per cui contenuto e forma acquisiscono pari importanza nella “ricreazione poetica” realizzata da Cernuda.

Studies on the dual in Mycenaean, in the Homeric poetry and in the Attic Theatre of the 5th century — morphological, dialectal and stylistical variations

The present dissertation focuses on the dual number in Ancient Greek in a diachronical lapse stretching from the Mycenaean age to the Attic Drama and Comedy of the 5th century BC. In the first chapter morphological issues are addressed, chiefly in a comparative perspective. The Indo European evidence on the dual is hence gathered in order to sketch patterns of grammaticalisation and paradigmatisation of specific grams, growing increasingly functional within the Greek domain. In the second chapter syntactical problems are tackled. After a survey of scholarly literature on the Greek dual, we engage in a functional and typological approach, in order to disentangle some biased assessments on the dual, namely its alleged lack of regularity and intermittent agreement. Some recent frameworks in General Linguistics provide useful grounds for casting new light on the subject. Internal Reconstruction, for instance, supports the facultativity of the dual in each and every stage of its development; Typology and the Animacy Hierarcy add precious cross linguistical insight on the behaviour of the dual toward agreement. Glaring differences also arise as to the adoption — or avoidance — of the dual by different authors. Idiolectal varieties prove in fact conditioned by stylistical and register necessity. By means of a comparison among Epics, Tragedy and Comedy it is possible to enhance differences in the evaluation of the dual, which led sometimes to forms of ‘censure’ — thus triggering the onset of competing strategies to express duality. The last two chapters delve into the tantalising variety of the Homeric evidence, first of all in an account of the notorious issue of the Embassy of Iliad IX, and last in a commentary of all significant Homeric duals — mostly represented by archaisms, formulae, and ad hoc coinages.

The Bible in Medieval Love Lyrics: A Fundamental Element of European Poetry Books

The focus of this study is the relationship among three different manuscripts (Modena, Bibl. Estense, MS α.R.4.4; Firenze, Bibl. Laurenziana MS Rediano 9; and London, BL, MS Harley, 2253) and the poetry they transmit. The aim of this research is to show the ways that the Bible was used in the transmission of the lyric poetry in the three literatures that they represent: Occitan (primarily through Marcabru’s songs), Italian (through the love poetry of Guittone d’Arezzo), and Middle English (through the Harley love lyrics and the MS.’s primary scribe), in a medieval European context.

Soundward: Analisi e traduzione di una selezione di brani della jazz poetry

La letteratura e la musica hanno da sempre condiviso molti aspetti del processo creativo. Questa affinità intellettuale si è più volte espressa attraverso la produzione di opere che si incontrano a metà strada tra le due arti. All'interno di queste occorrenze si è delineata una frangia letteraria, la Jazz Poetry, che trova nel jazz e nei suoi esponenti le proprie muse. Questo lavoro analizza il fenomeno della Jazz Poetry e propone le traduzioni dall'inglese all'italiano di alcune opere esemplificative. Per essere in grado di affrontare questa sfida adeguatamente, la prima parte della tesi verte sullo studio di alcuni punti cardine della traduzione poetica e sulla costruzione di una cornice storico-culturale. All'interno di questa cornice viene analizzato il ruolo del jazz e della Jazz Poetry all'interno della società, con particolare focus sulla sua posizione rispetto ad alcune tematiche di rilievo del Novecento. Vengono evidenziati i principali autori e le distinte genesi storico-letterarie che hanno contribuito alla formazione di questo movimento. Nella seconda parte viene presentata al lettore la traduzione e la successiva analisi dei brani scelti. I sei testi sono stati divisi in due sottocategorie: la poetica di Kaufman e i Coltrane Poems. In entrambe le categorie un breve capitolo introduttivo evidenzia le tematiche affrontate e la rilevanza della cornice storico-sociale all'interno dei testi. Dopo ogni traduzione viene fornita un'analisi approfondita del testo e delle scelte operate a livello traduttivo, comprensiva di un'esegesi del brano. In linea di massima si è cercato di riprodurre il continuo dialogo tra il poeta e il soggetto poetico, sia esso musica o musicista, mantenendo un equilibrio costante tra la potenzialità orale e la realtà scritta del testo.

Fine particulate matter measurements in Swiss restaurants, cafés and bars: what is the effect of spatial separation between smoking and non-smoking areas?

We performed 124 measurements of particulate matter (PM(2.5)) in 95 hospitality venues such as restaurants, bars, cafés, and a disco, which had differing smoking regulations. We evaluated the impact of spatial separation between smoking and non-smoking areas on mean PM(2.5) concentration, taking relevant characteristics of the venue, such as the type of ventilation or the presence of additional PM(2.5) sources, into account. We differentiated five smoking environments: (i) completely smoke-free location, (ii) non-smoking room spatially separated from a smoking room, (iii) non-smoking area with a smoking area located in the same room, (iv) smoking area with a non-smoking area located in the same room, and (v) smoking location which could be either a room where smoking was allowed that was spatially separated from non-smoking room or a hospitality venue without smoking restriction. In these five groups, the geometric mean PM(2.5) levels were (i) 20.4, (ii) 43.9, (iii) 71.9, (iv) 110.4, and (v) 110.3 microg/m(3), respectively. This study showed that even if non-smoking and smoking areas were spatially separated into two rooms, geometric mean PM(2.5) levels in non-smoking rooms were considerably higher than in completely smoke-free hospitality venues. PRACTICAL IMPLICATIONS: PM(2.5) levels are considerably increased in the non-smoking area if smoking is allowed anywhere in the same location. Even locating the smoking area in another room resulted in a more than doubling of the PM(2.5) levels in the non-smoking room compared with venues where smoking was not allowed at all. In practice, spatial separation of rooms where smoking is allowed does not prevent exposure to environmental tobacco smoke in nearby non-smoking areas.

Molecular epidemiology of the nasal colonization by methicillin-susceptible Staphylococcus aureus in Swiss children

Nasal carriage of Staphylococcus aureus contributes to an increased risk of developing an infection with the same bacterial strain. Genetic regulatory elements and toxin-expressing genes are virulence factors associated with the pathogenic potential of S. aureus. We undertook an extensive molecular characterization of methicillin-susceptible S. aureus (MSSA) carried by children. MSSA were recovered from the nostrils of children. The presence of Panton-Valentine leukocidin (PVL), exfoliatins A and B (exfoA and exfoB), and the toxic-shock staphylococcal toxin (TSST-1) and agr group typing were determined by quantitative PCR. A multiple-locus variable-number of tandem repeat analysis (MLVA) assay was also performed for genotyping. Five hundred and seventy-two strains of MSSA were analysed. Overall, 30% were positive for toxin-expressing genes: 29% contained one toxin and 1.6% two toxins. The most commonly detected toxin gene was tst, which was present in 145 (25%) strains. The TSST-1 gene was significantly associated with the agr group 3 (OR 56.8, 95% CI 32.0-100.8). MLVA analysis revealed a large diversity of genetic content and no clonal relationship was demonstrated among the analysed MSSA strains. Multilocus sequence typing confirmed this observation of diversity and identified ST45 as a frequent colonizer. This broad diversity in MSSA carriage strains suggests a limited selection pressure in our geographical area.

[Swiss registry for TNF-alpha blockers in children and adolescents with rheumatological diseases]

We created a registry to evaluate long term outcome, efficacy and adverse events for children treated wit TNF-alpha inhibitors in Switzerland. 106 patients (68 female/38 male) were included. 61 patients were treated with Etanercept (Enbrel) and 45 with Infliximab (Remicade). Concomitant treatment at baseline included corticosteroids in 26% and Methotrexate in 75% of the patients. Subjective disease activity three months after initiation of TNF-alpha was better in 81%, worse in 4% and stable in 15% of the patients. In total 24 adverse events in 21 patients were reported. Treatment with TNF-alpha inhibitors seems to be safe and effective for children and adolescents with rheumatologic diseases.

Lack of prophylaxis before the onset of acute venous thromboembolism among hospitalized cancer patients: the SWIss Venous ThromboEmbolism Registry (SWIVTER)

Venous thromboembolism (VTE) prophylaxis remains underutilized, particularly in cancer patients. We explored clinical predictors of prophylaxis in hospitalized cancer patients before the onset of acute VTE.

Progression of coronary artery disease during long-term follow-up of the Swiss Interventional Study on Silent Ischemia Type II (SWISSI II)

Background: This study evaluates cardiovascular risk factors associated with progression of coronary artery disease (CAD) in patientswith silent ischemia followingmyocardial infarction. Hypothesis: Coronary artery disease only progresses slowly with comprehensive risk factor intervention. Methods: A total of 104 of 201 patients (51.7%) of the Swiss Interventional Study on Silent Ischemia Type II (SWISSI II) with baseline and follow-up coronary angiography were included. All patients received comprehensive cardiovascular risk factor intervention according to study protocol. Logistic regression was used to evaluate associationsbetween baseline cardiovascular risk factors and CAD progression. Results: The mean duration of follow-upwas 10.3 ± 2.4 years. At baseline, 77.9% of patients were smokers, 45.2% had hypertension, 73.1% had dyslipidemia, 7.7% had diabetes, and 48.1% had a family history of CAD. At last follow-up, only 27 patients of the initial 81 smokers still smoked, only 2.1% of the patients had uncontrolled hypertension, 10.6%of the patientshad uncontrolled dyslipidemia, and 2.1%of the patientshad uncontrolled diabetes. Coronary artery disease progression was found in up to 81 (77.9%) patients. Baseline diabetes and younger age were associatedwith increased odds of CAD progression.The time intervalbetween baseline and follow-up angiography was also associatedwith CAD progression. Conclusion: Coronary artery disease progressionwas highly prevalent in these patients despite comprehensive risk factor intervention. Further research is needed to optimize treatment of known risk factors and to identify other unknown and potentiallymodifiable risk factors.

Inherited cavernous malformations of the central nervous system: clinical and genetic features in 19 Swiss families

Cavernous malformations (CCMs) are benign, well-circumscribed, and mulberry-like vascular malformations that may be found in the central nervous system in up to 0.5% of the population. Cavernous malformations can be sporadic or inherited. The common symptoms are epilepsy, hemorrhages, focal neurological deficits, and headaches. However, CCMs are often asymptomatic. The familiar form is associated with three gene loci, namely 7q21-q22 (CCM1), 7p13-p15 (CCM2), and 3q25.2-q27 (CCM3) and is inherited as an autosomal dominant trait with incomplete penetrance. The CCM genes are identified as Krit 1 (CCM1), MGC4607 (CCM2), and PDCD10 (CCM3). Here, we present the clinical and genetic features of CCMs in 19 Swiss families. Furthermore, surgical aspects in such families are also discussed.

Oral mucosal findings related to tobacco use and alcohol consumption: a study on Swiss army recruits involving self-reported and clinical data

PURPOSE: The aim of the present study was to assess the oral mucosal health status of young male adults (aged 18 to 24 years) in Switzerland and to correlate their clinical findings with self-reported risk factors such as tobacco use and alcohol consumption. MATERIALS AND METHODS: Data on the oral health status of 615 Swiss Army recruits were collected using a standardised self-reported questionnaire, followed by an intraoral examination. Positive clinical findings were classified as (1) common conditions and anatomical variants, (2) reactive lesions, (3) benign tumour lesions and (4) premalignant lesions. The main locations of the oral mucosal findings were recorded on a topographical classification chart. Using correlational statistics, the findings were further associated with the known risk factors such as tobacco use and alcohol consumption. RESULTS: A total of 468 findings were diagnosed in 327 (53.17%) of the 615 subjects. In total, 445 findings (95.09%) were classified as common conditions, anatomical variants and reactive soft-tissue lesions. In the group of reactive soft-tissue lesions, there was a significantly higher percentage of smokers (P < 0.001) and subjects with a combination of smoking and alcohol consumption (P < 0.001). Eight lesions were clinically diagnosed as oral leukoplakias associated with smokeless tobacco. The prevalence of precursor lesions in the population examined was over 1%. CONCLUSIONS: Among young male adults in Switzerland, a significant number of oral mucosal lesions can be identified, which strongly correlate with tobacco use. To improve primary and secondary prevention, young adults should therefore be informed more extensively about the negative effects of tobacco use on oral health.