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Search Results: 1 - 10 of 325734 matches for " S;Plantefève "
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Snakebite on the hand: lessons from two clinical cases illustrating difficulties of surgical indication
Gras, S;Plantefève, G;Baud, F;Chippaux, JP;
Journal of Venomous Animals and Toxins including Tropical Diseases , 2012, DOI: 10.1590/S1678-91992012000400019
Abstract: snakebite is a particularly important health problem in rural areas of tropical regions. a large number of victims survive with permanent physical sequelae due to local tissue necrosis. however, necrosis may be associated with compartment syndrome especially when the bite is on the hands or feet. herein, we describe two cases reported at a rural district hospital in central african republic. the present study suggests that active multidisciplinary management may improve patient prognosis while evidencing how difficult it is to decide on surgical intervention.
L’instrument de musique : présentation du numéro
Bernard Sève
Methodos : Savoirs et Textes , 2011, DOI: 10.4000/methodos.2599
Abstract: La musique et la danse ont longtemps été les laissées-pour-compte de la philosophie de l’art. Quand on dit l’art , tout le monde entend les arts plastiques . Quelques vigoureuses exceptions (Hegel, Schopenhauer, Nietzsche pour la musique, Valéry pour la danse) ne suffisaient pas à inverser le main stream, ni à modifier le rapport de force. Mais le paysage intellectuel a changé. Depuis une trentaine d’années, et en grande partie grace aux discussions menées par les esthéticiens d’inspira...
Utilisation et présentation esthétique des instruments de musique
Bernard Sève
Methodos : Savoirs et Textes , 2011, DOI: 10.4000/methodos.2569
Abstract: J’appelle présentation esthétique le fait, pour un artiste, de présenter certaines conditions ou certains moyens de son art dans les formes même de son art, de manière sensible ( esthétique ) et non pas discursive. Dans certaines uvres, le musicien présente esthétiquement certains instruments de musique : l’instrument n’est plus seulement au service de la musique, il est mis en avant pour lui-même. La musique devient alors l’instrument de son instrument. J’analyse de ce point de vue les Six Concerts à plusieurs instruments de Jean-Sébastien Bach et la série des seize Sequenze de Luciano Berio. Mais la distinction entre utiliser simplement un instrument et le présenter n’est pas simple. Il est difficile d’utiliser un instrument sans le présenter au moins tendanciellement, et impossible de le présenter sans l’utiliser. L’attention esthétique de l’auditeur a aussi sa part dans ce processus. I name aesthetic display (or aesthetic presentation : présentation esthétique) the fact that an artist displays perceptibly (hence aesthetic ), but not discursively, some conditions or means specific to his art in the very forms this art takes. In certain musical pieces, some instruments are so displayed by the musician : in that case, the instrument is not put at use for the sake of music only, but also for its own sake. Music thus becomes the instrument of its instrument. I propose here to analyse both the Six concerts à plusieurs instruments by J.-S. Bach and the Sequenze by Luciano Berio with this view in mind. However, the distinction between the simple use of an instrument and its aesthetic display is not easy to grasp with clarity : it is indeed difficult to use an instrument without displaying it, or at least without tending toward displaying it, and it is impossible to display an instrument without using it. Furthermore, the aesthetic attention of the listener plays a significant part in this process.
Lifetime benefits of musical training
Sébastien Paquette,Geneviève Mignault Goulet
Frontiers in Neuroscience , 2014, DOI: 10.3389/fnins.2014.00089
Abstract:
Maintenance of an Efficient and Equilibrated Immune System Through the Novel Use of Natural Health Products: Synopsis of a Symposium
Pierre S. Haddad,Geneviève Beauchamp,Geneviève Côté,Michel Boivin
Evidence-Based Complementary and Alternative Medicine , 2005, DOI: 10.1093/ecam/neh083
Abstract:
Seasonal variation in vertical volatile compounds air concentrations within a remote hemiboreal mixed forest
S. M. Noe, K. Hüve, ü. Niinemets,L. Copolovici
Atmospheric Chemistry and Physics (ACP) & Discussions (ACPD) , 2012,
Abstract: The vertical distribution of ambient biogenic volatile organic compounds (BVOC) concentrations within a hemiboreal forest canopy was investigated over a period of one year. Variability in temporal and spatial isoprene concentrations, ranging from 0.1 to 7.5 μg m 3, can be mainly explained by biogenic emissions from deciduous trees. Monoterpene concentrations exceeded isoprene largely and ranged from 0.01 to 140 μg m 3 and during winter time anthropogenic contributions are likely. Variation in monoterpene concentrations were found to be largest right above the ground and the vertical profiles suggest a weak mixing leading to terpene accumulation in the lower canopy. Exceptionally high values were recorded during a heat wave in July 2010 with very high midday temperatures above 30 °C for several weeks. During summer months, monoterpene exceeded isoprene concentrations 6-fold and during winter 12-fold. During summer months, dominance of α-pinene in the lower and of limonene in the upper part of the canopy was observed, both accounting for up to 70% of the total monoterpene concentration. During wintertime, Δ3-carene was the dominant species, accounting for 60% of total monoterpene concentration in January. Possible biogenic monoterpene sources beside the foliage are the leaf litter, the soil and also resins exuding from stems. In comparison, the hemiboreal mixed forest canopy showed similar isoprene but higher monoterpene concentrations than the boreal forest and lower isoprene but substantially higher monoterpene concentrations than the temperate mixed forest canopies. These results have major implications for simulating air chemistry and secondary organic aerosol formation within and above hemiboreal forest canopies. Possible effects of in-cartridge oxidation reactions are discussed as our measurement technique did not include oxidant scavenging. A comparison between measurements with and without scavenging oxidants is presented.
Comparison of the Orotracheal Tube Cuff Pressure Estimated by Palpation vs. the Measurement Taken with a Manometer
Mu?oz VE,Mojica S,Gómez JM,Soto R
Revista Ciencias de la Salud , 2011,
Abstract: The pressure exerted by the cuff of endotracheal tube (ETT) on the mucosa to be blown, should be kept in a safe range to avoid complications by on inflation or deflation. In our context, the objective measurement instruments are not commonly used. Objective: To evaluate the correlation between ETT cuff pressure estimated by palpation, and that obtained with a manual gauge in adult patients undergoing general anesthesia. Materials and methods: It was performed a cross-sectional study by obtaining the sample of adult patients undergoing general anesthesia requiring endotracheal intubation. We included forty patients who were intubated and then two blind anesthesiologists, other than the one who intubated, estimated insufflation of ETT cuff by palpation categorizing as over-inflated, normal or deflated. One of the observers subsequently, carried out the measurement of pressure with a manometer, both in inspiration and expiration. It was considered as normal pressure range 20 to 30 cm H2O. Results: The correlation of the estimation by palpation between the two anesthesiologists was weak (Kappa = 0.21, ES: 0.11). The correlation of the estimation by palpation and measurement with manual gauge was very weak. Between the first anesthesiologist and observers, in inspiration the κ was 0.08 (ES: 0.09), in expiration was 0.08 (ES: 0.07), also between the second anesthesiologist and the observers, κ 0.05 (ES: 0.07) and 0.02 (ES: 0.06) respectively. Conclusion: The study shows that the correlation between subjective and objective methods to determine if the cuff of ETT is properly inflated was weak. It suggests the use of more objective methods for its determination.
Les arts communautaires : des pratiques de résistance artistique interpellées par la souffrance sociale
ève Lamoureux
Amnis , 2010, DOI: 10.4000/amnis.314
Abstract: De plus en plus d’artistes nord-américains choisissent d’investir certaines communautés ou collectivités stigmatisées et marginalisées afin de créer, en collaboration étroite avec les membres de celle-ci, des uvres collectives. Ces pratiques artistiques, appelées arts communautaires, poursuivent un double objectif : explorer, par le biais de la création, la souffrance individuelle et collective engendrée par les rapports sociaux de domination (afin de favoriser un processus de subjectivation qui peut devenir politique) et contester ces rapports de domination au moyen d’ uvres à teneur critique. Ce type de résistance contrevient au principe moderne de l’espace public et de l’action politique puisqu’il conteste la stricte séparation entre le privé et le public, qu’il met de l’avant des expériences singulières et qu’il propose d’autres formes de délibération politique. C’est pourquoi l’auteure caractérisera les arts communautaires, réfléchira à la création artistique collective comme outil de subjectivation et discutera de certains enjeux politiques soulevés par ces pratiques artisticosociales originales. More and more North-American artists create collective works in collaboration with members of stigmatized and marginalized communities or collectivities. These artistic practices, called community arts , pursue a double objective: (1) to explore through creation the individual and collective suffering brought about by social relations of domination (in order to favour a process of subjectivization that may become political), and (2) to contest these relations of domination through critical works. This type of resistance violates the modern principle linking public space with political action because it contests the strict separation between private and public, it foregrounds particular experiences, and it proposes alternative forms of political deliberation. It is with this in mind that the author characterizes community arts, reflects on collective artistic creation as a tool of subjectivization, and discusses some of the political stakes raised by these original artistico-social practices. Cada vez más artistas norteamericanos optan por un compromiso con ciertas comunidades o colectividades estigmatizadas y marginadas, con el fin de crear obras colectivas en estrecha colaboración con sus miembros. Tales prácticas artísticas, son llamadas artes comunitarias y persiguen un doble objetivo. Por un lado, el de explorar –por medio de la creación– el sufrimiento individual y colectivo generado por las relaciones sociales de dominación (para dar pie a u
The importance of ATP in the immune system of molluscs
VE Coyne
Invertebrate Survival Journal , 2011,
Abstract: Molluscs rely on an innate immune system for defence against infection. Invading organisms are phagocytosed by circulating hemocytes and neutralised by a combination of hydrolytic enzymes and the production of reactive oxygen species. Phagocytosis, the central feature of the molluscan innate immune system, is an energy-demanding process as a consequence of actin polymerisation which requires a constant supply of ATP. Adenylate kinase, shown to couple local ATP supply and actomyosin assembly in macrophage cell lines, may play a similar role in molluscan hemocytes. Hemocyte conformational changes and chemotaxis are regulated via protein kinase C which is phosphorylated in response to bacterial lipopolysaccharide. ATP utilisation in protein kinase cascades is thought to be quite significant. The vast majority of the ATP required to support cellular functions in animal cells is generated via the mitochondrial electron transport chain. Disruption of this process with antimycin A resulted in a 50 % decrease in ATP levels in Haliotis midae hemocytes which also exhibited reduced phagocytic activity. Phosphoarginine and arginine kinase are thought to play a role in invertebrates that is similar to phosphocreatine and creatine kinase in vertebrates, by supplying additional ATP during periods of high energy demand. The energetically-expensive processes associated with the molluscan innate immune system, such as chemotaxis, phagocytosis, formation and acidification of the phagolysosome, are severely compromised by abiotic stresses such as elevated water temperature and pollutants, reflecting the fine balance that must be maintained to ensure sufficient ATP is available for both general metabolism and the immune response.
Quelques pistes de réflexion sur la restauration perceptible des vases céramiques antiques
ève Bouyer
CeROArt : Conservation, Exposition, Restauration d'Objets d'Art , 2010,
Abstract: En restauration de céramique, il existe un grand nombre de procédés permettant de rendre une restauration perceptible. Le choix de l'un ou l'autre de ces procédés dépend beaucoup du restaurateur : la formation, l'entourage professionnel, les go ts et les intentions de celui-ci le porteront vers certains procédés plut t que d'autres. The restoration of ceramics provides a wide variety of ways enabling to make a restoration perceptible. The choice of one of this ways relies much on the conservator: his/her training and education, the people he/she works with, his/her taste and preferences will lead him/her towards some process instead of others.
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