Internal cardiac massage in dogs: a new technique proposition for emergency pericardiotomy - ligament traction

PURPOSE: Describe a technique of emergency pericardiotomy, named as Ligament Traction (LT), to reduce the necessary time to begin the Internal Cardiac Massage. To perform the ICM an emergency toracotomy and pericardiotomy are necessary, both in remote time. The technique usually employed is the T pericardiotomy, whose execution depends on the apprehension of the pericardium with an Allis forceps. This apprehension is difficult and complicates the reanimation of the patient METHODS: Twenty canine corpses were divided into two groups: Group I - T pericardiotomy (n=10), and Group II - the LT technique (n=10). The LT consisted on the traction of the pericardiumphrenic ligament and the section of the pericardium next to its apex. The incision was elongated with the introduction of the fingers, also allowing the positioning of the heart in the hand of the operator and the immediate beginning of the ICM. RESULTS: Group I presented an execution period of 21.79 ± 0.88 second, and Group II of 8.58 ± 1.38, with p<0.0001 (highly expressive). CONCLUSION: The technique of pericardiotomy by Ligament Traction concur to outliving, because it avoids a larger time of cerebral ischemia, due to the early beginning of the circulation.OBJETIVO: Descrever uma técnica de pericardiotomia de emergência, denominada Tração Ligamentar (TL), para diminuir o tempo necessário ao início da Massagem Cardíaca Interna (MCI). Para a MCI necessita-se de toracotomia de emergência e pericardiotomia, ambas em tempo mínimo. A técnica comumente empregada corresponde a pericardiotomia em T, cuja execução depende da apreensão do pericárdio com uma pinça de Allis. Este pinçamento é difícil, dificultando a reanimação do paciente. MÉTODOS: Utilizou-se 20 cadáveres de cães, divididos em dois grupos de animais, sendo o Grupo I - pericardiotomia em T (n=10) e Grupo II - técnica proposta (n=10). A técnica de TL consistiu na tração do ligamento frenicopericárdico e da secção do pericárdio próximo ao seu ápice. A incisão foi alongada pelos dedos enquanto eram nela introduzidos e permitiu, também, o correto posicionamento do coração na mão do operador, bem como o pronto início da MCI. RESULTADOS: O Grupo I apresentou tempo de execução de 21,79 ± 0,88 segundo, e o Grupo II de 8,58 ± 1,38 segundo, sendo p<0,0001, (altamente significativo). CONCLUSÃO: A técnica de pericardiotomia por TL impede um tempo maior de isquemia cerebral, por iniciar prematuramente a circulação sangüínea, contribuindo para a sobrevida.Universidade Federal de Santa MariaEscola Paulista de MedicinaSOBRADIPECUniversidade de São PauloUNIFESP, EPMSciEL

Open Set Recognition For Music Genre Classification

We explore segmentation of known and unknown genre classes using the open source GTZAN and FMA datasets. For each, we begin with best-case closed set genre classification, then we apply open set recognition methods. We offer an algorithm for the music genre classification task using OSR. We demonstrate the ability to retrieve known genres and as well identification of aural patterns for novel genres (not appearing in a training set). We conduct four experiments, each containing a different set of known and unknown classes, using the GTZAN and the FMA datasets to establish a baseline capacity for novel genre detection. We employ grid search on both OpenMax and softmax to determine the optimal total classification accuracy for each experimental setup, and illustrate interaction between genre labelling and open set recognition accuracy.Comment: 9 pages, 5 figures, 4 table

Proton spectra from Non-Mesonic Weak Decay of p-shell Lambda-Hypernuclei and evidence for the two-nucleon induced process

New spectra from the FINUDA experiment of the Non Mesonic Weak Decay (NMWD) proton kinetic energy for 9(Lambda)Be, 11(Lambda)B, 12(Lambda)C, 13(Lambda)C, 15 (Lambda)N and 16(Lambda)O are presented and discussed along with the published data on 5(Lambda)He and 7(Lambda)Li. Exploiting the large mass number range and the low energy threshold (15 MeV) for the proton detection of FINUDA, an evaluation of both Final State Interactions (FSI) and the two nucleon induced NMWD contributions to the decay process has been done. Based on this evaluation, a linear dependence of FSI on the hypernuclear mass number A is found and for the two nucleon stimulated decay rate the experimental value of Gamma2/Gammap=0.43+-0.25 is determined for the first time. A value for the two nucleon stimulated decay rate to the total decay rate Gamma2/GammaNMWD=0.24+-0.10 is also extracted.Comment: 11 pages and 2 figure

Avaliação das propriedades mecânica, térmica e morfológica da incorporação de nanotubos de haloisita em matriz de polipropileno

Neste trabalho foram obtidos nanocompósitos de PP com nanotubos de haloista (HNT) através do método de intercalação por fusão utilizando uma extrusora dupla rosca. Foram utilizados alguns aditivos para alcançar propriedades finais superiores nos nanocompósitos formados, para aumentar a força de adesão entre a HNT e a matriz polimérica, tais como o uso de PP-g-MA e três tipo de tensoativos não iônicos a base de amina graxa etoxilada, álcool alcoxilado e alquifenol etoxilado e propoxilado para avaliar o efeito na dispersão, adesão interfacial e nas propriedades mecânicas, morfológicas e térmicas dos nanocompósitos de PP/HNT. A adição de HNT proporcionou aumento nas propriedades térmicas e mecânicas do PP, principalmente quando houve melhor dispersão da HNT na matriz. A utilização dos tensoativos nas misturas aumentaram os resultados de resistência ao impacto e maiores teores do mesmo apresentaram efeito de plastificação da matriz, reduzindo levemente Tm, aumentando a elongação à ruptura dos nanocompósitos. A adição de PP-g-MA aumentou as propriedades de módulo elástico em relação aos tensoativos. Nanocompósitos obtidos com a utilização da alimentação lateral não mostraram melhores propriedades, visto que a HNT não foi bem dispersa na matriz de PP.PP nanocomposites were obtained with halloysite nanotubos (HNT) through the melt intercalation method. Some additives were used for obtaining good mechanical and thermal properties, such as PP-g-MA and surfactants to increase the force of adhesion between the clay and the thermoplastic matrix. The HNT addition in the systems provided an increase in the thermal and mechanical properties of the PP matrix, mainly when good dispersion of the HNT were obtained. The use of the surfactants increase Impact Izod and larger amounts of surfactans acted as plasticizer. The Tm presented decrease and increase tensile strenght when surfactans was used. The addition of PP-g-MA increase tensile modulus in relation to the surfactants. Nanocomposites obtained by side feeder not improve the mechanical properties. The HNT obtained poor dispersion on the matrix when side feeder mode was used

Sistema integrado de gestão da produção para pequenas e medias industrias

Dissertação (mestrado) - Universidade Federal de Santa Catarina. Centro Tecnologic

Degree zero art: Piero Manzoni and Hélio Oiticica

This thesis seeks to unfold the concept of the ‘degree zero art’ as an artistic and cultural project as manifested in the practices of two very different artists, Milan-based Piero Manzoni (Soncino 1933- Milan 1963) and Rio-born Hélio Oiticica (Rio de Janeiro 1937-1980), during the second half of the twentieth century. Despite the clear contrasts between their works and their very different cultural formations, the thesis focuses on these artists in order to show how their practices align around the challenge to aesthetic categories, stylistic labels and political frameworks employed by much recent critical literature. In order to discuss intellectual and critical structures developed to narrate varieties of North American conceptual practices, this thesis proposes a new interpretative frame: a ‘degree zero aesthetics’, creating a transnational dialogue between the work of Manzoni and Oiticica. Borrowing from the understanding of zero proposed by the German Zero group at the beginning of the sixties, I argue that the idea of zero denotes a fresh start and constructive will; it therefore explains the process of erasing and rebuilding from scratch that has characterised the post-war generation. Alongside the process of construing an aesthetic around the notion of ‘zero’, this thesis aims to deconstruct popular sites of discourse around the tropes of ‘participation’ and ‘politics’, critically readdressing the historiography surrounding these themes. Lastly, this project attempts to discuss the literature on both artists, who have become paradigmatic of certain key movements and moments in Latin American and European art respectively, and in recent elaborations of global art histories

Integration of aero-elastic belt into the built environment for low-energy wind harnessing: current status and a case study

Low-powered devices are ubiquitous in this modern age especially their application in the urban and built environment. The myriad of low-energy applications extend from wireless sensors, data loggers, transmitters and other small-scale electronics. These devices which operate in the microWatt to milliWatt power range and will play a significant role in the future of smart cities providing power for extended operation with little or no battery dependence. Low energy harvesters such as the aero-elastic belt are suitable for integration with wireless sensors and other small-scale electronic devices and therefore there is a need for studying its optimal installation conditions. In this work, a case study presenting the Computational Fluid Dynamics modelling of a building integrated with aero-elastic belts (electromagnetic transduction type) was presented. The simulation used a gable-roof type building model with a 27° pitch obtained from the literature. The atmospheric boundary layer flow was employed for the simulation of the incident wind. The work investigates the effect of various wind speeds and aero-elastic belt locations on the performance of the device giving insight on the potential for integration of the harvester into the built environment. The apex of the roof of the building yielded the highest power output for the aero-elastic belt due to flow speed-up maximisation in this region. This location produced the largest power output under the 45° angle of approach, generating an estimated 62.4 mW of power under accelerated wind in belt position of up to 6.2 m/s. For wind velocity of 10 m/s, wind in this position accelerated up to approximately 14.4 m/s which is a 37.5% speed-up at the particular height. This occurred for an oncoming wind 30° relative to the building facade. For velocity equal to 4.7 m/s under 0° wind direction, airflows in facade edges were the fastest at 5.4 m/s indicating a 15% speed-up along the edges of the building

Lijepo i korisno

Prikaz izložbe: Baršunasti trag mučeništva, Muzej grada Splita, Split, 16.5.-16.8. 2005., autorica izložbe: Vjekoslava Sokol, autor postava: Mirko Gelemenović Prikaz kataloga izložbe: Vjekoslava Sokol, Baršunasti trag mučeništva, Split, Muzej grada Splita 2005

THE ICONS OF OUR LADY SKOPIOTISSA IN DALMATIA

Obrađuje se skupina ikona u Dalmaciji s temom Bogorodice s Djetetom u shemi Skopiotise. Uz stilsku analizu izdvaja se ikonografska shema i vezuje uz Bogorodičinu ikonu koja se štovala u manastiru Skopos na otoku Zakintu u Jonskom moru.There exists in Dalmatia a group of icons of Our Lady With Child which have the same stylistic form as the icon in the Mimara museum in Zagreb. All these icons are painted on a dark background varying in colour from red and blue to silver. The faces and hands of Our Lady and Child are painted, while the clothes, haloes and crowns are done in pastiglia in shallow relief and covered with silvery leaves. Many lines suggesting pleats in clothing,crowns and haloes with curly or geometrical ornaments are engraved into a uniform and gently protruding surface. The elements are differentiated by graphics rather than painting.On some of these icons, including the one from Zagreb, the name Skopiotissa is engraved in Greek letters, clearly identifying them. Names according to which icons become famous are most often derived from places, churches or monasteries where they were originally venerated. Inscriptions and abbreviations of represented names are necessary components of icons,entering into the very essence of their theology and their connection with the archetype. In the same way that representation of a person in an icon is not a mere illustration, but represents an archetype- therefore the icon is the very person which is represented - the identifying inscription reflects the archetype. The veneration relates to the name of the represented in the same way as it does to the painted image.The identifying inscription of these icons clearly denotes the geographical origin of the cult: the monastery of Skopos on the Island of Zacynthus in the middle of the Ionian Sea. Both the inscription and the structure of the icon, which with minor variations is frequently repeated, clearly demonstrate the affirmed cult of Our Lady. The well-known Venetian chronicler Flaminio Cornaro confirmed this. During a flight of Panvenetianism, in 1761 he noted in detail all well-known cults of Our Lady in the area of the Venetian Republic. He described all pictures and statues of Our Lady, with historic enumeration of the shrines which were created around them. He wrote several pages on the cult of Our Lady from the shrine of Skopos on Zacynthus. The iconographic type at the time of Cornaro was already established and supported by an unambiguous inscription. The copper-etched illustration of the icon of Skopiotissa from Cornaro\u27 s book shows Our Lady as a Hodigitria to the waist, with the Child on her left arm. The child is blessing with the right hand holding a closed volume in his left hand. Although it is difficult to establish the detailed stylistic characteristics of the icon from the schematic nature of the illustration, it is clear that the Mimara and the other Dalmatian icons imitate it almost completely.In view of the distribution of the icons of Skopiotissa, there is a clear concentration of the cult within the Ionian and Adriatic Seas to Venice and Ravenna. The cause of such popularity is noted already by F. Cornaro: Our Lady of Skopiotissan was particularly venerated by seamen. Via the most important sea-ports of Boka Kotorska, Orebić, Korčula, the islands of Bračand Hvar, Split, the Kaštela, Krapanj and Šibenik, the cult of Our Lady of Skopiotissa spread throughout Venetian Dalmatia. The icons of Skopiotissa as pictures intended for private or public veneration were carried by captains and seamen. They were venerated in the houses of captains and tradesmen. Their veneration in churches and monasteries was related most probably to the custom of family pictures being left to posterity as votive gifts. Skopiotissa in Pučišća has a clear votive inscription by the Brač nobleman Nikola Moro.The Dalmatian Skopiotiss as are known in two variants. One is the already-described Hodigitria with Child on the left arm, like the original from Zacynthus. The icons from Zagreb, Pučisća, Poljud and Hvar and Split belong to this group, with small variations. The icons of Mimara, Pučišća, Poljud and Hvar are flanked ,however, by hanging chandeliers with eternal lights. They hang from three chains, and give light symbolising the power of Christ- of light, and the light which he gave to the people. Burners soaked in oil, also give light to Our Lady, the light of Glory since she has recieved God- the light- into her lap. The other type represents only the bust of Our Lady. The head is slightly inclined to the right, her look is sad and her hands are crossed on her breast in a humble gesture of prayer. Perhaps this type can be considered as a representation of Our Lady of Sadness, as suggested by M. Bianco Fiorin. The crowning of Our Lady has been added to several icons of this group. The inscription (Greek inscription) on one of them precisely defines them semantically.The group of icons of Skopiotissa does not fit stylistically into the well-known iconographic schools of the 17th and 18th centuries, nor into the Greek or the well-known and stylistically recognisable Cretan school. But these atypical and hybrid icons represent, by their number and characteristics,a clear stylistic form distinct within paintings of icons. The dominant and pronounced use of line of firm opaque dark shadows (although the flesh colour attempts to acquire the softness and roundness of the Cretan school), and the geometry, achromatism and monochromy form their common stylistic features,with a characteristic pastiglia and the use of silver. It can be supposed that along with the influence of Russian, Greek and Cretan icons of that time,the painters of Zacynthus, Cefalonia and Corphu developed what M. Hatdzidakis calls »the style of the Ionian Islands« within which icons of Our Lady were developed. Such convincing archaism, the emphasis on the patina where the old silver glimmers on red, green and blue backgrounds effectively stimulates popular piety. These Skopiotissas, more venerated in the West than within the Orthodox Church, are a real impetus to such feelings. Of schematic character and as a sign of deity, rather than a work of art, they carry characteristics of popular art