Ms.Ff.F.Stoltze 3. 174 - Brief von Carl Kindermann an Friedrich Stoltze

Glückwünsche zum 70. Geburtstag (Gedicht

Influence of right ventricular stimulation site on left ventricular function in atrial synchronous ventricular pacing

AbstractOBJECTIVESThe study investigates the correlation between left ventricular function and QRS duration obtained by alternate right ventricular pacing sites.BACKGROUND1. Right ventricular apical pacing is associated with alterations of left ventricular contraction sequence. 2. A stimulation producing narrow QRS complexes is supposed to provide for better left ventricular contraction patterns.METHODSFourteen patients with third degree AV block received one ventricular pacing lead in apical position. The alternate lead was attached to that site on the septum that produced the smallest QRS complex as measured from the earliest to the last deflection in any of the orthogonal Frank leads (xyz). During atrial synchronous ventricular pacing, the AV delay was optimized individually and for each stimulation site using mitral valve doppler or impedance cardiography. By radionuclide ventriculography, the phase distribution histogram of left ventricular contraction was evaluated as area under the curve (AuC); systolic function was determined as ejection fraction (EF) and as absolute ejected counts (EC) in random order. The difference (Δ) in QRS duration between apical and septal stimulation (Δxyz) was correlated with the difference in phase distribution (ΔAuC) and ejection parameters (ΔEF, ΔEC).RESULTSQRS duration was shorter with septal than with apical pacing in 9 out of 14 patients (64%); it was longer in 4 (29%), and no difference was seen in 1 patient. There was a significant positive correlation between the change in QRS duration (Δxyz) and phase distribution (ΔAuC: r = 0.66393, p = 0.010) and a significant negative correlation to systolic function (ΔEF: r = 0.70931, p = 0.004; ΔEC: r = 0.74368, p = 0.002).CONCLUSIONSIn atrial synchronous right ventricular pacing, if the AV delay is adapted individually, decreased QRS duration obtained by alternate pacing sites is significantly correlated with homogenization of left ventricular contraction and with increased systolic function in acute tests

A ‘choréographie’ of light and space: Adolphe Appia and the first scenographic turn

While the significance and influence of Appia’s writings and his storyboard scenarios of Wagnerian operas on the development of modern theatre practice is uncontested, their origin has almost universally been explained as instigated by a combination of his musical inspiration alongside the technological development of electric stage lighting. While light was clearly at the heart of this new scenography, it was not as a result of the advent of electricity in the theatres of Europe and North America from the early 1880s as most commentators have suggested, but rather due to an older, pre-existing lighting technology with which Appia was acquainted. In 1886, at the age of 24 Appia embarked on a four-year period when he was primarily resident in Dresden. It was a formative time in his education that was instrumental in the development of a new scenic art and has received surprisingly little critical attention. Appia’s writings and drawings for the staging of Wagnerian drama first conceived in this German city, were to revolutionise thinking about stage space, scenery and perhaps most importantly, the use of light as an expressive material in the theatre. This article therefore seeks to explain how a specific combination of circumstances converged, in a particular place and time, to provoke a paradigm shift in theatre practice – what we should consider to be the first scenographic turn of the modern theatre. It argues for a reappraisal of Appia as not simply an idealist or theatre theorist, but as a practitioner whose scenographic understanding was rooted in the craft of theatre production. It also suggests that we need to revisit perceived histories of theatre practice which have been established and subsequently re-enforced on the basis of linguistic translations which may lack a scenographic sensibility