Dançando com Pina Bausch : experimentações contemporâneas

Através desta pesquisa realizou-se um encontro entre a Filosofia da Diferença e a dança de Pina Bausch, recortando e problematizando na cena contemporânea este modo de dançar, para pensar modos de subjetivar e a experiência do corpo. A partir destes dois eixos, mapeou-se três analisadores que foram retirados de uma leitura singular da dança-teatro e do processo criativo de Bausch, aproximando-os dos cenários contemporâneos para assim problematizar esta conexão, propondo-se a enxergar e traçar alguns efeitos deste acoplamento. No entanto, é necessário ficar claro que a dança não é o campo empírico da pesquisa. Ou seja, não se objetivou pensar a dança propriamente dita, mas pensá-la como intercessora para problematizar a experiência do corpo e da subjetividade no contemporâneo. Experiência esta, onde o corporal e o subjetivo não estão separados e desvinculados, mas encontram-se num regime de coexistência, um sendo constituinte do outro e, ao mesmo tempo, se constituindo. Assim, objetivou-se conhecer mais a obra e o processo de criação da coreógrafa em questão, para buscar o fio de Ariadne e pensar o seu jeito de dançar como um modo que nos força a pensar a experiência contemporânea. Isto significa caçar a linha que perpassa o autor e a obra como força instituinte e que pode manter seu devir auxiliando a pensar um diagnóstico do presente.Through this research we made a meeting between the Philosophy of Difference and the dance of Pina Bausch, cutting and problematizing this way of dancing in the contemporary act, in order to think about ways of subjectivizing and the experience of body. From these two axles on, we mapped out three analyzers that were taken from a single reading of the theater-dance and of Bausch's creative process, approaching them of the contemporary scenery, for thus problematizing this connection, proposing to seeing and tracing some effects of this joint. However, it is necessary to be clear that the dance is not the empiric field of the research. That means, the goal is not thinking about the dance itself, but thinking about that as an intercessor for problematizing the experience of the body and of the subjectivity of contemporary. This experience, in which body and subjective are not separated and untied, but are part of a coexistence system, one being the constituent of the other and, at the same time, consisting itself. So, the goal was to better know the work and the creation process of the choreographer, in order to seek the thread of Ariadne and think about her way of dancing as a way that makes us consider the contemporary experience. That means to hunt the line that passes by he author and the work as an established force and that can keep its will to be helping to think about a present diagnosis

Dançando o pesar do mundo Dancing the sorrow of the world

Este artigo objetiva pensar as formas mais recentes de viver no mundo, tomando os sujeitos como efeitos de múltiplos desdobramentos produzidos em torno da experiência do viver. Para isso, utiliza a dança contemporânea como mediadora, relacionando-a com certos modos de viver no contemporâneo. É por essa esteira que o leitor é convidado a traçar um caminho por algumas vias que permeiam o plano no qual estamos inseridos, o contemporâneo. No decorrer dessa viagem, encontramos o dançar. Esse movimento se insere na trajetória da dança contemporânea, permitindo-nos deparar com a possibilidade de fazer uso dessa experiência como auxílio para continuar pensando o contemporâneo como ponto-chave da problematização.<br>This article aims at thinking the most recent ways of living in the world, considering the subjects as effects of multiple fractions produced around the living experience. For that, it uses the contemporary dance as an intermediary, relating it to certain ways of living in the contemporaneity. Through this course, we invite the reader to trace a path through some ways that permeate the plan in which we are inserted, the contemporaneity. As this trip goes on, we find the dance. This move is inserted in the trajectory of contemporary dance, allowing us to face the possibility of using this experience as an aid to keep thinking the contemporaneity as the key point of the problem

Post-anaesthesia pulmonary complications after use of muscle relaxants (POPULAR): a multicentre, prospective observational study

Background Results from retrospective studies suggest that use of neuromuscular blocking agents during general anaesthesia might be linked to postoperative pulmonary complications. We therefore aimed to assess whether the use of neuromuscular blocking agents is associated with postoperative pulmonary complications. Methods We did a multicentre, prospective observational cohort study. Patients were recruited from 211 hospitals in 28 European countries. We included patients (aged ≥18 years) who received general anaesthesia for any in-hospital procedure except cardiac surgery. Patient characteristics, surgical and anaesthetic details, and chart review at discharge were prospectively collected over 2 weeks. Additionally, each patient underwent postoperative physical examination within 3 days of surgery to check for adverse pulmonary events. The study outcome was the incidence of postoperative pulmonary complications from the end of surgery up to postoperative day 28. Logistic regression analyses were adjusted for surgical factors and patients’ preoperative physical status, providing adjusted odds ratios (ORadj) and adjusted absolute risk reduction (ARRadj). This study is registered with ClinicalTrials.gov, number NCT01865513. Findings Between June 16, 2014, and April 29, 2015, data from 22803 patients were collected. The use of neuromuscular blocking agents was associated with an increased incidence of postoperative pulmonary complications in patients who had undergone general anaesthesia (1658 [7·6%] of 21694); ORadj 1·86, 95% CI 1·53–2·26; ARRadj –4·4%, 95% CI –5·5 to –3·2). Only 2·3% of high-risk surgical patients and those with adverse respiratory profiles were anaesthetised without neuromuscular blocking agents. The use of neuromuscular monitoring (ORadj 1·31, 95% CI 1·15–1·49; ARRadj –2·6%, 95% CI –3·9 to –1·4) and the administration of reversal agents (1·23, 1·07–1·41; –1·9%, –3·2 to –0·7) were not associated with a decreased risk of postoperative pulmonary complications. Neither the choice of sugammadex instead of neostigmine for reversal (ORadj 1·03, 95% CI 0·85–1·25; ARRadj –0·3%, 95% CI –2·4 to 1·5) nor extubation at a train-of-four ratio of 0·9 or more (1·03, 0·82–1·31; –0·4%, –3·5 to 2·2) was associated with better pulmonary outcomes. Interpretation We showed that the use of neuromuscular blocking drugs in general anaesthesia is associated with an increased risk of postoperative pulmonary complications. Anaesthetists must balance the potential benefits of neuromuscular blockade against the increased risk of postoperative pulmonary complications