İdil Biret

Taha Toros Arşivi, Dosya No: 196-İdil Bire

The B-G News February 26, 1965

The BGSU campus student newspaper February 26, 1965. Volume 49 - Issue 32https://scholarworks.bgsu.edu/bg-news/2835/thumbnail.jp

Codifying a Commons: Copyright, Copyleft, and the Creative Commons Project

In response to problems of overprotection perceived in America\u27s copyright scheme, the founders of the Creative Commons project have sought to create modular licenses allowing authors and artists to declaim some of the default protections associated with their copyright in order to grant public permission for use of their work in contexts such as nonprofit media or derivative works. This article reviews criticisms of the Creative Commons project and analyzes the project from the standpoint of copyright\u27s overall policy goals, both domestically and internationally. Because copyright policy seeks to enhance the public supply of information and knowledge, the article concludes that Creative Commons comports with underlying rationale for copyright protections. However, because of the private nature of the initiative, significant problems arise with questions of enforcement of the Creative Commons licenses as well as with Congressional goals of uniformity. The article suggests that many of the problems posed could be alleviated by codifying a means for copyright owners to opt for a more limited form of copyright within federal copyright law

Codifying a Commons: Copyright, Copyleft, and the Creative Commons Project

In response to problems of overprotection perceived in America\u27s copyright scheme, the founders of the Creative Commons project have sought to create modular licenses allowing authors and artists to declaim some of the default protections associated with their copyright in order to grant public permission for use of their work in contexts such as nonprofit media or derivative works. This article reviews criticisms of the Creative Commons project and analyzes the project from the standpoint of copyright\u27s overall policy goals, both domestically and internationally. Because copyright policy seeks to enhance the public supply of information and knowledge, the article concludes that Creative Commons comports with underlying rationale for copyright protections. However, because of the private nature of the initiative, significant problems arise with questions of enforcement of the Creative Commons licenses as well as with Congressional goals of uniformity. The article suggests that many of the problems posed could be alleviated by codifying a means for copyright owners to opt for a more limited form of copyright within federal copyright law

Management Strategies in Hemodialysis Vascular Access

Since the introduction of the AV fistula and the use of interposition graft little improvement has been made in the vascular access field. Still, vascular access related complications, are one of the most important reasons for patient hospitalization, morbidity and even mortality (1,2). Interestingly, the costs of vascular access related care was found to be more than fivefold higher for patients with AVG compared with patients with a functioning AVF (3). In an attempt to improve overall patency rates and reduce access related costs, the NFK-DOQI committee currently recommends that in any dialysis center the majority of new dialysis patients should have a primary AVF constructed (4,5). Unfortunately, creation of an AVF is not always possible as a consequence of prior vascular access surgery, insufficient caliber of forearm vessels or sclerosis caused by prior venipunctures. Although less thrombotic and infectious complications occur in AVF, the AVF is not ideal, i.e. 100% successful. Adequate maturation of AVF, i.e. sufficient dilatation and arterialization, fails in up to 30% of all newly created fistulae, resulting in delayed initiation of dialysis treatment or placement of temporary central venous dialysis catheters, and related morbidity (6-10). Optimalization of patient selection could improve AVF patency rates and access related morbidity. Considering the increasing age of hemodialysis patients, prolongation of the dialysis therapy, and the worldwide increase of the number of patients requiring hemodialysis, the number of AV grafts will probably increase rather than decrease. As a consequence, vascular access complications, particularly thrombosis, will continue to challenge vascular access care in the future

Rôle du pharmacien dans l'information et le conseil au patient lors de la délivrance de médicaments génériques

Face au déficit grandissant de la Sécurité Sociale, l Etat n a cessé de mettre en place des mesures économiques. L une des révolutions principales dans le domaine de la santé est la création, en 1996, du statut de médicament générique. Celui-ci n a pris son envol qu à partir de 1999 grâce au droit de substitution accordé aux pharmaciens. Pourtant, malgré toutes ces dispositions, le générique souffre encore d une réputation de médicament à bas coût et de moindre qualité relayée par les médias, en quête d un scandale sanitaire de grande ampleur. L intérêt économique du médicament générique n est plus à prouver. On estime qu il a permis d économiser plus de sept milliards d euros depuis 2002. Cependant, les patients restent méfiants et doutent de l efficacité et de la qualité de ce médicament discount . L enquête réalisée au mois de février 2013 a permis de montrer que malgré une amélioration du taux de substitution, le dispositif Tiers payant contre génériques n a pas permis de convaincre les plus réticents. En effet, plus de 90% des patients réfractaires aux génériques n ont pas changé d opinion. Le pharmacien d officine se révèle un maillon indispensable dans la politique du médicament générique. C est lui qui substitue et est en contact direct avec le patient, souvent inquiet par rapport aux génériques. Expert du médicament, le pharmacien a un rôle de pharmacovigilance et se doit de notifier les effets indésirables, qu ils soient liés à la prise d un médicament princeps ou générique. Il a un rôle indispensable dans l information au patient.Faced to the growing deficit of social security, french institutions haven t stopped to develop economic measures. One of the major revolution in the field of health is the establishment, in 1996, of the status of generic drug. It has failed to take off, until 1999, with the right of substitution allowed to pharmacist. However, despite all these measures, the generic is still suffering from a discount medicine reputation relayed by the medias, in quest of a major health scandal. The economic interest of generic drugs has been proven. It has saved more than seven billion euros since 2002. However, patients remain suspicious and skeptical of the effectiveness and quality of the low-cost drug. The survey conducted in February 2013 showed that despite an improvement in the rate of substitution, the new policy did not convince the most reluctant. In fact, over 90% of patients refractory to generic have not changed their opinion. The pharmacist reveals as an essential link in the policy of generic drug. Expert of the drug, the pharmacist must report adverse effects, whether it s related to an original or a generic drug. He has a lead role in informing the patient.ANGERS-BU Médecine-Pharmacie (490072105) / SudocSudocFranceF

A descriptive survey of renal unit practitioners' knowledge, attitude and practice relative to use and effects of unfractionated heparin in selected adult chronic haemodialysis centres in the Cape Town metropole

Background: Chronic haemodialysis treatment of 3-4 hours' duration two or three times a week is the most common renal replacement therapy for adult patients diagnosed with stage 5 end-stage kidney failure. During the procedure 200-250 ml/minute of the patient's blood volume is extracorporeal and patency of the circuit is maintained by an anticoagulant, for example, unfractionated heparin (UFH). Incorrect dosage or time of administration of UFH can have serious adverse effects if not fatal consequences for patients. It is important to perform base-line clotting studies before the initial administration and subsequent doses of UFH. There is a paucity of published information on renal unit practitioners' knowledge, attitude and practice (KAP) concerning the administration of UFH globally and no published South African studies were located. Aim: To describe renal unit practitioners' self-reported KAP regarding use and effects of UFH in purposively selected adult chronic haemodialysis centres in the Cape Town Metropole. Secondly, to determine whether there is an association between KAP regarding the use and effects of unfractionated heparin and selected variables (category of renal unit practitioner, years of experience, duration of orientation to the adult chronic haemodialysis unit and in-service education on the pharmacology of UFH)

Les monuments publics de Raymond Delamarre (1890-1986)

A first prize winner for sculpture in 1919, parisian-born Raymond Delamarre belongs to the neo-classical plastic order of the prize winners of the 20’s : painters Dupas, Roganeau, Billotey, Pougheon and Despujols, sculptors Foucault, Janniot, Martial et Vézien, engraver Decaris, architects Carlu, Roux-Spitz et Azéma. Attracted by colossal works, Delamarre gets free from the academic teachings of Beaux-Arts and reconciles his art as a medal-maker /decorator with a monumental one. Commissioned by architects, often Rome winners too, he is first and foremost a learned, elegant sculptor, with a liking for allegories, creating intricate works, half way between a decorative tradition, a high degree of realism and modern art. Volume plasticity and simplification of lines are derived from archaic Greek art and his technical and stylistic models from Roman toreutics. Influenced by Italian mannerists, he refers to French art in its various forms. The sinuous lines are borrowed from Ingres, Burne-Jones and Art nouveau, from Bourdelle’s synthetic art and Art Deco style. His agile mind’s eye is ensured by Rodin’s theory of profiles. The arrangement of his figures at various levels in his monumental reliefs are inspired by Janniot. His search for reliable references lend a historical, didactic and symbolical value to his work which, after the war, sometimes become too systematic. He is at his best when expressing very readable forms in original, poetic lines, akin to the daring attempts of cubists. However, he reasserts the continuity of a national identity of art, and shows that it can thus give birth to powerful, rythmic and greatly inventive plastic creations.Premier grand prix de sculpture en 1919, le parisien Raymond Delamarre se positionne dans le nouvel ordre plastique néo-classique du groupe des prix de Rome des années 20 (peintres Dupas, Roganeau, Billotey, Pougheon et Despujols, sculpteurs Foucault, Janniot, Martial et Vézien, graveur Decaris, architectes Carlu, Roux-Spitz et Azéma). Porté par nature au colossal, il se libère de l’académisme de l’école des Beaux-Arts et concilie sa spécificité de médailleur et d’artiste-décorateur avec celle de la monumentalité. Recevant ses commandes d’architectes souvent prix de Rome, il est avant tout un sculpteur élégant aimant les allégories. Ses œuvres complexes se situent entre tradition décorative, hyperréalisme et modernité classicisante. Il puise sa plasticité volumétrique et ses simplifications aux sources de l’art grec archaïque et ses modèles techniques et stylistiques à la toreutique romaine. Sensible aux maniéristes italiens, il se réfère aussi à l’art français sous toutes ses formes. Il emprunte leurs sinuosités à Ingres, Burne-Jones et l’Art nouveau, au synthétisme de Bourdelle et au style Art déco. La théorie des profils de Rodin lui apprend sa gymnastique de la vue. Janniot lui inspire les étagements des figures dans ses reliefs monumentaux. Sa recherche de références fiables donne une valeur historiciste, didactique et symbolique à ses œuvres qui, après guerre, deviennent parfois trop systématiques. Il excelle dans l’expression de formes lisibles, aux lignes poétiques originales, qui doivent aux audaces des cubistes. Il affirme la continuité d’une identité nationale de l’art et montre qu’elle peut donner naissance à des créations puissantes, rythmées et inventives.italiens, il se réfère aussi à l’art français sous toutes ses formes. Il emprunte leurs sinuosités à Ingres, Burne-Jones et l’Art nouveau, au synthétisme de Bourdelle et au style Art déco. La théorie des profils de Rodin lui apprend sa gymnastique de la vue. Janniot lui inspire les étagements des figures dans ses reliefs monumentaux. Sa recherche de références fiables donne une valeur historiciste, didactique et symbolique à ses œuvres qui, après guerre, deviennent parfois trop systématiques. Il excelle dans l’expression de formes lisibles, aux lignes poétiques originales, qui doivent aux audaces des cubistes. Il affirme la continuité d’une identité nationale de l’art et montre qu’elle peut donner naissance à des créations puissantes, rythmées et inventives