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    Wyświetlanie 1-2 z 2
    Tytuł:
    Anti-thyroidal peroxidase antibodies are associated with thyrotropin levels in hypothyroid patients and in euthyroid individuals
    Autorzy:
    Bromińska, Barbara
    Bromiński, Gabriel
    Owecki, Maciej
    Michalak, Michał
    Czarnywojtek, Agata
    Waśko, Ryszard
    Ruchała, Marek
    Powiązania:
    https://bibliotekanauki.pl/articles/989550.pdf
    Data publikacji:
    2017
    Wydawca:
    Instytut Medycyny Wsi
    Tematy:
    anti-tpo
    autoimmunity
    hypothyroidism
    euthyroidism
    tsh
    thyreoperoxidase
    Opis:
    Objective. The study was designed to evaluate the relationship between thyroid antibodies and gland dysfunction, with the aim of finding a clinically useful threshold value of thyreoperoxidase antibodies, which could prove to be predictive for thyroid failure. Materials and method. The study was conducted on 99 women, ages ranging from 18–91 years (mean age: 45.5 ±17.0), were treated as outpatients in the Department of Endocrinology, Metabolism and Internal Medicine. Analysis of serum samples for TSH concentration and anti-TPO titers was conducted. Results. The most common disorder was hypothyroidism. Anti-TPO titers above reference range values were observed in 35 patients (35.4%): 21 (60%) were hypothyroid and 11 (31.4 %) were euthyroid. The anti-TPO and TSH serum levels correlated both in patients with high thyroid antibody titers, and in the anti-TPO negative groups. To find the threshold value of anti-TPO that would help predict hypothyroidism, receiver operating curves were used. With this approach, TPO antibody titers over 17 IU/ml indicated hypothyroidism with a 90% sensitivity and 75% sensibility. Conclusion. It can be postulated that the cutoff values of anti-TPO in the general population should be decreased in order to improve autoimmune thyroid disorder screening. Obviously, using that margin may lead initially to the detection of some false positive subjects. However, with lower cut-off values, more patients can be enrolled into thyroid follow-up groups. In this way, many people could avoid complications of undiagnosed, insidious thyroid failure.
    Źródło:
    Annals of Agricultural and Environmental Medicine; 2017, 24, 3
    1232-1966
    Pojawia się w:
    Annals of Agricultural and Environmental Medicine
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Dokumentowanie sztuki jako nowa praktyka artystyczna
    Documenting Art As New Artistic Practice
    Autorzy:
    Dziamski, Grzegorz
    Powiązania:
    https://bibliotekanauki.pl/articles/424336.pdf
    Data publikacji:
    2012
    Wydawca:
    Akademia Sztuk Pięknych w Gdańsku
    Tematy:
    CONTEMPORARY ART
    CONCEPTUAL ART
    CONCEPTUALISM
    ART DOCUMENTATION
    DOCUMENTING
    ALLOGRAPHIC ART
    ZBIGNIEW DLUBAK
    JAN SWIDZINSKI
    JAROSLAW KOZLOWSKI
    ANDRZEJ LACHOWICZ
    JOZEF ROBAKOWSKI
    RYSZARD WASKO
    DEPICTURALISATION
    Opis:
    The most tangible feature of Polish conceptual art at the beginning of the seventies was the rejection of the old language of art (painting, sculpture) in order to reach out for a new medium of the visualisation of ideas. Andrzej Lachowicz saw in this process a transition from manual art to mental art. It was a departure from autographic art, in which artists produced their own individual sign, to allographic art, in which they perform operations on signs. Mechanical registration media (photography, film) made this transition easier and lead to ‘depicturalisation’, or in other words, overthrowing painting as the main medium of visual art and, at the same time, introduced a new art language — the language of semiology. Photography made it possible to talk about art through the language of signs, not through the former language of emotions, experiences and aesthetic values. That new language, that was used more or less aptly by artists of the 70s as: Zbigniew Dlubak, Jan Swidzinski, Jaroslaw Kozlowski, Andrzej Lachowicz, Jozef Robakowski and Ryszard Wasko, turned out to be a significant feature highlighting Polish conceptual art. Photography and sign mutually supported each other in the battle with the old ideas of art. A negative point of reference for the new art language became phenomenology. Phenomenologists take signs as reality, wrote Jan Swidzinski. This mistake was avoided by structuralism, which operates through a neutral and arbitral (systematic) concept of a sign. A sign has an operational character, it is used to explore reality, it also allows for the reformulation of questions posed for art. Instead of wondering about the ways in which art reflects reality, we may ask a different question: how reality is understood by art, what actions are needed to be executed for the process of understanding to take place and, finally, what limits the process? Conceptual art did not devise such a new art formula and one may doubt whether it was its aim. It changed, however, the language which we use to talk about art. It drew artists' attention to the processes of sign-posting, to how art functions in the world of signs. The artists may freely use all available signs, they may transform old signs into new ones (secondary signs), they may give them new meanings through manipulation of the context and discover more or less overt mechanisms of encoding signs that are the discourses hidden behind them. Those discoveries became a permanent contribution of conceptual art to contemporary art practice: thanks to them contemporary art appears to be different than art from before a conceptual turn. Its most important consequence, however, is replacing artworks with art documentation.
    Źródło:
    Sztuka i Dokumentacja; 2012, 6; 21-27
    2080-413X
    Pojawia się w:
    Sztuka i Dokumentacja
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
      Wyświetlanie 1-2 z 2

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