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La Strategia di Transizione Climatica (STC) “Bosco Clima. Contrastare l'effetto domino dei cambiamenti climatici” è stata redatta nell’ambito del progetto di Fondazione Cariplo “F2C - Fondazione Cariplo per il Clima” dai partner di progetto e con il supporto tecnico-scientifico di Eurac Research. La STC-Bosco Clima si sviluppa in una porzione del territorio di competenza della Comunità Montana Valli del Verbano e dell’Ente Parco Campo dei Fiori, in provincia di Varese. L’area di progetto comprende il bacino del fiume Boesio (Valcuvia), il bacino del Margorabbia (Valtravaglia) e il versante meridionale del monte Campo dei Fiori. L’area si caratterizza per due massicci montuosi prealpini divisi dalle due valli principali in cui predominano le superfici boscate e in cui i centri urbani, di piccola e media dimensione, risultano concentrati in massima parte nei fondivalle, alle quote inferiori. La STC-Bosco Clima è nata dalla volontà degli enti che operano sul territorio - Comunità Montana Valli del Verbano, Ente Parco regionale Campo dei Fiori, Università degli Studi dell’Insubria, Società Schiaparelli - Centro Geofisico Prealpino, CAST e LIPU – di capitalizzare le esperienze pregresse in ambito di gestione forestale, idraulica, naturalistica e di sfruttare l’ottima collaborazione per lavorare intorno ad un progetto comune e condiviso di mitigazione e adattamento del territorio (fiumi, versanti montuosi e habitat di interesse per la biodiversità) ai cambiamenti climatici (CC). I fenomeni con cui si manifestano con maggior evidenza gli effetti dei CC nell’area di progetto si possono circoscrivere all’aumento sia degli eventi estremi di pioggia, vento e grandine sia dei casi di dissesto idrogeologico. Tali fenomeni determinano di riflesso una incidenza negativa sull’ambiente naturale e sulla biodiversità locale. L’elevata presenza di sistemi verdi, soprattutto forestali, esclude il territorio di progetto dal problema delle ondate di calore che invece interessano pericolosamente le aree urbane. La STC-Bosco Clima ha la finalità di pensare al futuro del territorio interessato in chiave resiliente e pro-ambientale partendo dalla risorsa chiave, il bosco, come strumento di mitigazione e adattamento ai CC. Il bosco è un habitat diventato fragile e attaccabile sia a causa di comportamenti umani diretti, quali l’abbandono colturale, sia a causa degli effetti dei CC. La STC-Bosco Clima, quindi, ha come obiettivo principale la risoluzione di problematiche riconducibili ai CC e legate al bosco e ai servizi ecosistemici ad esso collegati (qualità dell’aria e dell’acqua, assetto idrogeologico, biodiversità forestale) e di adattare il territorio ai futuri problemi che il CC genererà, promuovendo la cittadinanza attiva e l’informazione, strumenti rilevanti di cambiamento sociale.

A travers l’analyse de deux dispositifs d’inventaire du patrimoine, conduits de maniere partagee entre un groupe social et un relais scientifique sur un territoire donne, nous nous interessons aux processus de collecte memorielle de temoignages, de construction documentaire et de mise en media, deployes pour elaborer les savoirs sur le patrimoine en devenir. Nous interrogeons les modalites de la co-ecriture mediatique adossees a ces processus de patrimonialisation, en pretant particulierement attention aux transformations epistemologiques, symboliques et techniques qu’une telle ecriture partagee conditionne au sein du groupe social partenaire en termes de circulation des savoirs.

International audience; Art museums are now proposing new forms of cultural outreach in the hopes of provoking visitors’ emotions. A recurring theme in discourses accompanying outreach particularly through sensory and olfactory means, emotion seems singularly to characterize creators’ projects, without exactly knowing how to define it, what it implies and in what ways in particular it affects a guided tour. This contribution aims to analyze contemporary revisions of the guided tour in museums, as envisioned by professionals, through the prism of emotion.; Los museos de arte proponen nuevas formas de mediación cultural, cuyo principio es despertar las emociones del visitante. La emoción es un motivo recurrente en el discurso que acompaña a las actividades de mediación sensorial y olfativa en particular. Parece entonces ser una característica singular del proyecto de los curadores, sin que se sepa cómo se define, qué abarca y qué modifica en la visita guiada en particular. Esta contribución busca analizar las renovaciones contemporáneas de la visita guiada del museo, tal como la conciben los profesionales, a través del prisma de la emoción.; Les musées d’art proposent de nouvelles formes de médiation culturelle ayant pour principe de susciter l’émotion du visiteur. Motif récurrent dans les discours d’accompagnement des activités de médiation sensorielle et olfactive en particulier, l’émotion semble alors caractériser singulièrement le projet des concepteurs, sans que l’on sache comment elle est définie, ce qu’elle recouvre et modifie de la visite guidée en particulier. Cette contribution s’attache à analyser les rénovations contemporaines de la visite guidée muséale telles qu’elles sont envisagées par les professionnels, au prisme de l’émotion.

Les musées d’art proposent de nouvelles formes de médiation culturelle ayant pour principe de susciter l’émotion du visiteur. Motif récurrent dans les discours d’accompagnement des activités de médiation sensorielle et olfactive en particulier, l’émotion semble alors caractériser singulièrement le projet des concepteurs, sans que l’on sache comment elle est définie, ce qu’elle recouvre et modifie de la visite guidée en particulier. Cette contribution s’attache à analyser les rénovations contemporaines de la visite guidée muséale telles qu’elles sont envisagées par les professionnels, au prisme de l’émotion. Art museums are now proposing new forms of cultural outreach in the hopes of provoking visitors’ emotions. A recurring theme in discourses accompanying outreach particularly through sensory and olfactory means, emotion seems singularly to characterize creators’ projects, without exactly knowing how to define it, what it implies and in what ways in particular it affects a guided tour. This contribution aims to analyze contemporary revisions of the guided tour in museums, as envisioned by professionals, through the prism of emotion. Los museos de arte proponen nuevas formas de mediación cultural, cuyo principio es despertar las emociones del visitante. La emoción es un motivo recurrente en el discurso que acompaña a las actividades de mediación sensorial y olfativa en particular. Parece entonces ser una característica singular del proyecto de los curadores, sin que se sepa cómo se define, qué abarca y qué modifica en la visita guiada en particular. Esta contribución busca analizar las renovaciones contemporáneas de la visita guiada del museo, tal como la conciben los profesionales, a través del prisma de la emoción.

Les itineraires culturels (IC), et en particulier les Itineraires culturels europeens (ICE), definis comme des parcours patrimoniaux dessines a l’echelle de plusieurs pays europeens, rassemblent chacun plusieurs typologies categorielles (patrimoine materiel, immateriel, naturel) autour d’une thematique commune et forment ainsi, le plus souvent, un circuit de visite transnational, qu’il s’agisse de la Route des Vikings, des Chemins de l’art rupestre prehistorique ou encore du Reseau Art nouvea...

International audience; This paper focuses on sensory guided tours of art museums, using the sense of smell. With a communicational approach to museum studies, the analysis draws on interviews with museum educators, audience services managers and perfumers, from selected French museums (including Lille's palais des Beaux-Arts, Grasse's museums, Valence art museum and Montpellier's Musée Fabre). The paper looks at the contemporary changes in museum guided tours as they newly include the sense of smell in their art interpretation toolbox and tend to increase visitor participation and engagement in particular in doing so. As they experience art with their senses, with smell in this case, visitors are invited to share their reactions with other fellow visitors. As such, the sense of smell largely contributes to renewing the contemporary form of museum guided tours, inviting the visitor to speak and take part in a discussion about the art on display. Here, the visitor becomes a co-producer for the tour along with the guide himself, hereby transforming the knowledge transmission process in the museum. In this perspective, sensory heritage interpretation programs seem to largely contribute to democratize the guided tour format, and reassert the role of the museum as a public "forum" (Girault, DÈbart, 2001).; Notre étude fondée sur une approche communicationnelle, ancrée en muséologie, se focalise sur les visites guidées olfactives dans les musées d'art. A partir d'entretiens avec des médiateurs, responsables de services de publics et parfumeurs qui interviennent au palais des Beaux-Arts de Lille, dans les musées de Grasse, au musée d'art de Valence ou au musée Fabre de Montpellier, notamment, nous souhaitons voir comment la visite guidée se transforme en incorporant l'odeur et plus spécifiquement comment les visiteurs sont invités à participer plus activement à la visite guidée. En sentant les odeurs, les visiteurs sont invités à ressentir les oeuvres et à partager leur expérience avec les autres, transformant la visite guidée. L'inscription du parfum au coeur de la visite permet de donner largement la parole au visiteur. Ainsi les modalités de transmission des savoirs se trouvent transformées, prises en charge non plus par le seul guide, mais également par les visiteurs qui deviennent co-constructeurs de la visite. Dès lors, peut-on considérer que l'apport du dispositif sensoriel de type olfactif au coeur de la visite contribue à la démocratiser, affirmant de fait la fonction du musée en tant que "forum" (Girault, DÈbart, 2001).; O estudo que apresentamos aqui é fundado em uma perspectiva comunicacional, baseada na museologia, que busca evidenciar as visitas guiadas olfativas nos museus de arte. Nossa analise se desenha à partir de entrevistas com mediadores, responsáveis de serviços de públicos e perfumistas que intervêm em certos museus franceses (Palais de Beaux-Arts em Lille, os museus da cidade de Grasse, o Museu de arte da cidade de Valence e ainda o Museu Fabre em Montpellier). Através deste artigo, desejamos compreender como a visita guiada se transforma com a incorporação do cheiro e mais especificamente como os visitantes são solicitados à participar e à se envolver na visita guiada. Sentindo os cheiros, os visitantes são convidados à vivenciar as obras de arte e a compartilhar suas experiências com os outros companheiros visitantes. De tal forma, a introdução do perfume no centro da visita contribui para a renovação contemporânea das práticas de visitas guiadas nos museus, convidando o visitante a falar e a participar de uma discussão sobre a arte em exibição. Percebemos então que as modalidades de transmissão de conhecimentos se encontram transformadas, dirigidas não mais pelo único guia, mas também pelos visitantes que tornam-se co-construtores da visita. Neste entendimento, considera-se que o aporte do dispositivo sensorial, do tipo olfativo, no centro da visita guiada contribui na democratização e afirmação da função do museu como um "fórum" (Girault, DÈbart, 2001).

International audience; Cette contribution étudie les Itinéraires culturels du Conseil de l'Europe en tant que réseaux d'acteurs engagés dans l'activation d'un processus récent de patrimonialisation. Les itinéraires se présentent comme un ensemble de traces physiques (route, chemin, voie) et culturelles en Europe auxquelles se greffent des témoignages mémoriels. Ils se caractérisent par des dynamiques patrimoniales qui sont à la fois opérées par la gouvernance (Conseil de l'Europe) et par un tissu d'acteurs investis dans un processus de certification (label). L'article questionne autant la réflexibilité opérationnelle de l'acteur "membre" au sein d'un réseau actif, géré par un organe administratif (fédération) responsable d'un Itinéraire culturel, que les liens tissés entre les membres de ce qu'ils recherchent par cette mise en réseau d'un point de vue collectif (réseau) et individuel (acteur). A ce titre, l'article rend compte d'une enquête de terrain réalisée en Italie (avril 2019) auprès d'un corpus d'acteurs "membres", adhérents associatifs dotés de statuts pluriels, auprès de la Fédération Européenne des Sites Clunisiens (FESC). L'enquête analyse leurs profils professionnels, leurs projets d'adhésion et les biographies de membres engagés au sein de cette "tête de réseau" européenne de sites clunisiens, dont l'originalité repose sur une diversité d'expériences culturelles vécues par ces acteurs.

Les itinéraires culturels (IC), et en particulier les Itinéraires culturels européens (ICE), définis comme des parcours patrimoniaux dessinés à l’échelle de plusieurs pays européens, rassemblent chacun plusieurs typologies catégorielles (patrimoine matériel, immatériel, naturel) autour d’une thématique commune et forment ainsi, le plus souvent, un circuit de visite transnational, qu’il s’agisse de la Route des Vikings, des Chemins de l’art rupestre préhistorique ou encore du Réseau Art nouvea...

International audience

This thesis aims to explore the heritage-making processes in community-based participatory work forming social memory in Brazil’s guarani communities and France. Inspired by the intangible heritage paradigm, experts and institutions increasingly act in close partnership with the social actor in conducting cultural heritage inventories for formalizing the protection, promotion and revitalization of traditional practices through knowledge production. The so-called holders of memory then become “indigenous researchers” in audiovisual documentation processes that orchestrate such inventories. Drawing on interviews, document and discourse analysis, this thesis seeks to shed light on the technical, epistemological, and symbolic shift at play in the construction of memory in such a partnership framework. This work interrogates the documentary gesture posed by the partnering social actor and the future mediatic status it for the heritage-in-making object hereby documented. In this perspective, the thesis engages with the question of traditional knowledge circulation, fixation, and transmission within a given social group, in the specific time and space-frame of the heritage inventory projects. This work considers theoretical issues at stake within the intangible paradigm, revealing the heritage paradox that exist between the knowledge stabilization effort and the living, and the metamorphic essence of cultural practices. This aporia is examined herein through the lens of the documentation projects conducted, in an attempt to identify their stance and strategies towards it. By deciphering the operational framework of the partnering video inventories, his thesis reveals existing social strategies used to discard ontological resistance of culture to becoming heritage : audiovisual documentation of personal testimonies here appears as a tool to record heritage in a flexible, non-binding media sustaining the ongoing cycle of meaning being susceptible to change and reinterpretation. In the videos, heritage is not dissected and precisely described as one could expect. Rather, it is discussed through non-descriptive content, with open questions and pointers only alluding and constantly challenging its meaning. By eluding content stabilization, knowledge production relies on a complex system of change and continuity, allowing only frames of meaning to be passed on, within which each participant can recreate meaning for himself. The thesis also highlights the reflexive and communicational competence building process associated with the social actor participating in the project, showing how such experiences follow a path of heritage appropriation, culminating in a renewed desire to cultivate one’s heritage. Third, the thesis attempts to theorize the heritage-making model studied here to elucidate the interplay of heritage and memory in the intangible paradigm. Memory is here seen as an unfolding experience, a work of engagement and cultural recreation mobilized by the heritage-making process to activate a dynamic knowledge transmission pattern within the very life of its projects., Cette thèse vise à explorer les enjeux et modalités de la patrimonialisation liées à la mémoire sociale, dans le contexte paradigmatique de l’immatériel qui de manière croissante mobilise des formes abouties de partenariat avec l’acteur social, en vue de conduire l’inventaire de son patrimoine. À partir de terrains français et brésiliens, cette recherche s’intéresse plus particulièrement au travail partenarial de documentation audiovisuelle du patrimoine qui intervient dans de tels dispositifs d’inventaire partagé, pour y saisir les transformations techniques, épistémologiques et symboliques à l’œuvre lors de la collecte de mémoire au sein du groupe social, de l’introduction du témoignage dans le processus de production des savoirs liés au patrimoine en devenir, et de sa mise en support grâce au média audiovisuel. Nous interrogeons ici le geste documentaire assumé par l’acteur social en qualité de chercheur indigène ainsi que le devenir médiatique de l’objet de patrimoine qu’il engage. C’est toute la question de la circulation, et à travers celle-ci de la fixation et de la transmission des savoirs qui se dessine ici, à partir d’une réflexion sur les usages sociaux des dispositifs patrimoniaux contemporains. Ce travail s’attache ainsi d’une part à décrire les modalités du travail de mémoire réalisé dans de tels dispositifs. Il met ici au jour le parcours de l’acteur social lors d’un tel exercice mémoriel ainsi que le traitement singulier de l’objet patrimonial et de sa mise en savoir. La recherche s’intéresse alors plus précisément aux processus d’appropriation et de réflexivité qu’entraîne la pratique partenariale de la documentation audiovisuelle du patrimoine. À partir de telles modalités, la thèse réfléchit d’autre part au régime de patrimonialisation singulier en jeu, tel qu’il s’organise autour de la fabrique continue et partagée d’une mémoire sociale du groupe, dont nous repérons la valeur médiatrice au sein du groupe social. La recherche montre enfin combien les dispositifs patrimoniaux contemporains contournent la fixation des savoirs et orchestrent leur transmission recréatrice, selon l’idée proposée d’une mémoire agissante., AO objetivo desta tese é explorar os desafios e as modalidades da patrimonialização ligados àmemória social, no contexto paradigmático do imaterial que, de forma crescente, mobiliza formas acabadas de parceria com os atores sociais, visando gerir o inventário de seu patrimônio.A partir das realidades francesa e brasileira, esta pesquisa discute particularmente oprotagonismo no trabalho de documentação audiovisual do patrimônio que interfere nos dispositivos do inventário compartilhado. Busca assim entender as transformações técnicas,epistemológicas e simbólicas que ocorrem durante o registro da memória ao interior do gruposocial, com a introdução do depoimento no processo de produção de saberes ligados ao patrimônio que se constitui e de sua disponibilização através dos meios audiovisuais. Indagamos aqui sobre a prática de documentação assumida pelo ator social na qualidade depesquisador indígena, assim como sobre as consequências midiáticas do objeto de patrimônio por ele incorporado. Trata-se da questão de circulação e, através dela, da fixação e datransmissão de saberes que aqui se configura, a partir de uma reflexão sobre os usos sociais dosdispositivos patrimoniais contemporâneos. Este trabalho se propõe assim a descrever as modalidades da produção de memória realizadacom tais dispositivos: ele atualiza aqui o percurso do ator social durante sua trajetória, assim como o tratamento singular dispensado ao objeto patrimonial e à organização dos saberes. Apesquisa focaliza, então, mais precisamente, os processos de apropriação e de reflexividadeprovocados pela prática de curadoria compartilhada na documentação audiovisual dopatrimônio. Desta forma a tese aborda o regime de patrimonialização singular aqui descrito, talcomo ele se organiza em torno da produção contínua e compartilhada de uma memória social do grupo, cujo valor mediador nós destacamos. Finalmente, a pesquisa mostra como os dispositivos patrimoniais contemporâneos confrontam a fixação dos saberes e orquestram sua transmissão recriadora, segundo a ideia proposta de uma memória ativa.a

International audience; This paper looks at the implications of a participatory documentation process in the context of a guarani cultural heritage inventory program (Brazil), in collaboration between scientific and indigenous communities. Drawing on interviews and document analysis, this paper engages with the question of knowledge circulation to reevaluate the mediating effect of the documentation process and gestures.; Par l'analyse d'un dispositif socio-technique d'inventaire du patrimoine guarani (Brésil), cette contribution montre combien le travail partenarial de documentation, joint entre un groupe social et un relai scientifique, transforme les processus mémoriels de circulation des savoirs. Elle pointe et resitue la valeur médiatrice du geste documentaire posé par le chercheur indigène.

This thesis aims to explore the heritage-making processes in community-based participatory work forming social memory in Brazil’s guarani communities and France. Inspired by the intangible heritage paradigm, experts and institutions increasingly act in close partnership with the social actor in conducting cultural heritage inventories for formalizing the protection, promotion and revitalization of traditional practices through knowledge production. The so-called holders of memory then become “indigenous researchers” in audiovisual documentation processes that orchestrate such inventories. Drawing on interviews, document and discourse analysis, this thesis seeks to shed light on the technical, epistemological, and symbolic shift at play in the construction of memory in such a partnership framework. This work interrogates the documentary gesture posed by the partnering social actor and the future mediatic status it for the heritage-in-making object hereby documented. In this perspective, the thesis engages with the question of traditional knowledge circulation, fixation, and transmission within a given social group, in the specific time and space-frame of the heritage inventory projects. This work considers theoretical issues at stake within the intangible paradigm, revealing the heritage paradox that exist between the knowledge stabilization effort and the living, and the metamorphic essence of cultural practices. This aporia is examined herein through the lens of the documentation projects conducted, in an attempt to identify their stance and strategies towards it. By deciphering the operational framework of the partnering video inventories, his thesis reveals existing social strategies used to discard ontological resistance of culture to becoming heritage : audiovisual documentation of personal testimonies here appears as a tool to record heritage in a flexible, non-binding media sustaining the ongoing cycle of meaning being susceptible to change and reinterpretation. In the videos, heritage is not dissected and precisely described as one could expect. Rather, it is discussed through non-descriptive content, with open questions and pointers only alluding and constantly challenging its meaning. By eluding content stabilization, knowledge production relies on a complex system of change and continuity, allowing only frames of meaning to be passed on, within which each participant can recreate meaning for himself. The thesis also highlights the reflexive and communicational competence building process associated with the social actor participating in the project, showing how such experiences follow a path of heritage appropriation, culminating in a renewed desire to cultivate one’s heritage. Third, the thesis attempts to theorize the heritage-making model studied here to elucidate the interplay of heritage and memory in the intangible paradigm. Memory is here seen as an unfolding experience, a work of engagement and cultural recreation mobilized by the heritage-making process to activate a dynamic knowledge transmission pattern within the very life of its projects.; Cette thèse vise à explorer les enjeux et modalités de la patrimonialisation liées à la mémoire sociale, dans le contexte paradigmatique de l’immatériel qui de manière croissante mobilise des formes abouties de partenariat avec l’acteur social, en vue de conduire l’inventaire de son patrimoine. À partir de terrains français et brésiliens, cette recherche s’intéresse plus particulièrement au travail partenarial de documentation audiovisuelle du patrimoine qui intervient dans de tels dispositifs d’inventaire partagé, pour y saisir les transformations techniques, épistémologiques et symboliques à l’œuvre lors de la collecte de mémoire au sein du groupe social, de l’introduction du témoignage dans le processus de production des savoirs liés au patrimoine en devenir, et de sa mise en support grâce au média audiovisuel. Nous interrogeons ici le geste documentaire assumé par l’acteur social en qualité de chercheur indigène ainsi que le devenir médiatique de l’objet de patrimoine qu’il engage. C’est toute la question de la circulation, et à travers celle-ci de la fixation et de la transmission des savoirs qui se dessine ici, à partir d’une réflexion sur les usages sociaux des dispositifs patrimoniaux contemporains. Ce travail s’attache ainsi d’une part à décrire les modalités du travail de mémoire réalisé dans de tels dispositifs. Il met ici au jour le parcours de l’acteur social lors d’un tel exercice mémoriel ainsi que le traitement singulier de l’objet patrimonial et de sa mise en savoir. La recherche s’intéresse alors plus précisément aux processus d’appropriation et de réflexivité qu’entraîne la pratique partenariale de la documentation audiovisuelle du patrimoine. À partir de telles modalités, la thèse réfléchit d’autre part au régime de patrimonialisation singulier en jeu, tel qu’il s’organise autour de la fabrique continue et partagée d’une mémoire sociale du groupe, dont nous repérons la valeur médiatrice au sein du groupe social. La recherche montre enfin combien les dispositifs patrimoniaux contemporains contournent la fixation des savoirs et orchestrent leur transmission recréatrice, selon l’idée proposée d’une mémoire agissante.; AO objetivo desta tese é explorar os desafios e as modalidades da patrimonialização ligados àmemória social, no contexto paradigmático do imaterial que, de forma crescente, mobiliza formas acabadas de parceria com os atores sociais, visando gerir o inventário de seu patrimônio.A partir das realidades francesa e brasileira, esta pesquisa discute particularmente oprotagonismo no trabalho de documentação audiovisual do patrimônio que interfere nos dispositivos do inventário compartilhado. Busca assim entender as transformações técnicas,epistemológicas e simbólicas que ocorrem durante o registro da memória ao interior do gruposocial, com a introdução do depoimento no processo de produção de saberes ligados ao patrimônio que se constitui e de sua disponibilização através dos meios audiovisuais. Indagamos aqui sobre a prática de documentação assumida pelo ator social na qualidade depesquisador indígena, assim como sobre as consequências midiáticas do objeto de patrimônio por ele incorporado. Trata-se da questão de circulação e, através dela, da fixação e datransmissão de saberes que aqui se configura, a partir de uma reflexão sobre os usos sociais dosdispositivos patrimoniais contemporâneos. Este trabalho se propõe assim a descrever as modalidades da produção de memória realizadacom tais dispositivos: ele atualiza aqui o percurso do ator social durante sua trajetória, assim como o tratamento singular dispensado ao objeto patrimonial e à organização dos saberes. Apesquisa focaliza, então, mais precisamente, os processos de apropriação e de reflexividadeprovocados pela prática de curadoria compartilhada na documentação audiovisual dopatrimônio. Desta forma a tese aborda o regime de patrimonialização singular aqui descrito, talcomo ele se organiza em torno da produção contínua e compartilhada de uma memória social do grupo, cujo valor mediador nós destacamos. Finalmente, a pesquisa mostra como os dispositivos patrimoniais contemporâneos confrontam a fixação dos saberes e orquestram sua transmissão recriadora, segundo a ideia proposta de uma memória ativa.a

In this paper, we test proximity gettering layers obtained by carbon or silicon implantation for their efficiency in molybdenum and tungsten gettering. DLTS was used to measure the impurity concentration in the solid solution and so to evaluate gettering efficiency. It was found that carbon implantation is effective in capturing these impurities, whereas silicon implantation is not. Extended defects seem not to play an important role in gettering these impurities. In addition, gettering was found to be most effective at high impurity concentration.

BACKGROUND: Spinal anesthesia in elderly patients is frequently associated with significant technical difficulties. Thus, we compared the classical midline approach to the paramedian approach to perform continuous spinal anesthesia (CSA). METHODS: We prospectively studied 40 patients aged >75 yr who underwent open surgical repair of a hip fracture. These patients were randomly allocated to one of two groups: Group M: midline approach, and Group PM: paramedian approach. Patients were positioned in the lateral decubitus to receive CSA at L4-5 level. CSA was considered successful if cerebrospinal fluid was obtained through the needle. In case of initial failure in either approach, the same approach was repeated by the same operator. If two attempts were unsuccessful, the other anatomical approach was used by the same operator. If both approaches failed, a staff anesthesiologist performed a final attempt. In case of failure or insufficient block, the patient received general anesthesia. RESULTS: The success rate after the first attempt was 85% (17) for Group PM and 45% (9) for Group M (P = 0.02). All catheters were successfully introduced. No patient required general anesthesia. Vascular puncture after needle puncture was observed in six patients in Group M versus 0 in Group PM (P = 0.03), but none were of clinical consequence. No other clinically significant complications were observed. CONCLUSION: In summary, after the initial attempt, the paramedian approach is associated with an increased success rate, compared with the midline approach, during the performance of CSA in elderly patients.

BACKGROUND The lateral sciatic mid-femoral block (LSMF), proved to be reliable, safe, and effective on both branches of the sciatic nerve with a single injection. However, we do not know which component of the sciatic nerve (the tibial [T] or the common peroneal [CP]) produces a better success rate when performing a LSMF with a single injection technique. In this prospective study we compared the success rate of the T motor response with the CP motor response. METHODS Ninety-five patients undergoing ankle or foot surgery were enrolled. Thirty milliliters of 0.475% ropivacaine was injected at the first evoked motor response, either T or CP, with a minimal intensity between 0.3 and 0.5 mA. RESULTS Seventy-two patients were included in group T and 23 in group CP. The block was considered a success when a complete sensory block of the sciatic nerve was obtained. The success rate was 90% (65) for the T response and 70% (16) for the CP response (P < 0.05). Time to perform the block (CP: 4.5 +/- 3 min vs T: 4.5 +/- 4 min; P = NS) as well as sensory and motor onset times were not significantly different between groups. No complications were observed in either group. CONCLUSION We conclude that the evoked motor response of the T branch is associated with a higher success rate than a CP response using the modified LSMF block.

Autumn movements of the Citril Finch in the Alpine range are known only in a general way. In Lombardy, the winter expansion of the breeding range is documented by the comparison of the breeding and the wintering atlas maps, while the arrival of birds from abroad is indicated by few retraps of ringed birds. The number of Citril Finches ringed in Lombardy was quite small until 1991 (92 birds starting from 1977). In autumn 1992 we set up two new ringing places, in the Orobie Alps, catching and ringing 206 Citril Finches out of a yearly regional total of 221. The pattern of catches, similar in the two places, shows that something like a real migration occurs; the timing of catches and the discovery to the south of two birds ringed in the northern site indicates that the two sites lie on the same migration route. Some indications in favour of this “migration” hypothesis derive also from the analysis of biometrical data (weight and fat variation and wing length).

In this cadaveric study we assessed the level of the emergence of the musculocutanous nerve (MCN) relative to needle insertion site during infraclavicular block.Forty brachial plexi from 20 embalmed adult cadavers were dissected. The MCN was exposed from its origin on the lateral cord to its penetration into the coracobrachialis muscle. The point of emergence of the MCN from the lateral cord relative to a line drawn directly caudad from the anteromedial tip of the coracoid process was measured. A needle was placed predissection using our previously described technique, and the distance from the needletip to the emergence of the MCN was measured.MCN often emerged distal to the coracoid process. At the needle insertion site, 80% of MCN had already emerged from the lateral cord. The distance of emergence ranged from 8.5 cm proximal to 12 cm distal to the coracoid process.This anatomical study suggests that MCN may be one of the factors explaining MCN block failure for the single-injection technique of infraclavicular block using lateral needle trajectory.

Criteria for ageing Hawfinches on a semi‐quantitative basis are analyzed. Age/sex classes can be recognized by scoring rectrix abrasion, width of the outer web of the sixth primary and sharpness of the greater alula feather. Based on these three criteria, age determination appears always possible.

We report a case of a 41-year-old man with a solitary functioningleft kidney and history of chronic pelvic discomfort associatedwith lower urinary tract symptoms. Imaging revealed a largecystic structure in the pelvis attached to a dilated tortuous ureteron the right with congenital absence of the right kidney. The patientunderwent laparoscopic removal of the pelvic cyst and dilatedright ureter. Pathological assessment revealed mesonephric remnantsrepresenting dysplastic renal tissue attached to a dilated andobstructed megaureter, extending into the bladder wall and forminga large pelvic cyst. The patient’s symptoms resolved. A laparoscopicapproach represents an excellent surgical option for pelvicpathology.Nous décrivons le cas d’un homme de 41 ans porteur d’un seulrein fonctionnel (gauche) et ayant des antécédents de douleurspelviennes chroniques liées à des symptômes affectant les voiesurinaires inférieures. Les épreuves d’imagerie ont révélé une massekystique volumineuse au niveau du pelvis, une dilatation et unesinuosité urétérales du côté droit et l’absence congénitale derein droit. Le patient a subi une ablation par laparoscopie du kystepelvien et de la section dilatée de l’uretère droit. L’évaluationpathologique a révélé des vestiges mésonéphriques constituésde tissu rénal dysplasique lié à un méga-uretère obstrué avec dilatationkystique se prolongeant dans la paroi vésicale et formant ainsiun kyste pelvien volumineux. Les symptômes du patient ont disparu.Une approche laparoscopique représente une excellenteoption chirurgicale en présence de pathologie pelvienne.

International audience; STUDY OBJECTIVE: To determine whether a new transdermal fentanyl patch (TFP) is a good choice for the postoperative pain management of patients undergoing primary total hip arthroplasty compared with patient-controlled analgesia (PCA). DESIGN: Randomized, prospective study. SETTING: University hospital. PATIENTS: 30 patients undergoing primary total hip arthroplasty. INTERVENTIONS: Patients received either a TFP (group T; Duragesic 50 microg/h, matrix fentanyl patch, Janssen-Cilag) applied approximately 10 hours before induction of general anesthesia and PCA programmed in the postanesthesia care unit (PACU), or PCA programmed in the PACU (group P). MEASUREMENTS: Intraoperative sufentanil and additional postoperative morphine administration were recorded, as well as visual analog scores and routine vital signs at predetermined intervals during the first 48 hours. MAIN RESULTS: Morphine consumption on arrival in the PACU was 3.5+/-3 mg in group T versus 13+/-5 mg in group P (P

Migraine is a frequent neurological pathology. However, the diagnosis can be difficult to establish, especially when it is accompanied with an atypical aura that can be confounded with a stroke. We describe a case of 38-yr-old patient who presented just after general anesthesia with a perioperative acute migraine with atypical aura which was wrongly treated as a serious cerebral stroke. The patient had not mentioned migraine in her history before the surgery. This lack of information led to unnecessary therapy.

BACKGROUND We evaluated the potential role of an euctectic mixture of local anesthetic (EMLA) cream application before performing midhumeral block. METHODS Sixty patients undergoing surgery distal to the elbow amenable to a humeral block were prospectively recruited for the study. The patients were randomly allocated to 1 of 3 groups: Group E: topical EMLA cream 60 min before block plus 2 mL IV normal saline 5 min before procedure; Group P: topical sham cream plus 2 mL IV normal saline, and Group S: topical sham cream plus 0.1 microg/kg of sufentanil in 2 mL solution IV. Pain experienced during skin puncture, and overall pain for the whole procedure were rated using a 100-mm visual analog scale (0: no pain to 100: worst pain). RESULTS Patients in Group E experienced less pain compared with those in Groups P and S (5 +/- 3 mm vs 33 +/- 20 mm and 30 +/- 18 mm, respectively, P < 0.0001). The pain experienced throughout the complete humeral block was more substantial in Group P than in Group E (P = 0.01). CONCLUSION The patients who received EMLA cream had less pain with needle puncture as well as throughout the performance of humeral block.