Puberty Suppression for Pediatric Gender Dysphoria and the Child's Right to an Open Future.

In this essay, we consider the clinical and ethical implications of puberty blockers for pediatric gender dysphoria through the lens of "the child's right to an open future," which refers to rights that children do not have the capacity to exercise as minors, but that must be protected, so they can exercise them in the future as autonomous adults. We contrast the open future principle with the beliefs underpinning the gender affirming care model and discuss implications for consent. We evaluate claims that puberty blockers are reversible, discuss the scientific uncertainty about long-term benefits and harms, summarize international developments, and examine how suicide has been used to frame puberty suppression as a medically necessary, lifesaving treatment. In discussing these issues, we include relevant empirical evidence and raise questions for clinicians and researchers. We conclude that treatment pathways that delay decisions about medical transition until the child has had the chance to grow and mature into an autonomous adulthood would be most consistent with the open future principle.

Nuclear magnetic resonance relaxometry to monitor chromium (VI) reduction by hydrogen peroxide, ascorbic acid, and aluminum powder.

The reduction of K2 Cr2 O7 solutions by H2 O2 was studied by nuclear magnetic resonance (NMR) relaxometry and UV-vis spectroscopy in HCl/KCl buffer (pH 2), NaCl/glycine/HCl buffer (pH 3), and sodium acetate/acetic acid buffer (pH 4). Because of Cr(III) paramagnetism, 1/T1 and 1/T2 of the solutions increase during the reduction of diamagnetic Cr(VI). This increase is proportional to the produced Cr(III) concentration. Using different initial H2 O2 concentrations, partially reduced Cr(VI) samples were prepared and studied by T1 and T2 relaxometry and by UV-vis spectroscopy. The correlation between the relaxation rates and the concentration of Cr(VI) remaining in the sample, measured by spectroscopy, was excellent. It was possible, thanks to the measurement of T2 , to study the kinetics of the reduction of K2 Cr2 O7 by H2 O2 in the pH 3 and pH 4 buffers. The reduction of Cr(VI) by ascorbic acid was successfully monitored by NMR relaxometry in the pH 2 buffer. The presence of complexing molecules/ions was shown to drastically influence the nuclear magnetic relaxation dispersion profiles of reduced K2 Cr2 O7 solutions: Both relaxation rates are divided by ~5 when citrate or acetate ions are present and by ~3 in the presence of ascorbic acid. Therefore, the comparison of relaxation results obtained in different reaction mixtures must be done carefully. When all the solutions are set to pH 0, which prevents any complexation, the longitudinal and transverse relaxation rates of all samples become comparable. Finally, as a proof of concept for a turbid solution, the kinetics of the reduction of a K2 Cr2 O7 solution by aluminum powder in the pH 2 buffer was successfully monitored.

Evaluation of agreement between hemoglobin A1c, fasting glucose, and fructosamine in Senegalese individuals with and without sickle-cell trait.

Fasting glucose (FG) and glycated hemoglobin A1c (HbA1c) perform sub-optimally in people of African origin, especially in individuals with sickle-cell trait (SCT). The purpose of this study was to compare the relationships between HbA1c, FG, and fructosamine in individuals from Senegal with and without SCT. HbA1c, FG, and fructosamine were measured in 203 adults from Senegal (100 control: 45 with type 2 diabetes (T2D); 103 SCT: 51 with T2D). Significant, positive correlations were observed between HbA1c and FG, fructosamine and FG, and fructosamine and HbA1c in both groups. The limits of agreement were inappropriately large in both groups for the Bland-Altman plots of HbA1c and FG (control: -95.97 to 83.97%; SCT: -115.9 to 91.52%), fructosamine and FG (control: -100.6 to 99.89%; SCT: -105.6 to 100.6%), and fructosamine and HbA1c (control: -52.03 to 38.98%; SCT: -88.04 to 71.41%). In both groups, the greatest proportion of subjects were considered above the clinical cut-point for hyperglycemia when fructosamine was used as the criterion (control: 33%; SCT: 44.6%), and the lowest percentage of subjects were classified as over the clinical cut-point when HbA1c was used as the criterion (control: 21%; SCT: 27.7%).Substantial disparities between HbA1c, FG, and fructosamine were observed in both groups, and these differences were exaggerated in the SCT group. Therefore, these three biomarkers should not be considered to be interchangeable measures of glycemic control. These biomarkers should be used thoughtfully, and special care should be taken when using them in individuals with SCT.

Dream Images and Creation.

This article links contemporary psychoanalytic theories of the dream, especially Bion's, with the work of the American video artist Bill Viola, who is deeply influenced by altered states of consciousness and produces images of dreamlike quality. We discuss the oneiric and infantile roots of creativity and artistic inspiration, finally taking Viola's monumental artwork The Passing (1991) as paradigmatic of the artist's aesthetic and philosophical elaboration of the relationship between life and death.

Name-changes in post-war France: the traumatic experiences of the Shoah and its consequences on the second and third generation with reference to the example of name-changes.

Starting from our collective initiative to work on the theme of 'The strength of the name', which has given rise both to a conference as well as a documentary called: And their name, they have changed it, I have sought to draw attention in this article to the difference between proper names, patronymic names, and the so-called Name-of-the-father. Pronouncing names involves designating the languages of names, which also refer to the accents of names, since I have proposed the idea that each name is evocative of a language, and that changing it also modifies the language of the name. I have approached the question of the name by considering cases of name-changes, essential with regard to Ashkenazi Jewish families who changed their name after the Shoah, along with the trauma that numerous Jewish families suffered after the war. French jurisprudence does not permit reversion to the original name, once it has been changed to a more French-sounding name, owing to the immutability of the name and the foreign sound of the names of origin.

As imagens modificadas do corpo: novas formas de identidade. Com uma nota sobre os cadáveres do anatomista Gunther von Hagens / Modified body images: new forms of identity. With a note on the cadavers of anatomist Gunther von Hagens

A arte reflete a evolução sociocultural. Nossa época é ligada às sensações fortes, às imagens extremas. O artista exalta a violência, exibe o corpo orgânico e suas matérias, até mesmo expõe o cadáver para fins estéticos. Não interroga assim as novas relações da medicina com o corpo? O lugar onde se constata que o corpo desapareceu é o consultório do médico. Os médicos não examinam mais o corpo, porque o importante é o que há em seu interior. O entusiasmo pela incineração é um meio de não se confrontar com o apodrecimento do corpo, que fascinava os antigos. O corpo é evanescente, devendo esvair-se em fumaça, ou então ser conservado intacto. Esse é o princípio do embalsamento e do cadáver estetizado pelo anatomista-artista Gunther von Hagens: estetizar o corpo para fins ditos pedagógicos e que nós nomearíamos comerciais - o corpo tem vida após a morte e ela é monetizável. A partir deste exemplo da arte dos cadáveres, nós interrogamos os campos da medicina e da criação contemporânea sobre a maneira como o corpo se inscreve em uma lógica econômica e política, da qual emana certo tratamento do corpo.

Art reflects sociocultural evolution. Our time is linked to strong sensations, to the extreme images. Artists exalt violence; they exhibit the organic body and its matter, even exposing the corpse for aesthetic ends. Don't they interrogate the new relationships between medicine and the body? The place where we can see that the body disappeared is the doctor's clinic. Doctors don't examine the body anymore, be cause what is important is what is in its interior. The enthusiasm for incineration is a way not to confront the rottenness of the body, which fascinated people in the past. The body is evanescent, should vanish in smoke, or be conserved intact. This is the principle of embalmment and of the corpse estheticized by anatomist-artist Gunther von Hagens: to estheticize the body for pedagogic ends and those that we would name commercial - the body has life after death and may be exchanged for money. Starting from this example of the art of corpses, we interrogate the fields of medicine and con temporary art on how the body enrolls in an economical and political logic, which implies a certain treatment to the body.

Fazer uma obra no tempo / To make a work in the time

Mostramos que uma imagem, a partir do momento em que é captada pelo aparelho psíquico, é sempre tomada em um tempo não cronológico, mas anacrônico, que é a temporalidade própria à memória tal como Freud a definiu. A imagem no tempo psíquico e visual é uma imagem-traço, que drena para si as ínfimas partículas da realidade que servirão de ponto de passagem entre o dentro e o fora. Fazer uma obra é tomar algum tempo e modificá-lo pela forma plástica/estética. Quando o sujeito faz uma obra, ele capta e, ao mesmo tempo, se refaz daquilo que fez traço (no sentido do traço mnésico), ele se apropria pela sensação (estética) dos acontecimentos de sua história. A criação é um processo de tempo, de futuro, logo, de presente. A imagem é projeção para um porvir que traz consigo os traços do passado. Ela faz face a um novo ponto de vista, a novas imagens.

We show that an image from the moment it is picked up by the psychic apparatus, it is always taken in a non-chronological time, but anachronistic, that is the temporality of memory as Freud defined it. The image in time psychic and visual image is a trace, which itself drains into the tiniest particles of reality, which will serve as a crossing point between the inside and outside. Making a book is taking some time and modify it the way plastic / aesthetic. When the subject does the work, he captures and at the same time, he did what he relishes dash (towards the memory trace), he appropriates, the feeling (aesthetics), the events of history. The creation process is a time in the future, so as a gift. The image is projected for a future that carries traces of the past. She bears a new point of view, the new images.

L'experience d'ecrire: construction d'un lieu extra-topique / A experiência de escrever: construção de um lugar extra-tópico / The experience of writing: the construction of an extra-topic place

Dans cet article, il s'agira de travailler l'écriture comme lieu des reviviscences des événements de temps (sensations anciennes non encore psychisées).Dans ce temps du récit, de l'écriture de soi, tout devient image, tout se projette au-devant dans l'espace visible extime comme dit Lacan mais pourtant ce for extérieur est inaccessible. Les mots sont les témoins de ce temps d'une mémoire ouverte sur les visages mais des visages devenus visages-fantômes. Le temps de l'écriture est le temps du retour des visages en images de mémoire déformées par le travail du temps: ce temps psychique qui modifie les perceptions et offre un autre regard.

Neste artigo, a escrita é abordada como lugar de revivências dos acontecimentos do tempo (sensações antigas e ainda não subjetivadas). Nesse tempo da narrativa, da escrita de si, tudo se torna imagem, tudo se projeta em um espaço visível extimo, como diz Lacan, contudo esse foro exterior é inacessível. As palavras são as testemunhas desse tempo de uma memória aberta sobre os rostos, mas rostos que se tornaram rostos-fantasmas. O tempo da escrita é o tempo do retorno dos rostos em imagens de memória deformadas pelo trabalho do tempo: esse tempo psíquico que modifica as percepções e oferece um outro olhar.

In this article, I will develop ideas of writing as a place of revival time events (old sensations not yet "psychisées"). In this time of the narrative, writing of itself, everything becomes an image, everything is projected in the visible space "extime" as Lacan said but yet this outside forum is inaccessible. Words are the witnesses of that time of a memory open to the faces, but faces that became phantom-faces. The time of writing is the time of the return of faces in images distorted by the work of time: this psychic time changes the perceptions and offers another view.