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Abstract Objective: We conducted a meta-analysis of randomized clinical trials evaluating the clinical effects of ferric carboxymaltose therapy compared to other intravenous iron in improving hemoglobin and serum ferritin in pregnant women. We also assessed the safety of ferric carboxymaltose vs. other intravenous iron. Data source: EMBASE, PubMed, and Web of Science were searched for trials related to ferric carboxymaltose in pregnant women, published between 2005 and 2021. We also reviewed articles from google scholar. The keywords "ferric carboxymaltose," "FCM," "intravenous," "randomized," "pregnancy," "quality of life," and "neonatal outcomes" were used to search the literature. The search was limited to pregnant women. Selection of studies: Studies related to ferric carboxymaltose in pregnancy were scanned. Observational studies, review articles, and case reports were excluded. Randomized studies in pregnant women involving ferric carboxymaltose and other intravenous iron formulations were shortlisted. Of 256 studies, nine randomized control trials were selected. Data collection: Two reviewers independently extracted data from nine selected trials Data synthesis: The final effect size for increase in hemoglobin after treatment was significant for ferric carboxymaltose vs. iron sucrose/iron polymaltose (standard mean difference 0.89g/dl [95% confidence interval 0.27,1.51]). The final effect size for the increase in ferritin after treatment was more for ferric carboxymaltose vs. iron sucrose/iron polymaltose (standard mean difference 22.53µg/L [-7.26, 52.33]). No serious adverse events were reported with ferric carboxymaltose or other intravenous iron. Conclusion: Ferric carboxymaltose demonstrated better efficacy than other intravenous iron in increasing hemoglobin and ferritin levels in treating iron deficiency anemia in pregnant women.

Abstract Objective: Despite the literature on dydrogesterone, studies on dydrogesterone utilization patterns are largely lacking in Indian patients. Methods: This was a multi-center, retrospective, observational, cross-sectional, and descriptive study across 817 centers in India. Data of patients who received dydrogesterone in past and provided consent for future use of their medical record for research purpose was were retrieved and analyzed. Results: Data of 7287 subjects (aged 29.55±4.84 years) was analyzed. Threatened abortion was the most common indication for which the subjects received dydrogesterone (46.9%) followed by recurrent pregnancy loss. Polycystic ovary syndrome (PCOS), thyroid disorders and anemia were the most common comorbid conditions and prior pregnancy loss, advanced maternal age and obesity were the most common risk factors seen in subjects who received dydrogesterone. Total 27.5% of subjects received a loading dose of dydrogesterone, and majority (64%) received 40 mg as loading dose. 10 mg dose was used as maintenance or regular dose in 81.4% of the subjects. Twice daily (BID) was the most common dosing frequency (66.6%). The most common concomitant medications being taken by the subjects on dydrogesterone included folic acid (45.1%), iron supplements (30.3%) and calcium and vitamin D3 supplements (25.5%). Another progesterone preparation (oral, injection, vaginal, tubal) other than dydrogesterone was used concurrently in 7.8% of subjects. Conclusion: The study helped to identify the patient population that is benefitted by dydrogesterone and the preferred indications, risk factors, comorbid conditions and concomitant medication used in this patient population at real-life scenario.

La evaluación del desempeño de los edificios (conocida como BPE, de Building Performance Evaluation, por sus siglas en inglés) es indispensable para fundamentar las decisiones de diseño. En este artículo se aborda este concepto junto a algunos estudios de casos en los que se pueden ilustrar estrategias de diseño pasivo que, aplicadas en edificios, mejoran no solo la eficiencia energética, sino que la calidad ambiental interior (o IEQ, de Indoor Environmental Quality).

En este artículo examinamos el trabajo de cuatro artistas internacionales cuyo arte se origina en la vida cotidiana y sus preocupaciones. Argumentamos que es preciso abordar este tipo de arte a partir de una nueva historiografía capaz de registrar el quehacer de las personas comunes carentes de privilegios, que no cosechan las ventajas de una economía discriminatoria. Los artistas en cuestión (Daniel Cruz de Chile, Gilbertto Prado de Brasil, Kausik Mukhopadhyay y Probir Gupta de India), producen arte desde el lado empobrecido de la brecha digital, dentro de sus propios nichos y horizontes de creencia. Sus obras incorporan artefactos descartados, restos de circuitos o sensores descompuestos, micrófonos y otros desechos, y crean a partir de todo ello instalaciones que son tan frágiles como efectivas. Es un arte a menudo permeado por un animismo de los desechos y una inteligenciaartificial de baja definición. Estos artistas no habitan dentro de las fronteras tradicionalmente conocidas de las naciones, las clases o la identidad; se sitúan más bien en un espacio que atraviesa aquellas líneas de falla que dividen y exacerban a la sociedad humana desde adentro. El proyecto Surofona de Cruz existe en los márgenes de los portales de internet. Mukhopadhyay utiliza despojos electrónicos para construir sus instalaciones. Explotan la tecnología justo lo necesario para darle vida a su arte. Al comprometerse con este derrotismo voluntario su arte le da un vuelco a la cultura del espectáculo. El artista es un flâneur o faquir tecnológico que nos muestra cómo la esencia de la experiencia humana se posiciona contra la avaricia y las pretensiones del mercado global del arte. Neste artigo examinamos o trabalho de quatro artistas internacionais cuja arte tem origem na vida quotidiana e as suas preocupações. Argumentamos que este tipo de arte precisa de ser abordado a partir de uma nova historiografia capaz de registar o trabalho de pessoas comuns que não têm privilégios, que não colhem os benefícios de uma economia discriminatória. Os artistas em questão (Daniel Cruz do Chile, Gilbertto Prado do Brasil, Kausik Mukhopadhyay e Probir Gupta da Índia), produzem arte a partir do lado empobrecido da fractura digital, dentro dos seus próprios nichos e horizontes de crença. Os seus trabalhos incorporam artefactos descartados, destroços, circuitos ou sensores quebrados, microfones e outros destroços, e criam instalações a partir destes que são tão frágeis quanto eficazes. É uma arte frequentemente permeada por um animismo de desperdício e uma inteligência artificial de baixa definição. Estes artistas não habitam dentro das fronteiras tradicionalmente conhecidas das nações, classe ou identidade; pelo contrário, situam-se num espaço que atravessa as linhas de falha que dividem e exacerbam a sociedade humana a partir de dentro. O projecto Surofona da Cruz existe à margem dos portais de Internet. Mukhopadhyay utiliza sucata electrónica para construir as suas instalações. Exploram a tecnologia apenas o suficiente para dar vida à sua arte. Ao envolver-se neste derrotismo voluntário, a sua arte transforma a cultura do espectáculo na sua cabeça. O artista é um flâneur ou faquir tecnológico que nos mostra como a essência da experiência humana se posiciona contra a ganância e as pretensões do mercado global da arte. In this article we look at four international artists whose art has its origin in common civilian life and its concerns. The story of this art should be re-written in terms of a historiography of the average underprivileged common person, who does not reap the benefits of a discriminatory economy. Artists discussed here, namely, Daniel Cruz (Chile), Gilbert Prado (Brazil), Kausik Mukhopadhyay (India) and Probir Gupta (India) have been creating art on the impoverished side of the digital innovation divide, in their own niche and horizons of belief. Discarded gadgets, scraps, broken circuits or sensors, microphones and other junk are incorporated to create fragile but impactful installations. Junk animism and low-fi artificial intelligence often inform their work. Such artists do not inhabit traditionally known borders of nation, class or identity but only a space across fault lines which divide and exacerbate human society from within. Cruz’ project titled Surfonic exists on the margins of internet gateways. Mukhopadhyay uses scrap media for his installations. They exploit so much technology as just to animate their art. This commitment to voluntary defeatism upends a culture of spectacle. The artist is like a flaneur or technological fakir, quintessentializing human experience against the greed and pretensions of a global market of art.

ABSTRACT Natural resources are essential to health and are global commons. Recognizing the devastating damage posed by extraction to health and the environment, as well as the erosion of the sovereignty of our governments that have increasingly conceded people’s health in the interest of profit and development, is important in framing our resistance. Our communities experience growing displacement, the loss of social services, of land, water and livelihood, heightened militarization, violence and repression, and increased incidence of communicable diseases and health problems resulting from exposure to toxics. All of these are linked to an extractivist project driven by global financial capital promoting an unsustainable and inequitable development model that threatens people’s health and the health of the planet. Is it compatible with the right to health to finance national health systems with revenues of activities that intrinsically destroy life? The essay portrays the inconsistency of development policies that fund health/right to health with extractivism and depicts examples of resistance to extractive industries tied to the People’s Health Movement (Canada,Turkey, India and Ecuador) in different types of governments. The need to strengthen the link between the right to health struggles and anti-extractive resistance is highlighted.