In this comparative bioavailability study in 12 healthy volunteers the blood level profiles and urinary recoveries of both atenolol and chlorthalidone were studied following the administration of the drugs as a fixed combination ('Tenoret 50'), as a free combination, and individually, at doses of 50 mg atenolol and 12.5 mg chlorthalidone. There were no statistically or clinically significant differences between the three treatments of atenolol in terms of individual blood levels, areas under the curve, and urinary excretion. The mean half-lives were between 5 and 7 h, in agreement with other published data. The variation in peak systemic levels is less than that observed for a number of other beta-blocking drugs and is of the same order as seen in other investigations involving atenolol. Thus the bioavailability of atenolol from the fixed combination is equivalent to that from the free combination and from the atenolol tablet. The mean peak blood concentrations of chlorthalidone were 0.94, 1.00, and 0.99 micrograms ml-1 for the fixed and free combinations and the chlorthalidone tablet, respectively. The mean areas under the curve were also similar as were the mean half-lives and urinary recovery. There were no statistically or clinically significant differences between the three treatments. Thus the bioavailability of chlorthalidone from the fixed combination is equivalent to that from the free combination and from the chlorthalidone tablet. It is concluded that combining chlorthalidone and atenolol in a single tablet does not affect the systemic bioavailability of either component.
Résumé À partir d’un commentaire du travail de l’artiste brésilien Ricardo Basbaum, qui abolit le cadre limitatif de ce qui se présente généralement comme « art » en transformant l’espace d’exposition en un lieu ouvert sur le dehors et l’intervention où chacun peut se repositionner selon des processus de permutation d’identité, l’auteur indique comment « New Bases for Personality » ouvre à une critique de l’autorité telle qu’elle s’exerce dans la présentation de l’œuvre comme dans le milieu plus global des « sociétés de contrôle ». Le détournement des entités structurelles ainsi agencé établit des dynamiques d’auto-organisation et de trans-subjectivations qui manifestent non plus le « profil » localisable d’un public mais l’hétérogénéité de ses expériences.
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