The essence of the basic ‘intergenerational’ fair innings argument outlined by Harris (1985) is that people who have achieved old age would not have their lives further prolonged if this was undertaken at the expense of those who had not yet realized their fair innings, presumably to give as many people as possible the opportunity to fulfil their ambitions and potential. Harris was concerned with a fair innings defined in terms of life-expectancy, which, according to Williams (1997) is tied in with the view that people generally feel that everyone is entitled to a ‘normal’ span of lifeEn Williams anava més lluny que en Harris, resumint molt:
Williams therefore believed that when prioritising people (or groups of people) for health care treatment, consideration of differences in post-treatment QALY gains (an efficiency argument) should be accompanied by consideration of differences in QALE (an equity argument).Ens va deixar quan encara buscava una regla d'aplicació del principi d'equitat d'oportunitats, una forma de reconciliar l'equitat integeneracional i afegir esperança de vida de qualitat a aquells que més s'en poden beneficiar. I la qüestió esdevé encara oberta a hores d'ara. La lectura del treball d'Oliver i la reflexió d'Ezequiel, Wertheimer i Persad són per a mi encara els referents del moment.
Ara que vivim perillosament moments de retallades indiscriminades, ara ens cal més que mai la prudència que acompanyen tota decisió d'assignació de recursos. La forma com establim prioritats condiciona l'esdevenidor.
PD. Un repàs als materials de la darrera conferència sobre el tema hauria de ser d'utilitat per a més d'un.
PD. Just avui l'Adam em diu que al Setembre fan unes jornades a LSE sobre el tema. El títol de la ponència més provocador és el de Gwyn Bevan : “If cost/QALY is the answer, what is the question?”. Haurem de fer un forat a l'agenda.
Edvard Munch, "The Scream", es pot comprar la setmana que ve a Sotheby's per uns 80m€
Edvard Munch's The Scream numbers among the most celebrated images in art history. It is one of few masterpieces that require no introduction, as it has been analyzed, reproduced, referenced, interpreted and commercialized more often than perhaps any picture bar Leonardo's Mona Lisa. Since its creation in the 1890s The Scream has become of a cornerstone of our visual culture, burned onto our collective retina as the definitive image of horror at modernity's core. In one image, Munch initiates the Expressionist gesture which will fuel art history through the twentieth century and beyond.
The present composition was completed in 1895 and is one of four renditions of The Scream (figs. 1 - 4). The other three versions are housed in Norwegian museums, leaving this the only Scream in private hands. Munch executed theprime version, now in the Nasjonalgalleriet, Oslo, in the fall of 1893. The image was conceived as a part of an epic series, known as the Frieze of Life, exploring the progression of modern emotional life through themes of Love, Anxiety and Death. The Scream was conceived as the climactic finale of the Love cycle. This narrative explores the beckoning of love (The Voice), its aspects of pleasure (The Kiss); pain (The Vampire, fig. 5); erotic mystery (Madonna ); guilt (Ashes, fig. 6) and, ultimately, despair (The Scream). Munch's ambition with the Frieze was to create through
deeply-felt personal experience a new kind of history painting for the godless age.
