El nombre de nous medicaments aprovats per la FDA per cada 1000 milions de dòlars gastats, s'ha reduit a la meitat cada 9 anys des de 1950, ajustant per la inflació. Aquesta és la conclusió a la que arriba un article publicat a Nature RDD, . I sabent que això és així, tracta d'explicar el perquè i què cal fer per canviar-ho. L'article esta escrit per profunds coneixedors del sector, i em sorprèn que a la fi les propostes per canviar la tendència siguin tant febles com crear un CDDO, Chief Dead Drug Officer, un gestor del fracàs en investigació i desenvolupament. Si tenim en compte que el cost del fracàs és el 80% de la inversió en R&D fins la fase II (mireu la p. 6 d'aquest informe). Aleshores aquest personatge seria el gestor del 80%!!!, és a dir que el director de recerca gestionaria el 20% de despesa que és la part d'èxit. Lamentable proposta, en un article que comença interessant i acaba amb un declivi, el mateix que el que està succeïnt a la R&D pharma. Sorprèn que no explorin alternatives que ja estant succeïnt com les cooperacions entre empreses o el codi obert en nous medicaments. I encara em preocupa més que no hagin pensat en la reforma de les patents o en com acordar sectorialment prioritats de recerca atenent l'interès general, expressat per governs responsables.
En resum, lectura necessària, referències clau, i passeu de llarg del desvari final. Potser és que han aplicat al peu de la lletra i equivocadament allò de John Kay, quan una indústria com la pharma R&D es troba en declivi el millor que es pot fer és gestionar-lo. Jo afegiria, que caldria que ens preguntéssim si la societat està disposada a pagar el 80% del cost basat en fracàs. Algú s'ho hauria de mirar tant la xifra com que cal fer.
PS. Enmig de la contaminació mediàtica del moment, algú diu per la ràdio que les assegurances de salut privades han crescut un 15% el darrer any. El periodisme s'ha de basar en dades contrastades, i aquest no ha estat el cas. L'augment de les primes al sector ha estat del 3%, això assenyala un estancament en nous assegurats, però aquesta és una dada que encara no sabem a data d'avui.
PS. La reflexió necessària del moment de XSM.
PS. Garicano, molt oportú a NEG.
PS. Recomanable, el blog de l'Adam Oliver, behavioural economics and health care.
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 the
prime 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.
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 the
prime 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.
