Refrigerator Door Research Articles

Pharmacotherapy in the treatment of obesity

The incorporation of pharmacotherapy into the comprehensive office-based management of obesity can improve outcomes significantly for patients meeting specific clinical guidelines in whom diet and lifestyle change alone is not successful. With an improved understanding of the mechanisms of action of various pharmacotherapies, it becomes possible for the primary care physician to help obese patients select successful therapeutic approaches and strategies. Some agents work primarily on central nervous system mechanisms related to satiety, while other agents affect metabolism and absorption of nutrients. It is of critical importance not to use pharmacotherapy alone, but rather combined with an aggressive program of diet and lifestyle change. The temptation of patients to find a magic pill that will close the refrigerator door is not likely to lead to a successful result. By gearing patients' expectations to realistic and achievable weight-loss goals, practitioners can reduce the risks of comorbid diseases, enhance ongoing treatment of existing comorbidities, and improve the overall quality of life for the obese patient.

Hey you! Shut the refrigerator door!

The note discusses electrical power and energy and includes possible labs to be used in a physics classroom. It is based on our experimentation with a new device called the Watt-Watt/Hour Meter, which displays instantaneous power and cumulative energy readings of household electrical devices. Our experiments utilized this meter in conjunction with various appliances and focused primarily on its use with a refrigerator.

Advanced insulations for refrigerator/freezers: the potential for new shell designs incorporating polymer barrier construction

The impending phase-out of chlorofluorocarbons (CFCs) used to expand foam insulation, combined with requirements for increased energy efficiency, make the use of non-CFC-based high performance insulation technologies increasingly attractive. The majority of current efforts are directed at using advanced insulations in the form of thin, flat low-conductivity gas-filled or evacuated orthogonal panels, which we refer to as Advanced Insulation Panels (AIPs). AIPs can be used in composite with blown polymer foams to improve insulation performance in refrigerator/freezers (R/Fs) of conventional design and manufacture. This AIP/foam composite approach is appealing because it appears to be a feasible, near-term method for incorporating advanced insulations into R/Fs without substantial redesign or retooling. However, the requirements for adequate flow of foam during the foam-in-place operation impose limitations on the allowable thickness and coverage area of AIPs. This report examines design alternatives which may offer a greater increase in overall thermal resistance than is possible with the use of AIP/foam composites in current R/F design. These design alternatives generally involve a basic redesign of the R/F taking into account the unique requirements of advanced insulations and the importance of minimizing thermal bridging with high thermal resistance insulations. The focus here is on R/F doors becausemore » they are relatively simple and independent R/F components and are therefore good candidates for development of alterative designs. R/F doors have significant thermal bridging problems due to the steel outer shell construction. A three dimensional finite difference computer modeling exercise of a R/F door geometry was used to compare the overall levels of thermal resistance (R-value) for various design configurations.« less

The New Traditionalism: Repackaging Ms. Consumer

She has made her commitment. Her Mission: create a more meaningful quality of life for herself and her family. She is the New Traditionalist - a contemporary woman who finds her fulfillment in traditional values that were considered 'old-fashioned' just a few years ago. The ad copy goes on to declare that the New Traditionalist is part of extraordinary social movement that is profoundly changing the ways Americans look at living. I tore the ad out of the paper and hung it on the refrigerator door, where it acted as a lightning rod, attracting horror and disgust from household and guests. Two weeks later, a second New Traditionalist appeared in the same prominent New York Times slot. This time she was a black mother flanked by two teenage daughters. After two and a half more weeks, an ad in the Sunday New York Times Magazine featured yet another - a New traditionalist who started a revolution - with some not-so-revolutionary ideals. The ad copy declares that market researchers are calling [new traditionalism] the biggest social movement since the sixties. By this point it was evident that the New Traditionalist was the star of a major promotional effort for Good Housekeeping magazine. It was also apparent that Good Housekeeping had hit a sensitive nerve. Angry reac

A Happy Story

What's this story about? Everett leans over my shoulder. He really wants to ask when will dinner be ready? he will not have it spread about that he is a traditionalist. It's about a woman, say as he inspects the contents of pots with an air of disapproval. continue. Intelligent. Attractive. Educated. A career is possible if she plays her cards right. Everett has thrown open the refrigerator door, is standing, feet apart, fists on hips, as if silently demanding that certain foods present themselves for his until-dinner-gets-ready snacking. continue. But one morning she wakes up to realize that despite her efforts, she is living the same life her mother led. She feels desperate at this idea- Everett is desperately opening up foil wrappers. Finds one cold pork chop. -and in that moment, she begins to plan her own suicide. Why? mumbles Everett around a mouthful of pork chop. I thought she was so intelligent. Maybe she's intelligent enough- say to his back as he returns to his armchair enclave, -intelligent enough to wonder if surviving is worth the trouble. Everett rattles his newspaper. The TV drones. sweep up crumbs from the table deposit the abandoned pork chop foil wrapper in the trash can. Slowly recover my thoughts, make a few scribbles on my yellow pad. don't you ever write a happy story? Everett says, moments later, newspaper crumpling in his lap. pretend don't hear him, wish that hadn't. Angel? Didja hear me? Why can't you write a happy story for a change? don't even look up. You know one? say. Tell me a happy story I'll use it, say. When do look up, his eyes are waiting. We look at each other. smile, feeling some triumph. Tell me, say, and I'll write it. Everett is a determined optimist; call it self-delusion. am a realist; he calls it disposition. say that he pretties up life with pretense. He says that don't consider the cloud's silver lining. say you're liable to be struck by lightning standing in a thunderstorm looking for a silver lining. He says live for bad news. Tell me a happy story, persist. I can't wait to write it. His tongue is working inside of one cheek; maybe he's thinking ... or maybe he's just after a sliver of pork chop caught between his teeth. He seems to regard me with infinite patience pity. now, his unflagging optimism comes to rescue his face from furrows of doubt. see firm determination light his eyes. He will, now as ever, rescue me from myself. am caught off guard by my own laughter; it comes snorting unladylike from my nose.

The Hats

Amelia and Cissy popped through the kitchen door, jumping and bubbling around the room like a glass of freshly poured Coke. "Checkthe fridge, I'm starved!"Amelia ordered Cissy and ran to the door opening out to the parlor. "Mimi! Laloo! We're back! Where are you? We've got great news!" she called out to the cool gloom. "Where couldthey be?" she turned back The Hats by Katherine Elberfeld i 67 to her friend whose upperbody haddisappeared inside the refrigerator, as if the appliance had tricked her, had devoured her, instead of allowing her to violate its contents. "They never go anywhere in the afternoon. Is there anything to eat? I'm so excited, I think I could eat the refrigerator door if I could unhinge it!" "Miss Amelia, what's all the ruckus?" A deepvoice spokebehindherback. It came from the place where the yellow sunny kitchen met the parlor's dark entrance. Quickly, Amelia turned and saw the brown face, the strarched white apron and cap, the body hard andfirm. Cissy rescued herselffrom the refrigerator and stood up. "Baker! I didn'thearyou," Amelia said, running across the room. "Oh, Baker, we've got the biggest news! We've both got parts, big parts, in the Community Theater's first play for the summer. The director said we were both so good, he wanted to start the season off with us, because people would be sure to come to more of the plays later on! Isn't that wonderful? lsn t that the best news you've ever heard?" Amelia hugged Baker tight around the neck. "Letme go, girl, soIcanbreathe,"Baker choked, removing Amelia's arms and stepping back, smoothing her apron. "Yes, yes,"shesaid,finally. Thatisgood news. I know your aunts will be happy to hear it." "Speaking of them, where are they? I can't wait to tell them." "They're upstairs," Baker answered with forced patience. "They've just finished their naps and will be down in a minute." She looked at Cissy who still stood near the refrigerator door. "Now if you girls'11 sit down at the table, I'll fix you a snack. Go on," she said as she pushed Amelia gently toward the table," 'Sit down, Miss Cissy, I would appreciate it if you would close the door to the icebox—it works better that way." The girls sat down as instructed and talked quietly about their theater plans while Baker heated up cinnamon rolls from breakfast and sliced honeydew melon. She poured thick, fresh buttermilk into tall glasses, decorated with large red flowers and green leaves. A warm afternoon breeze toyed with the yellow curtains atthe window, andthe sun slanted in and touched the gray linoleum floor, bringing Baker's waxed surface to a gleam. Yellow paper that served as background to all kinds of kitchen equipment drawn in gray—rolling pins, coffeejots and teapots, and cups and saucers, oots and pans, sugar bowls, spoons and adles—covered the walls, the pattern of figures repeating itself all around the room. Presently two tiny, elderly women stood in the doorway to the parlor, like a matched set of salt and pepper shakers. The only difference between the two was that one was slightly taller than the other. They both had red hair still, neither had ever grayed, and white faces and blue eyes like china dolls. The red hair and white face and blue eyes had been treasured by generations in the family and handed down as gently and carefully as the Ming dynasty vase that a missionary great-grandfather had brought home with him from China years ago. The vase that now went nowhere but stayed on the side table in the sisters' dining room. But this time, the name and hair and face and eyes had been passed through a brother. For only the boy of the family had married. Just as Amelia's name had been preserved and protected by the family, Mimi's real name—Harnett—had been lost, bowing and curtsying and running off in the face of the name Mimi, given to her by the first of so many grand nieces and grandnephews. The taller sister...

The diet disco-nnection

We have all gone through the teen years and can perhaps recall the energy which is activated so easily at that age. Through the use of a soundtrack and storyboard an attempt was made by a youth dance group to capture this creative energy and put it to use in a dance-video production (see photo, and note). The purpose of the production was to portray positive experiences that encourage young people to develop healthy eating habits and to cope with other concerns during their adolescent years. Additionally, we wanted to provide the visual experience of a video production, and to offer a healthful foods party at the premiere of the finished piece. The video, entitled Diet Disconnection, is a takeoff on Alice In Wonderland and conveys the struggle of a teenager obsessed with food, dieting, and body fat. This modern adaptation involves Alice, a teenager, who becomes entranced by a donut commercial while watching television. Losing awareness of herself, she becomes possessed by the thought of and falls into the trap. While struggling to find a sense of balance, she reflects on her eating habits, her dissatisfaction with her body, and her feelings of losing control. With the help of the agent for change, the caterpillar, she finds her way out of the trap by confronting her feelings. I had developed the script and music in the United States and used it many times in counseling teenagers and young adults who had a variety of weight problems and concerns, but the North East Youth Dance Group created new dimensions by developing the dance, costuming, and stage design. The group was composed of 18, 10to 17-year-old girls living in northeast Scotland. For about five months, the group met for three hours on Saturday afternoons. We discussed diet and health informally, but there was no direct effort to change anyone's eating behaviors. All the group members-but especially the older girls-related to the video's story line and the message of the video. The dancers worked in groups to choreograph the dances under the author's supervision. Each dancer was responsible for the creation of her own character through costume and movement. Examples of the costumes used by the food characters were wrappers, decorated boxes, fabrics on wire frames and colorful leotards. The three donuts used tire inner-tubes of various sizes as props to convey the message of the donut advertisement which entices Alice. Three dancers gave the illusion of a caterpillar through the movement of their dance and the lighting. Alice wore a light-colored T-shirt and tight leggings. Special props consisted of a plywood door and frame on wheels with one side depicting a refrigerator door and the other side holding a sheet of polished aluminium to produce body image distortion as Alice falls through the refrigerator door. The video was shot in two extended sessions with each dance taped several times from a variety of angles. Editing was a time-consuming process, but exciting and creative. Two members of the group were chosen to make the voice recording of the script, which was mixed into the video during the editing process. The final product was a fifteen-minute video. The production was financed mainly by funds obtained from the regional community education office in northeast Scotland. Further assistance was obtained by having the video equipment, studio, and staff of the region's education resources center assigned to the production. The dance/drama studio was rented for a nominal fee, again through the school system. The total cost in producing the video was about $700.

Impotency of live-virus vaccines as a result of improper handling in clinical practice

IN 197 1, AN ISOLATED EPIDEMIC of measles was att r ibu ted to the use o f meas les vacc ine 1 which had become ineffective as the result of improper storage. The vaccine, stored in the door of a refrigerator, was apparen t ly inac t iva ted by f luc tua t ion in t e m p e r a t u r e caused by frequent opening and closing of the refrigerator door. The present report summarizes a study carried out in 1972 to determine the relevance of improper handling of four live-virus vaccine preparations: measles, rubel la , c o m b i n e d m e a s l e s r u b e l l a , and TOPV. Evidence for mishandling was obtained in two ways: (1) from historical information provided by the user and (2) by comparison of infectivity titrations of samples returned from the field with specimens from the same lots stored under ideal r ecommended conditions at BoB. Vaccine samples were obtained within the officially prescribed one-year period of mainta ined potency from public health clinics, private offices, and health depart-