Shock Tactics

Background: According to the National Trauma Institute, hypovolemic shock is the second leading cause of death in people with traumatic injuries. [1] This makes the initial identification and management of Hypovolemia detrimental to the outcome and survival of many patients involved in traumatic events. Hypovolemia refers to a medical condition in which rapid fluid loss results in multiple organ failure due to inadequate circulating volume and consecutive inadequate perfusion. [1,2,3] Method:

digestive tract, even the kidneys.) according to Nolan, Pullinger, Bath, & Oxford ( 2014), hypovolemia can lead to hypovolemic shock; where a person can lose up to 20 percent of their blood or body fluid. Shock occurs when blood pressure is low to the point where blood does not perfuse the organs and stays low long enough that cells start to malfunction and die. Hypovolemic shock is a medical emergency. 2.

SECTION A Clinical Questions from Weeks 1-3 Mechanism of injury and neurotrauma 1. Identify, define and categorise three types of time criticality. 1. Actual: Vital signs If, at the time the vital signs survey is taken, the patient is in actual physiological distress, then the patient is considered ‘actual time critical’. Neonate First 28 days Infant 1-12 months Child 1-8 years Older child 9-12 years Adult >14 years Conscious state ALOC ALOC ALOC ALOC ALOC Respiratory rate 60 50 35 25 30 SpO2

Peter L. Berger once said, “The sociologist routinely experiences culture shock in his own home.” The definition of cultural shock is when someone finds himself or herself in an environment that’s unfamiliar and someone doesn’t really know how to act or do. It is out of the person’s comfort zone and to try to fit and feel included in society, once must first face the uncertainty of how the unknown culture acts like. When the sociologist looks closely at these things, he finds unexpected motives,

second word of a pair. The punishment for not remembering the second word of a pair was for the teacher to administer a shock to him/her utilizing a shock generator, but each time the student answers incorrectly or refuses to respond the shock intensity would increase. The catch is that the teacher is the target of the experiment and the student is actually pretending to receive the shocks. Milgram argues people blindly obey authority because the sense of

artists Erich Mercker, Hans Müller, and Fritz Gärtner demonstrate the sublime by painting industrial scenes that are immense in size and contain bright orange molten metal which creates feelings of power and fear. The sublime describes the awe and shock that people experience when they see something that is enormous in size. David Rodgers summarizes the works of a man named Longinus, who is credited as the first person to define the sublime. Longinus defines it as “differing from beauty and evoking

call him Luke the Lunatic. Luke would always try to talk to Kelly whenever he had the chance. Today was one of those days. “I’m not kidding Kelly. They are going crazy!” “No Luke, I think you are,” she murmured under her breath. She felt a small shock and sighed. Part of being Good meant being kind to everyone. Kelly wasn’t bothered by the rule; she just wished it didn’t apply to certain people. “They shocked someone to death because she had a cold. They’re trying to prevent disease from spreading

as days and dialogues went by, I began to ache for the comfort Kenya had to offer me. I often found myself regretting the move I made, but I knew with every opportunity, there must be hardships harboring around the corner. I always knew culture shock was inevitable, but I was not prepared for the rude awakening. Because I was raised with the Kenyan customs, when I arrived in

incorrect answer the “student” gave they would give a shock to the “student”. Each shock would increase in voltage after every incorrect answer. The shocks would be painful but not life threatening, he explained. They were also told an experimenter would be in the room to oversee the results of the experiment. Milgrim lead his students to

in terms of the scapegoat traditions of anthropology and literature, pointing out its obvious comment on the innate savagery of man lurking beneath his civilized trappings. Most acknowledge the power of the story, admitting that the psychological shock of the ritual murder in an atmosphere of modern, small-town normality cannot be easily forgotten. Nevertheless, beneath the praise of these critics frequently runs a current of uneasiness, a sense of having been defrauded in some way by the development