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In Conversation

Kathryn Scanlan and Kate Zambreno discuss life in quarantine, and the works of art that make time feel as strange and deconstructed as it is now.


Kathryn Scanlan:

It’s been rainy all week, cool and windy and purple out. I walk every day but now, suddenly, there are three or four times as many people walking at any given hour, so I’ve been finding different routes. Everything is blooming and the air smells strongly of flowers, even inside my apartment. Hummingbirds are militantly at work. On Tuesday I cut my finger when a glass jar of frozen curry I was trying to coax into a pan broke in my hand. The cuts seemed deep and continued to bleed hours later, but they’re almost healed now. On Wednesday I cut the same finger with a large knife, chopping collards – a shallow split halfway through the nail. I’ve been batch cooking, freezing the extra. On Thursday I simmered a chicken, argued with my husband. Reading Natalia Ginzburg, The Little Virtues, Moyra Davey, Index Cards, Thomas Bernhard, but also randomly picking up books from the scattered stacks on my desk and reading a line, a paragraph, a chapter, a story – then setting them back down. Texted with my mother. She told me she’s had this quote next to her laptop since last summer: ‘Life is a sinking ship and work is the lifeboat.’ Felt wilder and wilder with fear, day after day – crying wildly in my office in the dark – until yesterday, when it culminated in bodily collapse, a relentless rod of pain in the head. This morning I feel quieter, and am writing this to you.


Kate Zambreno:

We can’t figure out how long we’ve been mostly inside. We think two weeks, although that feels inexact. It doesn’t help that our clock in the main room has been broken for a day. I keep overlapping all this with the beginnings of daylight saving time. It’s when our three-year-old daughter stopped going to bed at night, and we began letting her, as the day began to lose shape, which feels like a return to her being a newborn, to those early days out of time. John now lays with her for hours, talking to her in the dark, holding her hand through the crib. I usually have been waiting for that time to weep, because most of our efforts have been to keep Leo upbeat and active, even though she is not going to school or seeing her friends except over Zoom, or leaving except for one circumscribed walk around our Brooklyn neighborhood, trying our best to avoid others while not seeming unfriendly. Our streets feel crowded too, especially on the bright springish days, with the flowering magnolia and cherry blossom trees and lilacs coming up. There’s that line from Territory of Light, something like, why is it only our children who are allowed to have breakdowns? I think about that a lot. I’m sitting here cross-legged on the couch, a green wool striped blanket on my lap, and Leo has just come and demanded that she have that blanket, and she pulls it out from me, because she wants her father to play Linus in this new game of Charlie Brown she likes to play. She is almost always Charlie Brown, and sometimes Peppermint Patty, we are usually the minor more passive characters. John is usually Marcie and I am almost always Schroeder, which works well for me, because I can just not talk and hunch over my laptop. This morning we sat on the floor in front of my laptop and watched a dancer in her cramped bedroom admiringly lead a toddler dance class with very few props or space. We wiggled our toes in front of us and jumped like frogs and waved around scarves. At one point the dancer took a small stuffed animal from a shelf and began speaking to it, then looked at the screen and said something like, This is what ten days of quarantine has done for me, I’m now talking to stuffed animals, and I really felt for her.



Thinking about this – as the day began to lose shape, which feels like a return to her being a newborn, to those early days out of time – and how crisis (birth, death, illness, catastrophe) exposes the artifice of time as we’ve constructed it. For the past year I’ve been working from home and thinking a lot about dailiness, creativity, and productivity. When a day is not structured by appointments, meetings, driving to work, taking lunch, driving home, shopping (i.e. capitalism), its soft, loose (wild?) shapelessness becomes apparent. This is a beautiful thing and is probably the medium of writing and the essence of life – but how to reconcile that with ambition, financial pressure, bodily survival? In Drifts, your narrator’s days are sometimes structured (she teaches, attends readings and meetings, travels by train) and sometimes not (summer, when she’s home, working on her novel), but threaded throughout is an interrogation of the day as a unit of measure – its slipperiness – and how something as fluid and ongoing as thought gets concretized into work on a physical page, in a physical book. Drifts as a title is wonderfully evocative in itself and in its reference to the work of other writers. What does drift mean to you?



Some people have contacted me and told me that their life now – not going out except walks around the neighborhood with the dog and recording the animals and neighbors and trees, staying mostly inside, keeping company with others through email, reading and thinking – reminds them of the life of the narrator of the book, which in some ways is still my life. So much of Drifts is enthralled to dailiness and solitude, to even alienation. Speaking of Moyra Davey, I really identify with her gaze, her video work and essays, how her apartment becomes her studio, filled with photographs of others and her books, that she too randomly picks up as you describe, how she thinks of her practice as a flaneur of the apartment, but also the watchfulness of her series of people reading on trains, of trees, etc. Even when I was out working one of my several teaching jobs, traveling on the train, I felt entirely alone, watching, absent of colleagues or conversation except in the classroom. And then there’s the feeling of claustrophobia and often spooky isolation in the second half of the book, where the narrator is pregnant and almost always inside, when not commuting to work, thinking about Vermeer’s women and Chantal Akerman’s solitary figures trapped inside and reading Sentimental Education while continuously eating weird food, which more closely mirrors where I am now. It’s strange how haunted I too now feel by the book, even though I’ve apparently finished it. I am in a later stage of pregnancy again, amidst this more mandatory quarantine, still in the same apartment, still worrying, more than ever, about financial pressure and bodily survival. I realize I didn’t answer your question. I think I was thinking of drifts as a form, and a way to write time, a way to write a narrative that felt like a diary, or the day. In some ways I was thinking about Robert Walser’s feuilletons or Clarice Lispector’s cronicas, a form of smallness that expresses the strangeness and uncanniness of the everyday. I guess I had the title – Drifts – and it was a feeling, a feeling that was about a gaze as well, and a feeling of ghostliness and smallness. And I had to write that feeling somehow. Which brings me to how haunted I have felt lately by your Aug 9—Fog, especially in this new now, this hyperawareness of the isolation and vulnerability of others, especially the elderly, who must now stay more inside than they were before. I am haunted thinking about this found diary of an 86-year-old woman keeping a document of her days, and how you mysteriously rewrite and compress the last years of someone’s life, celebrating the beauty of its ordinariness, or the ordinariness of its beauty. Could you speak more about how you were thinking of a page as a day in this work, about smallness, about the passage of time? What other artists and writers have you been thinking of, who deal with time and dailiness?



In Aug 9—Fog, I wanted a page to become a kind of stage, and I wanted a day to become more than a day. The pages in the book do not correspond to particular days in the original diary: they are undated, and are a very lean sample of the original text’s length and density, and many are combinations of days from different months, different years. My inclination is that reduction, compression, silence, and absence in a text might enable a largeness to expand in the mind of the reader. I think about Moyra Davey’s work often – feel irretrievably imprinted by her – but especially this past year, as I’ve been rereading her writings and looking through the new large volume of her work published by Steidl and her forthcoming Index Cards. I’ve been working on a book about writing and photography which is probably largely informed by her writing and photography, but is also a continuation of Fog in a way – thinking through ideas of the found object, the diary as form, and how photography, like a notebook or diary, is a way to ‘catch’ or ‘net’ the ‘pearls and coral’ we encounter in our daily lives (per Walter Benjamin). Through your books I came to read Hervé Guibert’s Ghost Image. I don’t remember where I heard this, but are you working on a book about Guibert? I’d love to hear about it if so, as well as how photography (and film/video) figure in your thinking, your work. At what point in writing Drifts did you decide to include the grainy, Sebald-esque images inserted throughout the text?



The relationship of writing to photography also intrigues me – part of Drifts thinks through my (amateur) photography practice, and my impulse to take a photograph, the practice and process of that. I don’t remember why I began to put images in the Drifts project. Book of Mutter also had many found images and family photographs, at one point, and by the end was winnowed down to two or three stills. I think so much of Drifts is about a gaze, and how the narrator looks at art, especially photography (an interest in Sarah Charlesworth’s Stills, or Peter Hujar’s photographs of dogs), and so I began to create these collages after looking at these photographs. I was inspired by the mysteriousness of a found photograph as Sebald employs it in the way I cut up the images from the Rilke sections, where it’s unclear the source, a speculative effect I’ve been playing with in other essays. I am working on a small book on Hervé Guibert. It centers around his To the Friend Who Did Not Save My Life, but also encompasses his photography and his other later writings. It’s not a monograph – maybe it’s more of a possession? Thinking through Guibert’s first-person narratives that he wrote with such speed, his concept of photographic writing that’s closer to a note or a journal. Today I am trying to watch his film La Pudeur ou L’Impudeur (Modesty, or Immodesty) – his documentation of the daily and banal in the last year of his life dying from AIDS that was broadcast on French TV – it strikes me there’s a connection here to all of us in self-quarantine, some of us sick or suffering in different ways, the privacy of that. I think in writing lately I’m also searching after the long take of Chantal Akerman, this series of interiors or rooms. I wanted to ask about your essay on Anne Charlotte Robertson’s diary films, how you feel compelled by her videos. It’s marvelous your ekphrasis of her video works, the lists and objects, in a way that defamiliarizes, it reminds me of the domestic tableaus in your stories, the violence underneath the mundane.



I learned of Robertson’s work recently – it’s not very well known because she wasn’t able to digitize her films during her life and screenings have been rare – and I’ve only seen maybe ten or eleven hours of her forty-plus-hour opus, Five Year Diary, but it’s such a compelling film. There’s something I love about banality and durational work that tests an audience’s endurance and attention span, or forces them to examine their discomfort and expectation of entertainment – I’m thinking also of Chantal Akerman’s films (Jeanne Dielman, News From Home) and David Lynch’s recent Twin Peaks: The Return. Robertson originally modeled her film on the same type of mass-produced diary – ‘the little blank books with locks and keys, that allow only a few lines to each day’s notation’ – used by the elderly woman upon whose writings Aug 9—Fog is based, and they were roughly contemporaneous, too: 1968-1972 are the dates of the diary I adapted, and Robertson began her diary film in 1981. Five Year Diary feels both massive and fleeting, which is what life feels like. It makes me think of Walker Evans declaring that his photography was not ‘documentary’ but ‘documentary style’ – I feel Robertson’s work is not a diary, but diary style: her film has the raw, immediate feel of the unedited everyday, but you quickly realize how shaped it is, how aggressively she played with time. I think that’s something I like to do in my stories, too – aggressively play with time, with cuts and edits, with speeding up or slowing down time, life.



I’ve become increasingly drawn to constraint-based and durational work. I recently wrote the foreword to the Grove reissue of Kathy Acker’s early Black Tarantula works, these zines that came out of collaging pulp texts with her journal, experiments that were inspired by artists such as Bernadette Mayer’s Memory project – that encompasses the entire month of July 1971 through a daily journal and a daily roll of 35mm film (today to cheer myself up I flipped through the Siglio edition of the Memory project that’s coming out in May). I am drawn to works of endurance, both on the part of the artist and on the part of the viewer/reader – like Acker, like Akerman’s early 70s trance films, the date paintings of On Kawara – but also diaristic works that are extremely condensed, but still feel like the shape and texture of a life, even the fragmentation and speed of a day. I like works that make time feel as strange and deconstructed as it does now. I really like that about the sudden quality of your stories. This is what I’m so drawn to with Guibert’s project, the dichotomy between endurance and speed – you have the complete diary project of his The Mausoleum of Lovers, translated by Nathanaël in a beautiful Nightboat Books edition, that Guibert himself edited and wanted to be read like a novel, but then you have the diary-like project of To the Friend Who Did Not Save My Life (that Semiotext(e) is reissuing in April), which feels diary-like but is not a diary, in fact Guibert couldn’t look at his diary when writing it. I see Drifts as more of a work that feels diary-like or note-like but isn’t actually transcription, I was interested in the idea of manipulating space and the page to achieve a sense of the passage of time – there were times I wanted it to feel trance-like and other times fast, vertiginous. I’m realizing Aug 9—Fog feels both sped up and slow at the same time. Like a day. Maybe this can also lead to a question about process and writing. Do you write slowly? With speed? How does one of your stories form? Is the formation often in the shaping, that winnowing away?



I write slowly but sometimes I write with speed. I’m able to write more quickly and joyfully when I allow myself periods of sitting in a chair, dazed, not making anything, which can feel difficult or counterintuitive. I tend to be impatient with how long it takes me to make work. When I had a day job outside the house, I’d write stories in my head while driving and on the clock, keeping scraps of notes – that slantwise approach. Likewise when I’m walking, cooking, washing dishes, or reading, a story will suddenly sort itself out. It’s taken me years to write some stories – others I’ve finished in an afternoon. They’re shaped by editing, and often it’s a game of moving sentences and blocks of text like puzzle pieces, from one story to another, or within a single story. Do you do that? What does your editing process look like?



It often helps to have a project that I can work on, but I usually work on it in really slow ways, over many years, going through many layers and processes of refinement. With Drifts I played around with the first section, Sketches of Animals and Landscape, for many years, just moving around these notes – the time in which I was writing it kept on getting away from me, because of course time gets away unless you have absolute freedom and space to write, and I wanted it to feel alive and present, to feel like a body was in a room writing it. With the second section, Vertigo, I had less raw material to work from, so over years I just kept on going through a period of refinement. I want writing to have that immediate and present feeling, not to have it feel too worked over, but I rewrote Drifts for many years. Since I have had the child I have liked taking on more constraint-based work – like the project of the screen tests, as well as the talks that became the appendices – because those I actually write in something like real time, sometimes over a day or a month – a way to force myself to make the space and time – and then just shape and cut down. It’s good to have a piece that can be finished, versus a longer work that feels more unwieldy and the writing of it and finishing of it is the actual problem that you need to figure out first. My last question to you is how do you know when a text is finished? Is there a certain feeling or effect you want to achieve? And are you able to write now, during this mass isolation and unease?



Finished is always just a feeling – and what ‘finished’ means is always changing. I’m usually looking for maximum impact with a minimum of words. Fog finally felt finished when I found the five-act seasonal structure for it. I’m interested in your wish ‘to have that immediate and present feeling, not to have it feel too worked over’ – I think we’re manifesting it in different ways, but I feel I share your desire for a sudden, startling text. These past weeks I’ve felt scattered and fractured, but have written a little, and felt better when I did. And you?



Just writing in a journal when I can. Reading and thinking about the Guibert when I can and taking notes. Yeah, I feel better when I do as well, like a space for solitude where I can pulsate and think and also write down the flowering trees I see in the neighborhood, the sounds of the birds, all of the strange tableaus my child has created around the apartment.

Kate Zambreno’s new novel Drifts is available for pre-order, and is forthcoming from Riverhead Books in May.

Kathryn Scanlan’s new collection The Dominant Animal is also available for pre-order, and is forthcoming from Daunt Books on 23 April.

The post In Conversation appeared first on Granta.

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  165. ساخت سایت در مشهد ساخت سایت در مشهد

    طراحی سایت در مشهد و مشاوره رایگان+طراحی حرفه ای و سرعت بالا

    وب سایتی که طراحی می کنید عمدتا باید بر مارک
    تجاری شما با تمام شرایط مورد نیاز مخاطبان باشد تا وجود هوشمند شما را افزایش داده و نرخ
    تبدیل را افزایش دهد. وب سایت شما باید به اندازه
    کافی متنوع باشد تا بتواند نیاز
    کاربران را برآورده کند. در کنار
    این موضوع پزشکان قادر هستند رزومه خود را در سایت مورد نظر بارگذاری کرده و مقالات علمی که تالیف کرده
    اند را هم در این سایت قرار دهند تا
    مخاطبان آنها حال می خواهد مخاطبان
    عادی باشد یا مخاطبان پزشک از آنها بهره مند شوند.

    در طراحی سایت در مشهد توجه به امکانات
    مورد نیاز برای یک چنین سایتی از اهمیت بالایی برخوردار است.

    در ادامه به مهمترین روش های طراحی سایت اشاره خواهیم کرد تا متقاضیان این خدمات
    با دقیقتر دست به انتخاب بزنند.
    توجه به چند نکته هنگام سفارش وب سایت
    ضروری است که به چند مورد مهم در ادامه اشاره خواهیم کرد.
    اگر هنوز اطمینان ندارید که آژانس اتود می‌تواند در رفع نیاز های کسب و کارتان کنار شما باشد با ما تماس بگیرید.

    پکیج و خدمات ویژه برای شرکت های واقع
    شده در مشهد را ارائه می نماید که هدف
    اصلی از ارائه این خدمات گستردگی دسترسی
    مشاغل و سازمان ها به امکانات و خدمات ویژه شرکت ها می باشد.
    امروزه هر کسب و کاری در فضای آنلاین حضور نداشته باشد؛ قطعا از رقبای
    خود عقب خواهد ماند.
    در جامعه امروز طراحی سایت و طراحی فروشگاه اینترنتی برای کسب و کارها ، شرکت ها و موسسات، سازمان ها و حتی اشخاص حقیقی به یک امر حیاتی تبدیل
    شده است . به همین خاطر نیز باید در انتخاب شرکت های طراحی سایت دقت
    کرد تا استانداردهای لازم برای راه اندازی یک
    سایت رعایت شود. به همین منظور، در
    این مقاله برخی از بهترین شرکت های طراحی سایت را معرفی خواهیم کرد.
    پیاده سازی استراتژی سئو همزمان با طراحی
    سایت انجام می شود تا بعد از اتمام طراحی سایت در مشهد
    ، کسب و کارتان با یک زیر ساخت درست به سمت فروش حرکت کند.

    هزینه طراحی سایت در مشهد، مانند دیگر خدمات در مجموعه seoedu باید مورد
    بررسی قرار گیرد و ما متوجه این موضوع
    شویم که به چه خدماتی در سایت خود نیاز دارید.
    علاوه بر این، مجموعه های مختلفی نیز با کسب مهارت
    در زمینه سئو و طراحی سایت به درآمدزایی
    رسیدند و این یکی از جنبه های مثبت طراحی سایت در مشهد
    است. البته طراحی سایت خود
    به دسته بندی های مختلفی تقسیم می شود و حوزه های
    زیادی را در بر می گیرد. این امر باعث شده تا صاحبان
    کسب و کار با هر زمینه کاری و فعالیتی بتوانند در این فضا به درآمدزایی
    مشغول شده و سودآوری بیشتری داشته باشند.
    اگر به دنبال یک سایت حرفه‌ای هستید
    بهتر است کار خود را به متخصص بسپارید، نمونه سایت‌های شرکتی و فروشگاهی تیم‌های مختلف را بررسی کرده و بهترین را برگزینید.
    لذا ما در ادامه مطلب در مورد طراحی سایت در مشهد
    صحبت می کنیم تا همشهریان عزیز مشهدی که خواهان طراحی
    وب سایت هستند بیشتر با این مطلب ﺁشنا شوند.

    در این طراحی نوع چیدمان و ارائه اطلاعات
    نسبت به اندازه مرورگر تغییر می‌کند.
    به عنوان مثال صفحات وب در تلفن همراه
    و مرورگر رایانه به طور خودکار اطلاعات صفحه نمایش را به روز
    می‌کند. افرادی که به طراحی سایت مشهد املاک می‌پردازند نه تنها به مخاطبین و مشتریان
    محله خود دسترسی دارند بلکه به افرادی که
    در سراسر شهر به دنبال ملک می‌گردند دسترسی دارند.

    اما در نظر داشته باشید که مسئول
    وب سایت شما باید برای تعامل سازنده با گوگل و رسیدن به کاربران مورد نظر به صورت مداوم اقدام به تولید محتوا و بارگزاری آن‌ها نماید.
    به این منظور ابتدا شما باید به نیازمندی‌های خود برای طراحی
    سایت در مشهد آگاه باشید تا طعمه سودجویان
    این حوزه نشوید چرا که متاسفانه برخی آژانس‌های
    دیجیتال مارکتینگ هزینه خدماتی را از شما دریافت ‌می‌کنند که شما
    نیازی به آن‌ها ندارید. به عنوان مثال طراحی سایت به وسیله کدنویسی شما را متحمل
    هزینه بسیار بالایی خواهد کرد در صورتی که این نوع وب سایت مناسب همه افراد نیست و البته
    کار کردن با وب سایت طراحی شده با استفاده از کد نویسی کار تخصصی است.

    چه چیزی از این بهتر که شما در خانه و روی
    مبل محبوبتان نشسته باشید و
    فنجان چای یا قهوه تان هم کنارتان باشد و به صورت همزمان خریدهای خود را هم انجام دهید.
    اینجاست که میبینیم طراحی سایت فروشگاهی در مشهد تا چه اندازه برای کسب و کارها مهم
    و در عین حال ضروری است. بعد از انتخابمان توسط شما در
    بین شرکت های طراحی سایت در مشهد با مشاورهای حرفه
    ای که در اختیار داریم نقاط قوت و ضعف
    کسب و کارتان را خواهیم شناخت و برای آن
    ها، راهکارهای لازم را ارائه می دهیم تا
    در بیزینستان کاملا به اهدافتان
    برسید. طراحی سایت با بهترین کیفیت
    از مهمترین اهداف دایوپلاس،
    شرکت طراحی سایت در مشهد می باشد.
    ما با استفاده از روش ها و متدهای جدید و
    اطلاعات و تجربه پرسنل این مجموعه، افتخار طراحی سایت های بیشماری را داشته ایم که این موارد را تایید میکند.

    در این میان هنگام سفارش طراحی سایت مشهد لازم است به سلیقه طراحان
    احترام بگذارید و از ایده های آنها استقبال کنید.

    در سایت‌هایی که پول و
    اطلاعات کارت‌های اعتباری استفاده می‌شود
    اهمیت امنیت سایت دوچندان می‌شود.

    امنیت سایت تابع فاکتورهایی
    است که همه آن‌ها نقش اساسی در تامین امنیت وب سایت
    دارند از جمله آن‌ها می‌توان به استفاده از کدهای SQL،
    هاست امن، استفاده از پروتکل امن SSL و…اشاره کرد.
    در ادامه نکاتی را اشاره کرده‌ایم تا وب سایت شما از حمله هکرها
    در امان بماند. طراحی سایت مشهد واکنش گرا که امروزه محبوبیت زیادی در بین کاربران پیدا کرده است یکی دیگر از
    روش‌های طراحی سایت است.
    سرورهای اختصاصی توانایی ساعت‌ها کار را
    دارند و داده‌ها و اطلاعات خود را به طور مداوم در اختیار کاربران خود قرار دهند.

    در مرحله بعد از انتخاب تصاویر منحصر به فرد که موجب می‌شود مخاطب زیادی جذب سایت شما شود انتخاب رنگ‌ها هستند.
    رنگ‌ هم به نوعی می‌تواند جزو اصل
    جذابیت طراحی سایت در مشهد باشد.
    چرا که انتخاب رنگ به جا و مناسب بر چگونگی درک برند تجاری افراد موثر خواهد بود.

    در هنگام انتخاب سیستم مدیریت باید در عواملی چون ایجاد و ویرایش، کشیدن و رها کردن و…دقت کافی داشت
    چرا که به راحتی بعد از انتشار
    در سایت بتوان از آن استفاده کرد.
    امروزه برای انتخاب دامنه
    پسوندهای زیادی از جمله com، io، web و… وجود دارد که می‌توان از هر کدام آن‌ها استفاده کرد.

    ثانیا اگر کاربر به هنگام جست و جو به نام
    برند اکتفا کند و از نوشتن انتهای دامنه خودداری
    کند موتور جست و جو به صورت اتوماتیک به دامنه
    .com خواهد رفت. بخش دوم طراح
    سایت مشهد، نام دامنه یا همان Domain Name است و بخش سوم آن پسوند یا Top-Level Domain است.

  166. ویزیت متخصص ارتوپدی در منزل تهران ویزیت متخصص ارتوپدی در منزل تهران

    ویزیت پزشک متخصص در منزل تهران

    ویزیت پزشک در منزل، موجب می شود تا وضعیت سلامتی بیمار به طور مرتب مورد بررسی قرار گیرد، برنامه درمانی
    برای او تنظیم شود و در صورت نیاز به
    متخصص مربوطه ارجاع داده شود. پزشک در منزل می تواند پیشنهاد دهد که آیا درمان خاصی را می توان در
    خانه انجام داد؟ یا خیر. آنها ممکن است بیمار را
    برای درمان خانگی آماده کنند و
    به طور مرتب او را تحت مراقبت قرار دهند.

    بدون هیچ گونه محدودیتی در محل زندگی، در هرکدام از مناطق تهران که
    باشید پزشکان ما خود را در سریع‌ترین زمان ممکن به
    شما می‌رسانند تا خدمات‌رسانی به بهترین شکل و با کمترین
    سختی برای بیمار شما، انجام شود.
    هدف ما در هوم ویزیت آسایش
    بیماران است تا به‌جز تمرکز بر
    درمان بیماری و طی کردن روند بهبودی، نگرانی و دغدغه‌ی دیگری نداشته
    کودکان به هنگام بزرگ شدن،
    تغییرات سریع جسمی، عاطفی و رفتاری
    را تجربه می‌کنند. کودکان و نوجوانان نیازهای پزشکی خاصی
    دارند که ممکن است خارج از تخصص پزشکانی
    باشد که به طور عمده بزرگسالان
    را معالجه می‌کنند. در بازه زمانی کوتاهی پس از ثبت سفارش و انتخاب
    نوع خدمت، پشتیبانی اسنپ دکتر جهت
    هماهنگی‌های لازم با شما تماس خواهد گرفت.

    پزشک در این زمینه برنامه ها
    و تمرینات مختلفی را برنامه ریزی می کند که همین برنامه
    ریزی ها موحب می شود تا تمرینات ورزش درمانی سبب جلوگیری صدمات و
    بهبود عملکرد بدن شوند. ورزش درمانی را براساس
    هدف از ورزش و نوع بیماری فرد به چند دسته تقسیم
    می نمایند که اولین دسته آن
    ورزش های دامنه ی حرکتی می باشد.
    پزشکان فوق ‌تخصص درد در کلینیک‌های درد، درد بیمار را درمان
    کرده یا به اندازه‌ای کاهش می‌دهند تا هرچه
    بیشتر به توانایی پیشین خود بازگشته و شرایط زندگی راحت‌تری برای بیمار فراهم شود.
    متخصص ارتوپدی که به آن متخصص استخوان و
    مفاصل یا جراح استخوان و مفاصل
    یا ارتوپد هم می گویند سعی میکند تا با استفاده از روش های جراحی و غیر جراحی به درمان مشکلات سیستم حرکتی بدن
    اهتمام ورزد. در صورتی که داروها تزریقی
    باشند، پزشک با پرستاران مربوطه هماهنگ می‌کند تا برای انجام تزریقات بیمار در محل حاضر شوند.
    به طور کلی سبک کار پزشک در منزل تهران
    و یا پزشک در منزل اصفهان به این صورت است که
    با یک گروه پرستاری هماهنگ می‌کند
    تا در صورت نیاز به انجام مراقبت‌های بیشتر، این
    اقدامات درمانی برای بیمار انجام
    می‌شود. همچنین پزشک با معاینات بالینی، وضعیت بیمار را بررسی می‌کند
    تا پروسه درمان را با دقت تحت
    نظر قرار دهد. این معاینات بالینی شامل درجه اشباع اکسیژن، کنترل فشار خون،
    ضربان قلب و… می‌شود.
    این بیماران که به علت درد و ناتوانی نمی توانند حرکت
    نمایند، می توانند در منزل توسط متخصصین ارتوپد معاینه و درمان شوند.
    خدماتی که این پزشکان در منزل به بیماران ارائه
    می کنند کاملا تخصصی می باشد. همانگونه که بیان
    شد علم ارتوپدی برای درمان بیماری ها و اختلالات عصبی،
    اختلالات ماهیچه ای و اختلالات اسکلتی کاربرد دارد.
    ماهیت این روش درمانی به این صورت است که پزشک متخصص از
    روش های درمانی مختلفی برای درمان بیماران استفاده می نماید تا
    بهبود آنان حاصل گردد. در صورتی که بیمار هیچ کدام
    از علائم جابجایی مهره ها را نیز نداشته باشد، پزشک متخصص ارتوپد می
    تواند این مورد را تشخیص دهد و با استفاده از روشهای درمانی به اصلاح این جابجایی ها بپردازد تا بهبود کامل برای فرد بیمار حاصل گردد.

    چرا که بیمار در کنار اعضای
    خانواده‌اش حضور دارد و احساس آرامش بیشتری خواهد داشت.
    بعضی از بیماران به دلیل شرایط بد جسمی که دارند، نمی‌توانند به خوبی حرکت
    کنند و یا عملکردهای حرکتی برای آنها بسیار دشوار است.
    به همین علت دکتر در منزل تهران و یا ویزیت
    پزشک در منزل اصفهان و یا سایر
    کلان شهرها می‌تواند به راحتی و آسودگی بیمار کمک کند.
    در گذشته‌های دور که هنوز بیمارستان‌ها و مطب‌های شخصی ساخته نشده
    بودند، هرگاه شخصی احساس ناراحتی و
    درد داشت حکیم یا پزشک بر بستر وی
    حاضر میشد و اقدام به معالجه او می‌کرد.
    [newline]ویزیت متخصص داخلی برای افرادی که از بیماری های داخلی رنج می برند، کاربرد
    اعزام پزشک متخصص به منزل به
    معنای پیگیری روند درمان در یک محیط کاملا امن و
    بهداشتی است. مردم به دلیل مشکلات متعددی که دارند، از
    ویزیت بیمار در منزل استقبال می‌کنند.
    به این علت که بسیاری از بیماران
    طاقت نشستن در خودروی شخصی را ندارند.
    حتی گاهی ممکن است به دلیل عدم توانایی در نشستن بیمار، امکان مراجعه حضوری وجود نداشته باشد.

    اگر اولین بارتان است که بچه دار می شوید شاید روزهای اول تعجب کنید که نوزادتان روزی 16 ساعت می خوابد .
    نوزادان اغلب هر three تا 4 ساعت از
    خواب بیدار می شوند و شب و روز زیاد برایشان فرقی نمی
    کند . در سه ماهه اول زندگی آنها در شب حداقل شش تا
    هشت ساعت می خوابند اما در این مدت حداقل یک بار برای شیر خوردن بیدار می شوند .

    ورزشکاران اغلب با بهترین متخصص ارتوپد
    در تهران همکاری می کنند تا از
    آسیب های آینده جلوگیری کرده و عملکردشان را بهینه کنند.
    شکستگی استخوان ها، شکستگی های فشاری، شکستگی های ناشی
    از استرس، دررفتگی، آسیب عضلانی
    و یا پارگی تاندون دلایل متداولی است که
    افراد به پزشکان کلینیک فوق تخصص ارتوپدی مراجعه می کنند.
    در تخصص گوش و حلق و بینی باید چند سال پس از
    دریافت تخصص ، تحمل خود را بالا
    ببرید چون هنوز تازه کار هستید.
    و تا برای خود اعتبار جمع
    کنید و بیمار ثابت داشته باشید ، چند سال طول می کشد.
    این تخصص نیز نسبتا درآمد خوبی دارد و حتی می توانید با تاسیس مطب پزشکی در تخصص خود ، در مناطقی که در این شغل اشباع نیستند ، درآمد بهتری نیز داشته باشید.
    1- ویزیت پزشک در منزل می تواند به انجام معاینات به طور منظم کمک کند.

    جراحی ها به منظور افزایش عملکرد اعضای آسیب دیده بدن بیماران ، التیام جراحات و
    یا تسکین درد انجام می شوند. از انجاییکه طیف گسترده از بیماران مراکز ارتوپدی
    فنی ، از مشکل اسکلتی عضلانی رنج می برند ،بنابراین توانایی مراجعه به مراکز
    ارتوپد فنی را ندارند . برای بیماری های ریه و سایر اجزایی که به سیستم تنفسی مربوط است
    فوق تخصص ریه ویزیت میکند.بیماران کرونا نیز در حال حاظر
    بیشترین مراجعات را به فوق تخصص های ریه دارند.
    ویزیت در منزل و مراقبت های
    بهداشتی در منزل شلوغی و استرس مرکز های درمانی را ندارد.

    بعد از بررسی کردن هر نوع آزمایش و تست‌هایی که بیمار انجام داده است،
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    ویروس کرونا از روش‌‌های مختلف با علائم متفاوت بر افراد
    مختلف تاثیر می‌ گذارد.
    ارتوپدی، درمان سلولیت اصفهان،
    درمان زخم دیابتی اصفهان، درمان زخم اصفهان
    و درمان لاغری… 2- دکتر در خانه می تواند اثربخشی
    داروهای تجویز شده را مورد بررسی و ارزیابی قرار دهد و در صورت بروز عوارض، نسبت به شناسایی و رفع آنها اقدام
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    به تشخیص بیماری شما و درمان آن بپردازد.

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