sábado, 30 de junio de 2012

Dysregulation of limbic and auditory networks in tinnitus

Summary

Tinnitus is a common disorder characterized by ringing in the ear in the absence of sound. Converging evidence suggests that tinnitus pathophysiology involves damage to peripheral and/or central auditory pathways. However, whether auditory system dysfunction is sufficient to explain chronic tinnitus is unclear, especially in light of evidence implicating other networks, including the limbic system. Using functional magnetic resonance imaging and voxel-based morphometry, we assessed tinnitus-related functional and anatomical anomalies in auditory and limbic networks. Moderate hyperactivity was present in the primary and posterior auditory cortices of tinnitus patients. However, the nucleus accumbens exhibited the greatest degree of hyperactivity, specifically to sounds frequency-matched to patients’ tinnitus. Complementary structural differences were identified in ventromedial prefrontal cortex, another limbic structure heavily connected to the nucleus accumbens. Furthermore, tinnitus-related anomalies were intercorrelated in the two limbic regions and between limbic and primary auditory areas, indicating the importance of auditory-limbic interactions in tinnitus

Introduction

Tinnitus is a common hearing disorder characterized by a “phantom sensation” of ringing or buzzing in one’s ear in the absence of an external sound source. Although many people experience transient tinnitus-like symptoms as a result of brief loud-noise exposure (e.g., a rock concert) or stress, for an estimated 5–15% of the population tinnitus can become chronic and detrimental to quality of life (Eggermont and Roberts, 2004; Heller, 2003; Henry et al., 2005). With an even higher prevalence of tinnitus in expanding demographics, including aging individuals and recent war veterans (Department of Veterans Affairs, 2008; Henry et al., 2005), proper diagnosis and treatment of tinnitus are of growing concern.
Despite its high prevalence, there is little consensus regarding the neurophysiological origin of tinnitus. Most researchers agree that tinnitus can be linked to changes at one or more points along the peripheral and central auditory pathways (Eggermont and Roberts, 2004; Jastreboff, 1990; Møller, 2003; Rauschecker et al., 2010). Indeed, human brain imaging studies have identified tinnitus-related dysfunction in auditory areas, including the inferior colliculus (Melcher et al., 2000) and auditory cortex (Giraud et al., 1999; Lockwood et al., 1998; Plewnia et al., 2007; Reyes et al., 2002). In addition, a link between tinnitus and reorganization of central tonotopic maps has been suggested, based on MEG studies in humans (Mühlnickel et al., 1998; Weisz et al., 2005; Wienbruch et al., 2006) and electrophysiological investigations of animals subjected to acoustic trauma (Eggermont and Komiya, 2000; Irvine et al., 2003; Rajan et al., 1993). Many have proposed that these changes in the central auditory system result from damage to the auditory periphery; however, some cases of tinnitus without significant hearing loss seem to indicate that central auditory system dysfunction can stem from other etiologies, like head or neck injury (Henry et al., 2005; Levine et al., 2003) or may reflect the limitations of standard audiometry (Weisz et al., 2006). Conversely, peripheral hearing loss does not always lead to tinnitus (Hoffman and Reed, 2004).
While it seems, therefore, that auditory system dysfunction is necessary for tinnitus to occur, it is unclear whether auditory system damage alone is sufficient to cause chronic tinnitus, or whether additional mechanisms outside auditory-sensory regions may be involved. Clinicians have noted a relationship between tinnitus and emotional state (Dobie, 2003; Sullivan et al., 1988), which has led some researchers to propose that the limbic system may play a role in modulating or perpetuating tinnitus (Jastreboff, 1990; Rauschecker et al., 2010). Indeed, the lifetime incidence of clinical depression in tinnitus patients is estimated to be more than twice that of the national average (~35% vs. ~15%, respectively; Folmer et al., 1999), and treatment regimens that include forms of cognitive-behavioral therapy have been shown to be effective for some patients (Jastreboff, 2007; Robinson et al., 2008). However, empirical evidence of limbic system involvement in tinnitus is sparse, and these few studies that report limbic involvement implicate disparate sites: e.g., amygdala (Mirz et al., 2000; Shulman et al., 1995), hippocampus (Landgrebe et al., 2009; Lockwood et al., 1998), basal ganglia (Cheung and Larson, 2010; Lowry et al., 2004), and subcallosal regions (Mühlau et al., 2006). Thus, the exact nature of limbic system involvement in chronic tinnitus, if any, has yet to be elucidated.
In the current study, we use magnetic resonance imaging (MRI) to test our recent proposal that chronic tinnitus involves compromised limbic regulation of aberrant auditory system activity (Rauschecker et al. 2010). Using functional MRI (fMRI), we compared sound-evoked activity in individuals with and without tinnitus, in a corticostriatal limbic network as well as auditory cortex and thalamus. To assess potential differences in the grey and white matter of tinnitus patients’ brains, we used voxel-based morphometry (VBM) analyses of high-resolution structural MRI, again focusing on limbic and auditory brain regions. If tinnitus pathophysiology does indeed involve impaired auditory-limbic interaction, then the strength of any limbic marker of tinnitus we identify should correlate with stimulus-evoked hyperactivity in the auditory system. Thus, the current study constitutes a first critical test of our previous model. Ultimately, we hoped to determine the nature of neural anomalies in tinnitus, improving our understanding of this common disorder and informing future treatments.

Results

Neural hyperactivity in tinnitus patients

During fMRI scans, auditory stimuli of several frequencies were presented: one matched in frequency to each patient’s tinnitus (TF-matched; see Methods), and others within 2 octaves above or below the TF-matched stimulus. In this way, each tinnitus patient, and their “stimulus-matched” control participant, heard a custom set of stimuli based on the frequency of the patient’s tinnitus sensation (Suppl. Table 1). We thus compared levels of stimulus-evoked function in individuals with and without tinnitus (Table 1).
Table 1

Table 1

Participant characteristics
When presented with TF-matched stimuli, tinnitus patients demonstrated higher fMRI signal than controls in the ventral striatum, specifically the nucleus accumbens (NAc; p(corr) < 0.05, Figure 1A,B). Though a similar trend was present for all stimulus frequencies in separate ROI analyses, these differences were not significant (p(corr) > 0.05, Bonferroni-corrected for the number of tests performed, i.e., 5). Thus, NAc hyperactivity in tinnitus patients appeared to be specific for the tinnitus frequency. Examining pairwise correlations between NAc activity and age or hearing loss clearly shows that these variables had no effect on group differences in fMRI signal (Figure 1C,D). Indeed, NAc hyperactivity in tinnitus patients was present in the single-voxel analysis (Figure 1A), in which hearing loss was a “nuisance” covariate, as well as in a separate ROI analysis, in which age was a covariate: t(20) = 5.34, p = 0.00004. Additionally, NAc hyperactivity persisted in an ROI analysis restricted to the four youngest patients (t(13) = 4.98, p = 0.0003), where age and hearing loss were equivalent between groups (age: t(13) = 0.99, p = 0.34; mean hearing loss: t(13) = 0.64, p = 0.53).
Figure 1

Figure 1

Hyperactivity in tinnitus patients was localized to the ventral striatum near the nucleus accumbens (center of gravity: X,Y,Z = −16, 6, −0.5; volume = 108 mm3). A. Voxels exhibiting significant (p(corr) < 0.05) between-groups differences (more ...)
In an analysis restricted to voxels within the auditory cortex and medial geniculate nuclei (MGN; a “masked analysis”, as defined in Methods), tinnitus patients exhibited greater fMRI signal than controls in bilateral posterior superior temporal gyri and sulci (p < 0.01, k > 108 mm3). Hyperactivity in posterior superior temporal cortex (pSTC) was significant at the single-voxel level for all stimulus frequencies except the lowest (Table 2, tFigure 2A). However, in an ROI comprised of voxels exhibiting significant between-groups differences for any stimulus frequency (Figure 2B), a similar trend was observed for the lowest stimulus frequencies ((20) = 2.49, p = 0.02). Tinnitus patients also demonstrated increased signal in response to TF-matched stimuli in left medial Heschl’s gyrus (mHG, Table 2, Figure 2A) at the single-voxel level. This hyperactivity in mHG, the likely location of primary auditory cortex (Penhune et al., 1996; Rademacher et al., 2001), was not significant for other stimulus conditions (Figure 2C). Again, mean hearing loss (a “nuisance” covariate in the above analyses) and age did not affect these results; an additional ROI analysis restricted to the four youngest patients yielded hyperactivity for TF-matched stimuli (pSTC: t(13) = 4.05, p = 0.001; mHG: t(13) = 3.37, p = 0.005). In addition, hyperactivity in mHG was still apparent when comparing fMRI signal in tinnitus patients on TF-matched trials against fMRI signal in controls on all stimulus trials (ROI analysis, t(20) = 2.11, p = 0.048). No differences in fMRI signal were seen between groups in any MGN voxels at any stimulus frequency.
Table 2

Table 2

Masked fMRI analysis of auditory cortex and MGN
Figure 2

Figure 2

In a masked analysis restricted to auditory cortex and thalamus, hyperactivity in tinnitus patients was demonstrated in auditory cortex. A. Voxels that demonstrated between-groups differences in fMRI signal (p < 0.01, k > 108 mm3) are (more ...)

Anatomical anomalies in the brains of tinnitus patients

In VBM analyses, significant differences in anatomical images were seen between groups in the subcallosal region, in ventromedial prefrontal cortex (vmPFC; t > 4.65 p < 0.0001, Figure 3A). For both modulated and unmodulated grey matter (GM) images (interpreted as GM amount and concentration, respectively), tinnitus patients exhibited significantly reduced signal intensity (Figure 3A,B). Tinnitus patients demonstrated a corresponding increase in vmPFC signal intensity in unmodulated white matter (WM) images as well (Figure 3A,B), which can be interpreted as an increase in WM concentration in this region relative to other types of tissue.
Figure 3

Figure 3

Structural differences between tinnitus patients and control participants were identified in ventromedial prefrontal cortex (vmPFC). A. Voxels demonstrating significant differences in VBM values between groups are shown on group-averaged anatomical images. (more ...)
These effects appear to be independent of age and total GM or WM volume; these factors were used as covariates in all VBM analyses. Additionally, these between-groups differences persisted when mean hearing loss was entered as a covariate in ROI analyses as well (GM amount: t = 4.70, p < 0.0001; GM concentration: t = 5.76, p < 0.00001; WM concentration: t = 7.14, p < 0.00001). Thus, anatomical differences were not related to measurable hearing loss. Examination of pairwise scatterplots of anatomical effects and age or hearing loss (Figure 3C,D) shows little relationship between group differences in VBM measures and these variables, and additional ROI analyses comparing the youngest patients and control participants yield similar results (GM amount, patients < controls: t(13) = 4.84, p = 0.0003; GM concentration, patients < controls: t(13) = 4.68, p = 0.0004; WM concentration, patients > controls: t(13) = 4.97, p = 0.0003).
In a masked analysis restricted to voxels within auditory-sensory regions, including auditory cortex, MGN, and IC, no significant differences were found between tinnitus patients and controls (p > 0.01).

Structure-function correspondence in tinnitus-related regions

In a masked VBM analysis restricted to NAc voxels that demonstrated a significant functional difference between participant groups, there was no significant corresponding anatomical difference (p > 0.01). Similarly, in a masked fMRI analysis restricted to vmPFC voxels that demonstrated significant anatomical between-groups differences, we saw no significant functional difference between tinnitus patients and controls (p > 0.01). So, no single brain region exhibited both structural and functional differences.
There was, however, a correlation between NAc fMRI signal and vmPFC VBM values in tinnitus patients (r = 0.73, t(8) = 2.99, p = 0.02; outlier removed, see Methods), such that patients with the highest degree of NAc hyperactivity also had correspondingly greater anatomical differences (i.e., decreases in GM concentration and amount, with increased WM amount compared to controls; Figure 4A). This relationship was not present in control participants (r = −0.03, t(9) = −0.10, p = 0.919). Moreover, there was moderate correspondence between limbic abnormalities and primary auditory cortex hyperactivity in tinnitus patients (NAc × mHG: r = 0.51, t(8) = 1.67, p = 0.13, Figure 4B; vmPFC × mHG: r = 0.61, t(8) = 2.17, p = 0.06, Figure 4C). Correlations between limbic and posterior auditory areas were not significant (NAc × pSTC; r = 0.17, t(8) = 0.49, p = 0.64, Figure 4D; vmPFC × pSTC: r = 0.42, t(8) = 1.30, p = 0.23, Figure 4E), nor was activity in primary and posterior auditory cortex related (mHG × pSTC: r = −0.13, t(8) = 0.38, p = 0.72, Figure 4F). This suggests that the degree of functional and structural differences in the limbic system (i.e., NAc and vmPFC, respectively) and primary auditory cortex may be directly related in tinnitus patients.
Figure 4

Figure 4

Correlations between functional and anatomical markers are displayed. Data corresponding to NAc, mHG, and pSTC reflect fMRI signal during TF-matched trials. Global VBM values in vmPFC reflect the mean difference in modulated and unmodulated grey matter (more ...)

Discussion

In this paper, we report both functional and structural markers of chronic tinnitus in limbic and auditory regions of the human brain. The most robust of these tinnitus-related differences were located in limbic areas previously shown to evaluate the significance of stimuli (Kable and Glimcher, 2009), including the nucleus accumbens (NAc; part of the ventral striatum) as well as the ventromedial prefrontal cortex (vmPFC). In tinnitus patients, the NAc exhibited hyperactivity specifically for stimuli matched to each patient’s tinnitus frequency (i.e., TF-matched). Corresponding anatomical differences were identified in the vmPFC, which is strongly connected to the ventral striatum (Di Martino et al., 2008; Ferry et al., 2000). Indeed, the magnitude of these effects in NAc and vmPFC were related in the current study, suggesting that these regions play a similar role in tinnitus pathology. Within auditory cortex, we noted hyperactivity in mHG, the likely location of primary auditory cortex (Penhune et al., 1996; Rademacher et al., 2001), and posterior superior temporal cortex (pSTC), a secondary auditory region. This increased activity in tinnitus patients was present for all stimuli in pSTC; however, hyperactivity in mHG was restricted to TF-matched stimuli and was positively correlated with tinnitus-related limbic abnormalities as well. Overall, our data suggest that both auditory and limbic regions are involved in tinnitus, and that interactions between the limbic corticostriatal network and primary auditory cortex may be the key to understanding chronic tinnitus.

Limbic system contributions to tinnitus

Many have proposed a role for the limbic system in tinnitus pathology; however, the exact nature of limbic contributions to tinnitus is unknown. We have previously proposed that chronic tinnitus is caused by a compromised limbic corticostriatal circuit, which results in disordered evaluation of the tinnitus sensation’s perceptual relevance and, thus, disordered gain control of the tinnitus percept (Mühlau et al., 2006; Rauschecker et al., 2010). The same corticostriatal network has been implicated in evaluation of reward, emotion, and aversiveness in other domains as well (Bar, 2009; Blood et al., 1999; Breiter et al., 2001; Kable and Glimcher, 2009; Ressler and Mayberg, 2007; Sotres-Bayon and Quirk, 2010). This suggests that the corticostriatal circuit is part of a general “appraisal network,” determining which sensations are important, and ultimately affecting how (or whether) those sensations are experienced. In the current study, we provide evidence that these structures, specifically the NAc and vmPFC, do indeed differ in the brains of individuals with tinnitus.
The vmPFC and NAc are part of a canonical cortico-striatal-thalamic circuit, in which vmPFC exerts excitatory influence on the NAc, among other structures (Figure 5) (Divac et al., 1987; Ferry et al., 2000; Jayaraman, 1980). The reductions in vmPFC GM-markers we report are consistent with reduced functional output of vmPFC in tinnitus patients (Schlee et al., 2009). However, although vmPFC markers and NAc hyperactivity are clearly related (Figure 4), the exact nature of this relationship remains to be determined. Increased NAc activity could reflect disinhibition of NAc resulting from decreased vmPFC input to local inhibitory interneurons, though it may also reflect aberrant auditory activity (i.e., tinnitus or TF-matched stimulus) entering the limbic system via the amygdala. Positive correlations between NAc and mHG activity support both hypotheses; future research regarding connectivity between these structures in tinnitus patients are needed to shed light on these issues. Additionally, measuring possible up- or down-regulation of neurotransmitter receptors and/or transporters in these structures could be a target for future studies.
Figure 5

Figure 5

Schematic of proposed auditory-limbic interactions in tinnitus. Sensory input originates subcortically and enters both auditory and limbic circuits via the medial geniculate nucleus (MGN). Under normal circumstances, the limbic system may identify a sensory (more ...)
Regardless of its origin, we argue that NAc hyperactivity indicates appraisal of the perceptual relevance of the tinnitus sensation (and/or perhaps the aversiveness of TF-matched stimuli), with the ultimate objective of affecting perception. VmPFC also projects to the thalamic reticular nucleus (TRN), including its auditory division (Zikopoulos and Barbas, 2006), which is in a position to inhibit (or modulate) communication between auditory cortex and MGN (Figure 5). Thus, inefficient vmPFC output could prevent inhibition of the tinnitus signal at the MGN. As such, positive correlation between the magnitude of vmPFC anomalies and NAc/mHG activity may indicate some preservation of function: Those patients with greater amounts/concentrations of GM in vmPFC exhibit less hyperactivity in NAc and mHG, thus reflecting a relatively greater ability of the vmPFC to exert an inhibitory influence on the auditory system.

Auditory system contributions to tinnitus

Tinnitus patients demonstrated increased auditory cortical activation in response to sound in our study. Specifically, medial Heschl’s gyrus (mHG) exhibited hyperactivity in response to TF-matched stimuli, and posterior superior temporal cortex (pSTC) was hyperactive across all stimulus frequencies tested.
Most theories regarding tinnitus pathophysiology involve dysfunction of the central auditory system (Eggermont and Roberts, 2004; Jastreboff, 1990; Møller, 2003). However, precise characterization of this process has been complicated by several factors. Potential sites of tinnitus generation are likely to include parts of the auditory pathway that are thought to process relatively simple (i.e., tinnitus-like) stimuli. Thus in our study, sound-evoked hyperactivity in mHG is a likely candidate, given that it typically coincides with primary auditory cortex (Rademacher et al., 2001). However, hyperactivity or dysfunction in one auditory region may merely be a consequence of a tinnitus signal generated elsewhere in the auditory pathway. Indeed, although tinnitus-related dysfunction has been previously identified in primary auditory cortex (Sun et al., 2009), other auditory regions have been implicated as well (Eggermont and Roberts, 2004; Melcher et al., 2000). Moreover, the location and nature of dysfunction that ultimately generates the chronic tinnitus percept may differ from the site and nature of initial damage, which itself may vary across patients (Henry et al, 2005). Therefore, research concentrating on the exact mechanisms that generate the tinnitus signal within the auditory pathways, whether an increase in baseline activity (Eggermont and Roberts, 2004), reorganization of frequency maps (Eggermont and Komiya, 2000; Irvine et al., 2003; Mühlnickel et al., 1998; Rajan et al., 1993; Weisz et al., 2005; Wienbruch et al., 2006), or some other mechanism, is needed. This is of particular importance given that, although studying stimulus-evoked neural activity is informative, it may not be equivalent to measuring activity corresponding to the tinnitus itself, since sound can have variable effects on patients’ tinnitus sensations (Tyler et al., 2008). For these purposes, studying individuals with intermittent tinnitus, or using imaging techniques that are able to measure metabolic activity directly (e.g., PET), may be particularly useful.
Several human imaging studies of tinnitus have reported elevated activity in pSTC in association with the tinnitus sensation itself, when tinnitus loudness was modulated either through administration of lidocaine (Reyes et al., 2002) or by facial movements (a relatively rare tinnitus subtype; Giraud et al., 1999; Lockwood et al., 1998). Though its exact role is debated, posterior auditory cortex is thought to subserve relatively complex auditory functions (Griffiths and Warren, 2002; Rauschecker and Scott, 2009), making it an unlikely first site for the generation of tinnitus sensations. Instead, pSTC hyperactivity could reflect the patients’ need to separate the tinnitus signal from the remainder of the acoustic environment. This would be consistent with evidence indicating that posterior auditory cortex is involved in the segregation of multiple auditory signals (i.e., the “cocktail party” problem; Alain et al., 2005; Wilson et al., 2007; Wong et al., 2008). For patients in our study, successful task performance depended upon their ability to separate the tinnitus sensation from auditory stimulation; this was not the case for control participants, who did not experience tinnitus. In fact, one could argue that the separation of multiple acoustic signals is a constant concern for tinnitus patients, and therefore is relevant even for those studies not involving concurrent auditory tasks or stimuli (Giraud et al., 1999; Lockwood et al., 1998; Plewnia et al., 2007; Reyes et al., 2002).

Technical considerations: hearing loss and age

Hearing loss and age did not affect any tinnitus-related neural markers we identified in this study. However, both hearing loss and age have been important topics in the field of tinnitus research. The prevalence of tinnitus increases with age, presumably due to increased incidences of hearing loss (Heller 2003; Eggermont and Roberts 2004). Hearing loss can be interpreted as a correlate of peripheral or central auditory system damage and/or dysfunction, the latter of which is a critical component of all current theories of tinnitus pathophysiology. However, audiometry of even an extended range of frequencies (i.e., > 8 kHz) may not capture all types of auditory system dysfunction (e.g., Weisz et al., 2006). Certainly, controlling for the possible influence of age and audiometrically measurable hearing loss is critical to tinnitus research, as we have attempted to do in our study through careful examination of single subject data and covariate analyses. However, restriction of participant samples along these dimensions is not a preferable solution to this problem. It is likely to be those neural markers that are shared across patients of different ages and hearing profiles that are most indicative of tinnitus pathophysiology, and therefore may be most likely to lead to effective treatments.

Conclusions: Limbic-auditory interactions in tinnitus

In our opinion, the key to understanding tinnitus pathophysiology lies in understanding how the auditory and limbic systems interact. 

The present study reports, for the first time, functional differences in the NAc of patients with chronic tinnitus. Furthermore, this hyperactivity in NAc correlates with the magnitude of structural changes in the vmPFC in these same patients. 

We conclude, therefore, that a dysregulation of limbic and auditory networks may be at the heart of chronic tinnitus.
 A complete understanding and ultimate cure of tinnitus may depend on a detailed understanding of the nature and basis of this dysregulation. 

Given the paucity of effective treatments for tinnitus, this field of research is in need of new and testable ideas, and the model we propose will certainly benefit and evolve from future research. 

For example, although we report moderate correlations between functional activity in primary auditory cortex and limbic regions in tinnitus patients, additional studies are needed to directly assess the nature of connectivity between these and other limbic and auditory regions. 

We have proposed topographic inhibitory influence of the thalamic reticular nucleus (TRN) on auditory thalamic (i.e., MGN) transmission as a candidate noise-cancellation site in this network (Mühlau et al., 2006; Rauschecker et al., 2010); however, further research is needed to test the site(s) of limbic-auditory interaction relevant for tinnitus, particularly in animal models of tinnitus.

Limbic corticostriatal structures (i.e., vmPFC and NAc) have also been linked to disordered appraisal of hedonic state in drug addiction (Ahmed and Koob, 1998) and emotional state in mood disorders (Mayberg, 1997). 

Both these conditions are associated with structural abnormalities in vmPFC (Drevets et al., 1997; Koenigs and Grafman, 2009; Tanabe et al., 2009) similar to the ones we report in individuals with chronic tinnitus.

Adjacent mPFC and cingulate structures, along with other limbic regions, have also been implicated in chronic pain (DaSilva et al., 2008; Geha et al., 2008; Kuchinad et al., 2007), which too may involve the inability to suppress unwanted sensory signals. 

Converging evidence regarding common mechanisms shared between these and similar disorders will further our understanding of the limbic system and its influence on perception. 

Tinnitus, as a relatively circumscribed condition, may facilitate better understanding of limbic dysregulation in many of these disorders.

Methods

Participants

Twenty-two volunteers (11 tinnitus patients, 6 female; 11 controls, 7 female) were recruited from the Georgetown University Medical Center community and gave informed written consent to participate in this study. Tinnitus patients ranged widely in age (20–64 yrs; SD = 16.0 yrs) and were on average 44.4 years old; the mean age of control participants was 23.0 years (SD = 3.3, Table 1). Participants reported no history of neurological disorders, though one tinnitus patient reported a diagnosis of clinical depression at the time of the study, for which he was taking antidepressants. Data collected from this participant did not differ appreciably from that of other patients; this participant’s data have been noted when possible in Tables and Figures. No other participants reported a history of mood disorders.
Patients reported having chronic tinnitus, which we defined as being present either constantly or intermittently for at least 6 months (mean = 9.7 years, SD = 17.6 years). Self-reported severity of tinnitus impact was measured on a scale roughly comparable to the Tinnitus Handicap Inventory (THI) (Newman et al., 1996). Its outcome varied across patients, but was generally mild-to-moderate (Suppl. Table 2). Patients reported no history of severe hyperacusis or phonophobia, and in a short survey reported limited or no sensitivity to noise (Suppl. Table 2). Neither tinnitus severity nor noise sensitivity scores correlated with the magnitude of neural tinnitus-markers we report (data not shown), and are therefore not discussed here.

Audiological examination

All participants underwent audiological testing to determine hearing levels. Pure tones ranging from 250 Hz to 12 kHz were presented to each ear until the threshold of detection was reached. Two control participants were tested at a more conventional range of frequencies (250 Hz to 8 kHz in octave steps). Using a relatively strict classification scheme, all but three participants (two controls and one tinnitus patient) exhibited some degree of hearing loss at one or more of the tested frequencies (Suppl. Figure 1). Eleven participants (4 tinnitus patients) exhibited a mild or moderate hearing loss at one or more frequencies (20–40 dB or 40–60 dB above threshold, respectively), and eight participants (6 tinnitus patients) demonstrated severe loss in at least one tested frequency (60–90 dB above threshold). No participants showed profound hearing loss at any frequency (> 90 dB above threshold).
Tinnitus patients underwent additional audiological testing to find the best match to the perceived frequency of their tinnitus. Patients initially identified the pure tone from the audiological examination that best matched the center frequency of their tinnitus sensation. Then, subsequent pure tones were presented in neighboring frequencies until a match was identified. All patients reported having a tinnitus sensation with a clearly definable pitch. Tinnitus frequencies ranged from 150 Hz to 12 kHz (Table 1), but were generally high (mean = 6,083 Hz, SD = 4,100 Hz).

Stimulus construction and presentation

Stimuli consisted of band-passed white noise (BPN) bursts with 0.167 octave bandwidth, and were presented in trains at 3 Hz for 6 s per trial. BPN center frequencies were dependent on the best match of the tinnitus frequency of each patient; they were either matched to the tinnitus frequency, or were 0.5, 1, or 2 octaves above or below the tinnitus frequency. To ensure that stimuli remained within normal hearing range (i.e., below 20 kHz, Suppl Table 1), center frequencies were adjusted in some cases to accommodate instances of high-frequency tinnitus sensations. For each tinnitus patient, a “stimulus-matched” control participant completed the experiment with the same range of stimulus frequencies.
During scans, stimuli were presented via in-ear electrostatic headphones (Stax), constructed to have a relatively flat frequency response up to 20 kHz (±4 dB). Stimuli were first adjusted to a comfortable volume determined by the subject in the scanner environment (~60–65 dB SPL), with attenuation of ambient noise provided by ear defenders (~26 dB SPL reduction, Bilsom). Then, stimulus level was adjusted in a stimulus-specific manner to reflect each participant’s detection threshold at each frequency in the scanner. These adjustments were not made for two tinnitus patients and their stimulus-matched controls.
Participants were asked to perform an “oddball” task during the fMRI experiment. On 8% of trials, BPN stimulus trains were interrupted by a short period of silence. On these target trials, participants were instructed to respond via button press. On nontarget trials, participants were not to make any response. Data associated with less than 80% accuracy on this task were excluded from further analysis. Eighteen participants (9 patients) completed this task; the remaining four (2 patients) were asked to listen attentively to intact BPN stimulus trains and make no response.

Image acquisition and processing

Images were acquired using a 3.0 Tesla Siemens Trio scanner. Two sets of functional echo-planar images (EPI) were acquired using a sparse-sampling paradigm: repetition time (TR) = 10 s, TR delay = 7.72 ms, echo time (TE) = 36 ms, flip angle = 90°, 25 axial slices, 1.5 × 1.5 × 1.9 mm3 resolution. A high-resolution anatomical scan (MPRAGE) was also performed for each subject: TR = 2,300 ms, TE = 2.94 ms, inversion time (TI) = 900 ms, flip angle = 9°, 160 sagittal slices, matrix size 256 × 256 mm2, 1 × 1 × 1 mm3 resolution. Data for four participants (2 patients) were acquired using nearly identical sequences with the following differences: EPI, TR = 12 s, TR delay = 9.72 ms; MPRAGE, TR = 1600 ms, TE = 4.38 ms, TI = 640 ms, flip angle 15°. The field of view of functional EPI images was restricted to auditory cortex, subcortical structures superior to the midbrain (i.e., including MGN but not inferior colliculi), and ventral prefrontal cortex. A standard field of view encompassing the entire brain was used for anatomical images.
Functional imaging analyses were completed using BrainVoyager QX (Brain Innovation, Inc). Functional images from each run were corrected for motion in six directions, relieved of linear trend, high-pass filtered at 3 Hz, and spatially smoothed using a 6-mm full-width-at-half-maximum (FWHM) Gaussian filter. Data were then coregistered with anatomical images, and interpolated into Talairach space (Talairach and Tournoux, 1988) at 3 × 3 × 3 mm3 resolution.
Voxel-based morphometry (VBM) analyses were completed using SPM8 (Wellcome Trust Centre for Neuroimaging). Anatomical images were corrected for intensity bias, spatially normalized, and segmented into white matter, grey matter, and cerebrospinal fluid using tissue probability maps (International Consortium for Brain Mapping). Grey and white matter images were then modulated to reflect the degree of local deformation applied during spatial normalization, and smoothed using a 12-mm FWHM Gaussian filter. All images were thresholded at 0.20 probability of tissue classification. This yielded four types of anatomical images for use in subsequent VBM analyses: unmodulated grey, unmodulated white, modulated grey, and modulated white matter images. Umodulated images are thought to reflect the concentration (or “density”) of a tissue class relative to other tissues, while data from modulated images are argued to reflect the amount (or “volume”) of a particular tissue class in a given anatomical area (Ashburner and Friston, 2000).
Interpretation of voxel-based morphometry (VBM) results is not always straightforward. Ashburner and Friston (2000) explain that unmodulated, segmented images (i.e., images not adjusted to reflect the degree of warping during spatial normalization) reflect the concentration of a tissue type in a given area relative to other tissue types. This is often referred to as tissue “density”. Thus, values along tissue borders are complementary as they are blurred during smoothing, which may partially explain, e.g., corresponding decreases in GM concentration and increases in WM concentration within a single area. Note also that VBM concentrations (unmodulated values) have not been directly linked to cellular make-up or density thus far. VBM values adjusted for the degree of deformation applied during spatial normalization (i.e., modulated values) reflect the total amount of a tissue type in a given region (Ashburner and Friston, 2000). Although these modulated values are often interpreted as a proxy for “volume,” direct measurements (e.g., of cortical thickness) would be necessary to confirm volumetric differences in a given region.

Statistical analyses

Functional images

Group analyses using the general linear model (GLM) were executed in single voxels and in regions of interest (ROIs), in order to assess the relationship between fMRI signal and our experimental manipulations (i.e., regressors; Friston et al., 1995) using BrainVoyager. Trials were binned based on their relationship to the tinnitus frequency (TF) into trials in which: 1) BPN center frequency (BPNCF) was more than 0.5 octaves below TF, 2) BPNCF was less than or equal to 0.5 octaves below TF, 3) BPNCF matched TF, 4) BPNCF was less than or equal to 0.5 octaves above TF, and 5) BPNCF was more than 0.5 octaves above TF. These five stimulus conditions were entered as GLM regressors, along with “confound” regressors corresponding to task oddball trials and subject identity (to reduce the influence of inter-subject variability). Single-subject beta maps were generated for each of five stimulus conditions, which were then used to assess between-group differences in function using Analyses of Covariance (ANCOVAs). Participant group (i.e., tinnitus patients vs. controls) and mean hearing loss (mHL) were entered as a between-subjects factor and covariate, respectively. Single-voxel thresholds were chosen (p < 0.001); maps were then corrected for cluster volume at p(corr) < 0.05 using Montecarlo simulations (a means of estimating the rate of false positive voxels; Forman et al., 1995). Single-voxel thresholds were reduced to p(uncorr) < 0.01, k > 108 mm3 in masked analyses (below).

Anatomical images

Single-voxel GLM analyses assessed anatomical differences between tinnitus patients and controls, with compensation for unequal variance between groups in SPM8. T-tests were performed across groups, and both age and total grey or white matter volume were entered as confound covariates. A single-voxel (i.e., voxel-wise) threshold was chosen of t > 4.65, p < 0.0001; cluster volume was greater than 80 mm3. Single-voxel thresholds were reduced to p < 0.01 in masked analyses. All single-voxel VBM analyses were performed in the same resolution as the tissue probability maps used for segmentation (2 × 2 × 2 mm3).

Mask and ROI creation

A mask of the auditory system was created for both functional and anatomical analyses. Auditory cortex was defined by selecting those functional voxels in superior temporal cortex that survived a sounds > silence contrast with a single-voxel threshold of t > 2.58, p(uncorr) < 0.01, k > 4 (group data). The MGN were defined using the WFU Pick Atlas (Lancaster et al., 2000; Maldjian et al., 2003), dilated by 1 mm, and then flipped to create a symmetrical mask in both hemispheres. Additional masks were created using significant clusters from both functional and anatomical analyses. Masks were transferred between programs via image files (ANALYZE format), which were then adjusted to the appropriate format in BrainVoyager or SPM. Coordinate conversions between Talairach and MNI spaces were done using a well-accepted nonlinear transform (http://imaging.mrc-cbu.cam.ac.uk/imaging/MniTalairach).

Correlation analyses

Pairwise correlations between mean fMRI signal or VBM values were performed for ROIs exhibiting significant between-groups differences using the statistical tests described above. Cook’s d tests were used to assess the influence of potential outliers on the resulting correlation statistics. Data points from a single participant, Patient #7, had Cook’s d values close to 1.0 (a commonly used benchmark for identifying potential outliers) for 4 out of 6 pairwise tests (Suppl. Table 3). Therefore, we computed correlations both with and without this subject included. Excluding this potential outlier significantly affected only one pairwise correlation (Figure 4C), and strengthened other correlations already apparent when including this outlier (Figure 4A,B).

Supplementary Material

Acknowledgments

We wish to thank Jeremy Purcell, Kenta Takagaki, and Anne Fieger for their technical assistance. This work was funded by the National Institutes of Health (Grants RC1-DC010720 to J.P.R. and F31-DC008921 to A.M.L.), Skirball Foundation, Tinnitus Research Initiative, and Tinnitus Research Consortium.

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 FUENTE: 
Neuron. Author manuscript; available in PMC 2012 January 13.
Published in final edited form as:
PMCID: PMC3092532
NIHMSID: NIHMS270452
  •  

miércoles, 27 de junio de 2012

HIPERTENSIÓN ARTERIAL Y ACUFENOS

HIPERTENSIÓN ARTERIAL
 
La hipertensión arterial o presión alta es un síndrome donde los síntomas más habituales son dolor de cabeza, mareo, zumbidos de oídos, sensación de falta de aire, dolor en el pecho.
1 2 3 4 5

Los signos son, por supuesto, la elevación de la presión arterial y ocasionalmente el paciente acude al médico por una pequeña hemorragia en un ojo. 

El síndrome hipertensivo se presenta aproximadamente en un 30 por ciento de la población enferma; la mayoría de los hipertensos no tiene manifestaciones clínicas, por ello se ha llamado el enemigo silencioso.
El diagnóstico es relativamente fácil: midiendo la presión arterial. La toma de presión es un procedimiento sencillo pero a menudo no se realiza correctamente.

En La Laguna padecen hipertensión arterial el 40 por ciento de los adultos. Este fenómeno se incrementa con la edad. Aunque cada vez se presenta a edades más tempranas.

En la mayoría de los casos se desconoce la causa, pero se han demostrado factores renales y hormonales relacionados con componentes hereditarios. 

Otros, dependen del estilo de vida del paciente: sobrepeso, falta de ejercicio, exceso en el consumo de sal, ingesta de cafeína y alcohol, estrés cotidiano, uso de ciertos medicamentos y hasta situaciones poco mencionadas como el clima (el frío es un detonante importante), infecciones urinarias e incluso el viajar a lugares situados muy elevado sobre el nivel del mar.


Es importante destacar que se ha descubierto una estrecha relación entre la presión alta y la diabetes, al grado que para muchos investigadores pudiera tratarse de la misma enfermedad, debido a la asociación habitual de estas dos enfermedades. 

También porque algunos medicamentos para tratar la hipertensión protegen al riñón y al ojo del daño que produce la diabetes.

La primera causa de descontrol de la presión en hipertensos es el abandono del tratamiento, por lo que hay que insistir en el uso continuo de los medicamentos, considerando que la presión alta no se cura, sólo se controla. 

Resultando incorrecto que algunos médicos suspendan el tratamiento en pacientes controlados.


El tratamiento actual se basa en fármacos más seguros y efectivos, se toman una sola vez al día y deberán administrarse de por vida, salvo suspensión temporal cuando el paciente se hipotensa. 

Es importante resaltar que es muy clara la diferencia en el uso de medicamentos genéricos y originales. Idealmente y para beneficio del paciente sólo se deberían de utilizar los originales.

En casos de crisis hipertensiva es usual que se utilicen inadecuadamente medicamentos tanto por vía intravenosa como debajo de la lengua, éstos no fueron diseñados para ser aplicados en esa forma y pueden arriesgar la salud y la vida del paciente.


Fuente: Facultad de Medicina y Hospitales Universitario de Torreón, U.A. de C.

Tinnitus tratado con Lyrica y Xeristar.






 Asunto: Tinnitus tratado con Lyrica y Xeristar.
NotaPublicado: 09-06-12 21:03 

Abro este hilo porque no he visto ningun post sobre estos medicamentos para tratar el tinnitus.
Comento el caso, la persona que sufre los ruidos no soy yo, sino mi madre que es mayor y soy yo el que se pelea con los médicos para buscar soluciones principalmente con los otorrinos (aun no he encontrado uno bueno...).

Mi madre sufre de neuralgia del trigémino, y está operada 2 veces de esto con radiocirugía (la neuralgia no desaparece, siempre sigue degenerando pero el nervio esta debilitado y no duele) por lo que creo aunque no es seguro que el tinnitus que sufre es motivo de dicha neuralgia. No ha sufrido ningun trauma auditivo ni sobreexposion a ruidos, lo unico que puede haber motivado la aparición del ruido es un tratamiento excesivo de antibióticos e ibuprofeno (5 semanas) por motivo de una infección de muela que hubo que extraerle (no notaba dolor por parestesia del lado dcho de la cara por las operaciones del trigemino).

Tras muchas vueltas por los otorrinos de Valencia (Casa de la Salud) nos terminaron diciendo que eso no tenia solucion y que fueramos a un psicologo porque era lo unico que servia para algo (mi madre no tiene un ruidito bajo, sino un ruido pulsatil alto que se asemeja a una moto o harley acelerando y q no para...). Tras darle la paliza mil veces y para pasarle el marron a otro no mandó al neurocirujano (el que trataba a mi madre, gran persona) que viendo no poder tratar de la mejor forma a mi madre pasó el caso a otro colega neurólogo especializado en tinnitus (mi primera noticia que habia neurologos con dicha especialidad).

Pues bien le ha recetado Lyrica 75mg y Xeristar 30mg 2 veces al dia desayuno y cena la primera semana para aumentar la segunda semana a 150mg-60mg las mismas tomas.
Cual es mi sorpresa al habernos dicho que los efectos tardarian puede que hasta 2 semanas que al 3 dia de estar tomando la medicacion le bajan los ruidos a un nivel aceptable, ahora la mujer vive y no se vuelve loca. Lo unico que ocurre es que le han provocado un sueño e inestabilidad que no es normal, hemos tenido que reducir las tomas a 1 sola al dia por la noche a esperas de lo que me diga el neurologo el lunes.
Seguiré informando de la evolución a fin de que le pueda servir a alguien como me han servido a mi todos los posts de los compañeros.
fuente:  http://www.acufenos.org/~foro/viewtopic.php?f=2&t=2012

Aplicaciones App Brain/para android: Tinnitus Retraining Therapy- Programa Android




Tinnitus Retraining Therapy Tinnitus Retraining Therapy

Screenshot of Tinnitus Retraining TherapyScreenshot of Tinnitus Retraining Therapy


As you may know, tinnitus (ringing in ears) will vary depending on the condition of the day.
This program is no cure for tinnitus is not one that is intended to alleviate.
a variety of drugs or other causes of tinnitus, and surgical treatment is required, too, so
Their tinnitus characteristics not fit with this program if you feel immediately stop using it.
<font color=blue>If the fear of using only find your tinnitus frequency.</font>

# Preparation

*. A quiet place and the environment as possible, in a quiet zone is recommended that you use the program.
*. Please use headphones. (Headphones not wearing any inconvenience to the people around are.)
(Be a good idea to use bone conduction earphones.)


# Basically you need to know that

<font color=red>Events occurring while using your own risk.
Do not use never in danger.</font>
Tinnitus may sound is the only one ear.
<font color=red>(It generally causes tinnitus in only one ear.)</font>
Frequency is difficult to find.
Please continue the test and find out.
Loudness varies on a daily basis.
Of course, the hospital is the best way.
But is expensive and difficult to treat(finding the frequency)
(The results of my search, $1,850 to $3,000 is required.)
<font color=red>I've did it. So I've created.</font>
Know the frequency of pre-hospital you go to their help.

The first five minutes of stimulation by focusing sound to hear.
<font color=red>Volumes as small as possible, be heard</font>
At least two weeks to hear two weeks rest
At least twice per day, per 30 minutes
Please follow the advice of your doctor
For safety, Auto shut down application after 30 minutes
For safety, Constant over the volume does not increase.
<font color=orange>
My settings :
Left 5520.Hz Volumue 8
Right Freq 5520hz Volume 52
Media Volume 3 (up from 0 to 3 times button presses)
</font>

# 1 Tinnitus Retraining Therapy

1. Tinnitus on the left to find the same frequency is set to 0, Right Volume.

http://www.oknow.kr/tinnitus/1.jpg
2. Left frequency using the buttons to fit as much as possible will play a sound, such as tinnitus.

http://www.oknow.kr/tinnitus/2.jpg
3. Volumes as small as possible, be heard . And memo it.
http://www.oknow.kr/tinnitus/3.jpg

<h2><font color=orange>Media volume buttons and the volume of the program must be used properly.</font></h2>

4. Frequency of the tinnitus, such as the right to find the Left Volume and Right Volume is set to 0, Left Volume is set to 50.
http://www.oknow.kr/tinnitus/4.jpg

5. Right frequency using the buttons to fit as much as possible will play a sound, such as tinnitus.
6. When you hear the sound, such as tinnitus and hear feel small, but within the range of sounds possible further reduces Right Volume.

7 Earlier memo (remember) that is set to Left Volume.
Eight. Repeating the previous process so that the frequency of the tinnitus sound less height and more appropriately to adjust the size of the sound.

<font color=red>Tip. 70-80% of people from 5500Hz to 5800Hz is said to have between the tinnitus.</font>

If you have a sense good - in 10 minutes.
It should take about 30 minutes usually.

# 2 "White noise" can also help you with.

High-quality white noise can be downloaded from the following site.

http://cantonbecker.com/music/white-noise-sleep-sounds/mp3s.php


*. Finally
<font color=blue>With this program on your tinnitus may tell to others suffering.
But beware. To others, hate or provoke a headache or nausea,
Animals may be threatened.</font>
It will not heal well with expensive medical treatment because of tinnitus is often hesitant.
If you get a positive result, more and more aggressively treated tinnitus.

<b><font color=green>I hope your pain is reduced.</font></b>

Recent changes:
UPDATED

1.02
Add manual page link button.

1.03
Start [Media Volume] is set to (MAX/2).
Start Left/Right Volume is set to 0.

1.04
For safety, Max volume is set to 'Media volume Max / 2'

NOTICE (Be learned)
Each headphone output frequency range of each is different.
(And smartphone's chipset)
So the max frequency range was limited. (7500 Hz)
(This means hearing level test function deleted)

Acúfenos en las artes

Museo de la Memoria presenta ‘Proyecto ADN’ de artista Máximo Corvalán-Pincheira

Imagen:Proyecto ADNImagen: Proyecto ADN
Esculturas lumínicas que parecen insectos o moléculas brillando en la penumbra, el sonido del agua y el zumbido invasivo de la electricidad; la intervención de Máximo Corvalán-Pincheira en la Galería de la Memoria es una propuesta experimental, que invita a reflexionar sobre los adelantos en los análisis del ADN, la historia política chilena y ciertas situaciones de desastre.

‘Proyecto ADN’ está compuesto por 33 piezas escultóricas armadas con tubos fluorescentes, cables, huesos y tuberías, que brillan suspendidas sobre piletas de agua en la oscuridad.

El sonido: los zumbidos eléctricos de los aparatos que de pronto lucen como un enjambre de insectos luminosos o moléculas de neón retorciéndose en un paisaje acuoso.

La obra del artista reflexiona –entre otros temas– sobre la importancia del ADN y la historia política chilena. El proyecto total se centra en la instalación hecha especialmente para la Galería de la Memoria, espacio abierto entre el Metro Quinta Normal y el Museo de la Memoria; y continúa en el Jardín Acuático, a la salida sur poniente de la institución, con un trabajo también objetual y lumínico que juega con la idea de una fuente de agua.

El interés de Corvalán-Picheira por el ADN surgió a partir de los últimos adelantos en los procesos de identificación de cuerpos, que se aplican incluso en fragmentos diminutos.

El análisis nuclear del ADN ha sido clave tras la caída de las Torres Gemelas en Nueva York (2001), en el accidente del avión Casa 212 en Juan Fernández y, también en Chile, en la identificación de restos de detenidos desaparecidos.

“El ADN se ha convertido en un concepto icónico los últimos años que ha sobrepasado las áreas de la ciencia para adentrarse en otros campos como metáfora; que puede llegar a reeditar la historia, redefiniendo hitos y momentos del pasado con mayor certeza, llegando a poner en jaque los documentos que la narran, afectados por juicios, apreciaciones culturales y subjetivas.

El ADN conecta además con un hecho brutal en el país, que se relaciona a mi historia personal: la entrega a los familiares de cuerpos de Detenidos Desaparecidos que no correspondían. Ahora se han podido establecer identidades con casi total certeza”, explica.

Máximo Corvalán – Pincheira es Licenciado en Artes de la Universidad ARCIS y Magíster en Artes Visuales de la Universidad de Chile. Ha participado en las bienales de Shangai (2004), del Museo Nacional de Bellas Artes (2006) y de La Habana (2009).

Entre sus exposiciones individuales, destacan ‘Proyecto EWE-03′ (2003, Museo de Arte Contemporáneo), ‘Free Trade Ensambladura’ (2005, Galería Animal – Main Gallery, California, Estados Unidos); ‘Bestia segura’ (2005, Centro Cultural Recoleta, Buenos Aires); ‘DNI’ (2009, Wewerka Pavillon, Münster, Alemania) y ‘Simulacro -1′ (2011, Galería D21).

‘Proyecto ADN’ será expuesto hasta el 19 de agosto de martes a domingo, de 10:00 a 18:00 horas en la Galería de la Memoria.
Fuente: Url Corta: http://rbb.cl/30g1

Los jóvenes se están quedando sordos


Los jóvenes se están quedando sordos
Exponerse a 80 decibelios causa daños irreparables en el oído interno. Un nivel aceptable de ruido se encuentra entre los 35 y 45 decibelios… ¡y un reproductor de audio alcanza hasta los 105 decibelios! Jovencitos… a bajarle al tono.
Diego Peña escucha el 60 por ciento de lo que le dicen. Generalmente tiene que pedir que le repitan todo y desde hace un tiempo, escucha la emisora con más volumen de lo normal.

Él no está sordo, pero el deterioro que presenta en su escucha es tan importante, que varias de sus rutinas han tenido que cambiar. Ahora habla más duro, prefiere conversar personalmente (porque por celular debe hacerlo a gritos) y en los espacios de mucho ruido se desespera, pues generalmente no puede entender a su interlocutor más cercano.

Diego tiene 18 años y terminó acostumbrándose  a que todo “debe sonar más duro” para que pueda oír con claridad.

Rumbas ruidosas y más
Hace ya tiempo, los especialistas vienen alertando sobre el hecho de que los jóvenes están enfrentando altas probabilidades de perder la audición de manera temprana. Pero ellos, literalmente, “se hacen los sordos” ante esa avalancha de sugerencias y no toman precauciones frente a su irresponsable manera de utilizar los oídos.

Nuestras generaciones juveniles viven en un mundo en el que la música, el televisor, el teatro en casa, las rumbas, los juegos de video y hasta las charlas rutinarias están por encima de los decibelios corrientes.

Esta carga de ruido se debe sumar a la congestión de las grandes ciudades y a la contaminación auditiva a la que todas las personas estamos expuestas.

Para completar, ellos tampoco van al médico con frecuencia, no prestan atención a infecciones sencillas y, generalmente, no chequean sus oídos para detectar problemas tempranos.

Y todo esto termina convirtiéndose en un caldo de cultivo que causa  enfermedades irreversibles en el oído, las cuales, tarde o temprano, terminan en una sordera parcial y prematura.

“Más que sordos, están presentando con mayor frecuencia pérdida en su audición a razón del uso inadecuado del reproductor de sonido que supere los 80 decibelios. Exponer el oído a esta intensidad causa daños irreparables en el oído interno”, explica el doctor José Antonio Rivas, médico otólogo y director de la Clínica Rivas, especializada en oído, nariz y garganta.

Un nivel aceptable de ruido se encuentra entre los 35 y 45 decibelios. El tráfico alcanza los 100 decibelios, los vehículos pesados generan un máximo de 125 decibelios, un taladro 125 decibelios y un reproductor de audio alcanza hasta los 105 decibelios.

Es decir, si se suman estas cifras y se multiplica con la frecuencia, se puede deducir que todos los días los jóvenes están expuestos a daños paulatinos que en el futuro serán irreversibles.

El doctor Rivas también cita otras prácticas peligrosas para el oído –que no tocan a la mayoría de nuestras jóvenes-: trabajar con maquinaria o equipo ruidosos o exponerse a ruidos muy intensos, como los disparos de arma de fuego o las explosiones. Estas pueden lesionar el oído interno y menguar la capacidad auditiva.

¿Aló?, ¿aló?
Hay un enemigo silencioso que también ha acelerado los problemas con el oído: el celular. Un estudio realizado por el Instituto de Salud Ambiental de la Universidad de Viena, Austria, demostró que usar teléfonos móviles más de 10 minutos al día aumenta en un 71 por ciento la probabilidad de padecer tinnitus.

Esta enfermedad es conocida por generar  un zumbido en el oído que causa molestias y disminuye la capacidad de escuchar. También ha sido asociada con factores hereditarios, con infecciones y con el uso inadecuad de determinados medicamentos. Ese sonido puede ser intenso, suave, continuo o intermitente; en algunos casos es casi imperceptible y en otros, realmente intolerable.

“Es una lesión de las células microscópicas que tienen forma de vellos y que se encuentran en el oído interno. Las ondas sonoras estimulan a la membrana timpánica y hacen que estas células se muevan, lo cual activa los impulsos nerviosos que el cerebro interpreta como sonido”, explica el doctor Rivas.
Es decir, mientras que las células pilosas normales solo responden a las ondas sonoras, las células dañadas envían impulsos nerviosos al azar; el cerebro interpreta esos mensajes como sonido, replicando de manera desordenada resonancias que se conocen como tinnitus.

Los investigadores aseguran en el estudio, que cuando las personas utilizan el celular, los conductos auditivos absorben de forma directa una gran cantidad de las ondas electromagnéticas que emiten los teléfonos.

“La mayoría de los casos de tinnitus se producen solo en uno de los oídos, y para el 40 por ciento de los pacientes se puede convertir en una patología angustiosa y desesperante”, asegura el estudio, publicado en la revista médica Occupational & Environmental Medicin.

En general, cuando las personas refieren este síntoma, las células nerviosas auditivas especializadas ya están dañadas en forma permanente.  Pero al menos se puede controlar el zumbido dejando de hacer algunas cosas que lo causan o lo empeoran.

Su tratamiento no es único, se tienen medicamentos, re-entrenamiento del tinnitus (TRT), generadores de sonidos, consejería audiológica y sicológica, entre otros.

Escuche las alarmas
Detectar falencias en el oído es una tarea sencilla, pero debe realizarse de forma periódica. Aquí, algunas recomendaciones clave que le permitirán determinar cuándo es recomendable solicitar cita médica:

1. Es necesario estar atentos a la disminución paulatina de la audición. Por eso es importante contabilizar cuántas veces tiene que pedirle a alguien que repita lo que dice. También es bueno medir a qué distancia, en volumen normal,  puede escuchar sin problema el  televisor o el radio.

2. En algunas personas se puede presentar la sensación de taponamiento en uno o los dos oídos. Esta es una señal de alerta importante. Ante este síntoma no recurra a remedios caseros, consulte a un especialista.

3. La presencia de pitidos, silbidos o zumbidos en los oídos, junto con dolor de cabeza y sensación de vértigo también son señales delicadas que deben ser revisadas por un médico.

4. Si se padece de alguna infección en los oídos es necesario seguir el tratamiento al pie de la letra, pues el incorrecto seguimiento de estas lesiones puede desencadenar problemas graves y pérdida de la audición.

5. La sordera puede confundirse también con problemas de distracción o concentración. “A través de un examen de audiometría es posible detectar la dificultad, pero a veces hay otros problemas que llamamos neuropatías, en las que los jóvenes, e incluso los adultos, tienen un daño en el nervio auditivo y aunque la audición esté normal o casi normal, no entienden bien cuando se les habla”, explica la audiologa Susana Pastoriza.

6. Escuchar y no entender, también es una señal de alarma.

Oyendo más de lo que se debe
Cuando los sonidos normales se vuelven insoportables, puede sospecharse de hiperacusia, una enfermedad en la que, básicamente, escuchar duele.

No es que estas personas puedan oír mejor que nadie,  sino que tienen disminuida su tolerancia a sonidos específicos y a niveles de sonido que no se suelen considerar altos. Para algunos pacientes, el problema surge con niveles de sonido tan bajos como 25 decibelios.

“Se ha observado a niños alejándose de sonidos específicos, angustiosos para ellos, pero inofensivos para el resto”, explica la doctora Pastoriza.

La falta de compresión ante esta enfermedad genera reacciones equivocadas de la gente, pues se puede malinterpretar como excesiva sensibilidad o histeria.
 Además, esta misma característica hace que, generalmente, no se acuda al médico.
Los expertos recomiendan a quienes sufren una tolerancia reducida a los sonidos, rodearse de sonidos agradables de bajo nivel en todo momento. Es posible utilizar radios con un volumen bajo o incluso un generador de ruido para lograr una estimulación constante que ayuda al cerebro a readaptarse a los sonidos diarios normales.

Y si ya no escucho, ¿qué?
Existen varios tratamientos para la pérdida de la audición, pero todo va dependiendo de la patología que el paciente presente. Hay varios dispositivos que mejoran la calidad de vida de quienes padecen daños irreversibles en el oído.

En la actualidad, los artefactos más utilizados son los audífonos, los implantes Baha y los implantes cocleares, cuyo uso se apoya y complementa con terapias fonoaudiológicas para un mejor aprestamiento de los dispositivos en los pacientes.

El implante Baha es un audífono que se conecta a un implante pequeño, elaborado en titanio, que se coloca mediante una cirugía en el hueso del cráneo, detrás de la oreja. El audífono o procesador de sonido transmite las vibraciones del sonido a través del hueso del cráneo al oído interno, en una integración molecular entre el implante de titanio y el hueso.

Por su parte, el implante coclear es un dispositivo electrónico que se coloca en el oído interno mediante cirugía. Puede ayudar a pacientes con sordera profunda para quienes no les son efectivos los audífonos.

Mediante este implante, los pacientes pueden escuchar sonidos del medio ambiente, entender el lenguaje sin necesidad de leer los labios e incluso utilizar el teléfono.

Pura prevención
La medicina más importante siempre será la prevención. Estas son algunas medidas para tener en cuenta y evitar que la sordera no llegue antes de tiempo:

- La contaminación auditiva es casi imposible de controlar. Pero usted puede tomar medidas frente a este peligroso fenómeno. Aleje su puesto de trabajo de grandes fuentes de ruido, conduzca con la ventana arriba y procure que los espacios para dormir y descansar estén lejos del ruido.

- Es importante educar. La música fuerte es una cuestión cultural. Cuando no se puede evitar, use algún tipo de protector auditivo como tapones o auriculares de protección.

- Si trabaja en lugares con ruido industrial, es mejor combinar los tapones con los auriculares para lograr una mayor protección.

- Una revisión periódica anual con el otorrinolaringólogo o el otólogo puede evitar alteraciones graves en la audición.

- Disminuya paulatinamente el uso del celular, prefiera las conversaciones personales.

- No utilice siempre el mismo oído para escuchar cuando habla por teléfono.
Sordera en los niños.

Los niños también pueden padecer problemas de ese tipo, por lo que es importante estar alerta. Según los especialistas, la sordera es más fácilmente detectable solo a partir de los 2 o 3 años. Señales de alarma.

1. Si el bebé no muestra sobresalto ni se despierta ante cualquier ruido del ambiente.

2. Si el niño hace mucho ruido mientras juega.

3. Si después de los tres meses de nacido, no presta atención cuando se le llama.

4. Si después de un año de edad, tiene problemas de lenguaje.
5.  Cuando en su primer año de vida no balbucea o no contesta cuando se le habla.

6. Si después de los tres años de edad no es capaz de repetir frases.
7. Si es demasiado pasivo.

8. Si pronuncia mal las letras R, S, D, L, J y T.

Fuente:  Vanguardia
http://www.vanguardia.com/vida-y-estilo/revista-nueva/162350-los-jovenes-se-estan-quedando-sordos
Autora: Alejandra Rodríguez Camacho

” Te zumban los oídos después del fin de semana?



A todos los que nos gusta la música, la fiesta, o ambas… nos ha pasado que después de una noche (o dos) de concierto, antro o fiesta terminas con los oídos zumbando, oyendo pillidos, con algo de aturdimiento y a veces hasta dolor.
Cuando estas chavo pues se te hace fácil!
Pero hoy en día esta científicamente comprobado que la exposición por largos periodos de tiempo en clubes puede dañar tu audición, causar tinnitus, un timbre permanente o temporal  en los oídos, y la perdida eventual de audición o incluso sordera. Como verán es algo bastante serio.
La recomendación es tomar descansos, e incluso usar tapones de hule espuma o de cera, aunque los más baratos no ajustan del todo bien. Una compañía en Londres, reconociendo esta oportunidad, está proveyendo un servicio para músicos profesionales y DJs que consiste en hacer tapones para oidos a la medida.
Musicians Hearing Services ofrece además diferentes filtros para modular la intensidad de tal forma que al usarlos puedes escuchar claramente la música al tocar, DJear o trabajar en antros y conciertos.

Creo que me animaré a hacerles la competencia, agregaré el filtro contra reggetón, seguro me vuelvo millonario!
Tomado de la publicación de DJMag

Viajando con sus audífonos

Traveling With Your Hearing Aids

Thanks to advances in technology, most of us can take the comforts of home with us wherever we travel. If you're one of the four million Americans who use hearing aids, a little advanced planning can go a long way in ensuring your devices will perform as well for you on vacation as they do every other day.
1. Airline travel. If you're traveling by air, it's important to know that your hearing devices won't be damaged by any of the scanning devices used by the Transportation Security Administration. That means you don't need to remove your hearing aids to go through the security screening process at the airport.
With a little preparation, traveling with hearing aids can be easy
In fact, the TSA prefers that you wear your hearing aids during this process just in case TSA officials need to communicate with you. You may want to turn the volume down, as some scanners can cause excessive noise in your hearing aids. Remember that alternate methods of screening, such as pat downs, are available upon request if you're concerned about the safety of body scanners.
The TSA also recently launched a special hotline, TSA Cares, to assist passengers with disabilities or medical needs regarding their questions. This call line is designed to help passengers before reaching the airport, and can be reached by dialing 1-855-787-2227. Operators will be able to answer questions regarding security and boarding procedures, in addition to other passenger concerns. 
Also, most hearing assisting devices are approved for in-flight use which means you don't have to turn them off when the flight attendant asks passengers to power off their personal electronic devices (PED). The exception is a FM system, which falls under the same classification as a cell phone and must be switched off  along with other PEDs.
2. By Train. When you travel by rail, let gate attendants know you have a hearing loss so they can make you aware of any gate changes -- just in case you have trouble hearing the public address system in a busy terminal. Also,  make sure to watch carefully as you're walking near the tracks. With all of the noise in a train station, it's important not to rely on hearing alone to know when a train is approaching the station.
3. By Car. If you're driving to your destination, consider purchasing an extra large rearview mirror. This will help you see approaching emergency personnel instead of relying on sound alone. If other passengers are traveling with you, look into having an induction loop installed. This electronic device will allow you to better hear and understand your radio, cell phone and conversation from other passengers.
If you're still concerned with what protocol to follow depending on your mode of travel, don't be afraid to contact the airline or motor system with remaining questions. Also, your hearing aid professional or audiologist can provide you with more tips on what to consider before traveling the open skies, rails or roads. 
Fuente: Healthy Hearing
http://healthyhearing.com/content/articles/Assistance/Awareness/50332-Traveling-with-your-hearing-aids?utm_source=Healthy+Hearing+Newsletter&utm_campaign=a20d3ddf97-HH_Update_June_27_Issue_A_B&utm_medium=email

Del tinnitus y otros sonidos asesinos. Para leerse, verse y oírse.


Álbaro, baterista de El Columpio Asesino, en una cámara anecoica; durante el rodaje del documental 'Oírse'.
Álbaro, baterista de El Columpio Asesino, en una cámara anecoica; durante el rodaje del documental 'Oírse'.

Fue en 2005 que me dañé el oído derecho, durante una tocada de DJ en la Terraza del Centro Cultural de España, en México DF. Haber estado expuesto al monitor de audio – a menos de un metro de distancia – fue algo que me hizo sentir la música intensamente, durante 4 horas, para no volver a escucharla igual, jamás.

El oído es un sentido, al igual que la vista. Y el equivalente a lo que ocurrió entre el sonido constante desde las bocinas y la exposición directa a mi oreja, fue como estar mirando fijamente a un foco de 300 watts, durante 4 horas.

Combinado con un cuadro de Influenza Estacional que me provocó una fuerte infección que se extendió hacia el nervio auditivo y un “tapón” de mucosa infectada en los conductos auditivos, recuerdo aquel invierno del 2005, como una de las peores etapas de mi vida: (sumado con que acababa de separarme de la chica con la que estuve desde la primavera del 2003), tuve que pagar más de $30,000 en otorrinolaringólogos, resonancias magnéticas y medicamentos. Cualquiera de esas cosas se convirtió en una nimiedad, cuando fui descubriendo que el fino zumbido en mi oído derecho permanecía ahí, día con día, a todo momento: al despertar, durante una conversación o mientras estaba en un taller de meditación. Es la locura, tener a una orquesta chirriante tocando 24/7 dentro de tu cabeza: no sólo no puedes escuchar bien cualquier plática, sino que en ocasiones ni siquiera puedes escuchar correctamente tus propios pensamientos.

Las audiometrías indicaban una “cicatriz” sónica (como las manchas de colores que permanecen en la vista, después de ver hacia una luz intensa, pero ¡imaginen que estas manchas prevalecieran durante días y semanas!) Era una marca del daño que me había hecho y que podría sanar levemente, pero el diagnóstico de los doctores, era que tendría que convivir con ese zumbido… toda mi vida: lo explicaban como si los “pelitos” en la cóclea, dentro del oído, se hubieran quedado “caídos” y estuvieran enviando una señal perpetua, como si se hubiera quedado pegado el dedo de un niño al timbre de una casa. Entendí entonces la locura, y tuve imágenes donde quise cortarme la oreja, al estilo Van Gogh, con tal de quitarme ese ruido interno en la cabeza, ése sufrimiento constante que resultaba difícil compartir con los demás. Un zumbido llamado: Tinnitus.

[Chéquense las imágenes que aparecen en Google Images, al buscar la palabra "Tinnitus" y observen las expresiones de dolor y desesperación en la gente: It's Safe For Work].

Afortunadamente, el cerebro es inteligente y tiene una especie de mecanismo anti-spam: cuando éste descubre una señal constante e inútil, la convierte en parte del panorama hasta ignorarla, o enmascararla. He perdido un poco de capacidad auditiva – para nada estoy sordo – pero esto sí funcionó como un warning para cuidar a uno de los sentidos más increíbles con los que hemos sido dotados en esta vida. La angustia la recuerdo bien: ¿cómo una persona dedicada a la comunicación, a la radio y amante de la música, podría perder su más elemental herramienta de trabajo? Desde entonces creo que le bajé un poco al reventón, me alejé de las bocinas, le bajé 3 rayitas al volumen en mis aparatos de sonido y audífonos… y cuando voy a un concierto que identifico como algo que me empieza a hacer daño, me pongo unos tapones de goma (los venden en cualquier farmacia o tienda departamental), o de menos, hago rollitos con servilletas y me los pongo en los oídos, para amortiguar el ruido y los altos decibeles. Me veo como Frankenstein, pero me salvo de afectarme aún más. ¿Cómo identificar cuando los decibeles están subidos de tono? Los especialistas en el oído, dicen que si en un antro tienes que gritar, para hablarle a la persona que está junto a ti, entonces se han sobrepasado los niveles tolerables y el escucha está recibiendo un daño (como la exposición constante de la vista a un foco, como lo ejemplificaba en párrafos anteriores).

Aquí una breve lista de App’s de iPhone, para medir decibeles.

Desde aquel invierno del 2005, caí en cuenta de la importancia de generar una conciencia alrededor de los niveles de ruido y de la contaminación auditiva. Las regulaciones al respecto (en México), están mal difundidas (aquí algo de lo que se ha regulado) y rara vez ejecutadas, a menos que sea para sobornar a los dueños de restaurantes y antros.  Sí me he vuelto conservador, pero… ¿cómo decirle a otra persona que le baje al volumen en sus audífonos sin hacerlos sentir que los estás privando de su libertad de escuchar la música de un modo fuerte y chingón, y sin quedar como un señorcito asustadizo?

La manera más didáctica y con la moraleja más cool, la he encontrado en la ficción It’s All Wrong, Pete Tong (Michael Dowse, 2004), la cual narra la historia de un DJ super-estrella de raves, que en sus excesos, pierde el oído, hasta quedarse sin chamba y en el olvido. Es como el Trainspotting para los que les gusta el “punchis-punchis”.

Es de agradecerse cualquier ejercicio por hacer campaña al respecto. Y con gusto, nos hemos enterado en Panamérika que el documentalista español David Arratibel, se encuentra realizando un trabajo llamado Oírse, del cual incluímos un teaser aquí abajo. El trabajo quedará completo hacia 2013.

OÍRSE [teaser] from filmotive on Vimeo.

[Por cierto, si quieren "sentir" cómo se escucha el zumbido, chéquenlo en el teaser a partir del segundo 0:50 y el 1:21].

El documental trata sobre cuatro distintas personas que viven con Tinnitus en España; entre éstas cuatro se encuentra Álbaro Arizaleta -baterista de El Columpio Asesino – y el propio director, quien también pasa sus días con un “pitido” en los oídos.

Se trata de un documental que pretende no tener fines científicos o educativos (aunque logra totalmente empatizar a la audiencia con la experiencia de vivir de ese modo). Y entre otros aspectos peculiares, algunas secuencias han sido grabadas en una cámara anecoica de la empresa navarra Acústica Arquitectónica: se trata de una habitación (como la que aparece en la foto abajo), que anula todo sonido externo y que está diseñada para absorber el sonido de la habitación, el eco y la reverberación.

[Recuerdo una entrevista que Piers Martin hizo con Aphex Twin para la NME, alrededor de 1995, dentro de una "anechoic chamber" donde se comentaba que, cuando todo sonido externo es suprimido y la atmósfera de la habitación quedaba "muerta", el sonido absoluto era imposible de conseguir: la persona queda a tono para convivir con los usualmente inaudibles burbujeos y gruñidos provenientes de sus propias vísceras. <- Ojalá algún día pueda visitar una cámara anecoica"].

En una conversación de correo entre Claudia Jiménez (editora de Panamérika) con Iñaki Sagastume, de la empresa Filmotive, el productor describe al documental del siguiente modo:

“[Éste] trata sobre el fenómeno conocido como Tinnitus, un “sonido fantasma” que no tiene origen en ningún sonido real y que algunas personas escuchan constantemente en sus cabezas. Este sonido suele ser un pitido o un zumbido de una frecuencia y volumen determinados en cada caso.

Oírse lo dirige David Arratibel, también de Pamplona.

La sinopsis es: “Aquel día un sonido fantasma empezó a sonar en mi cabeza: un pitido y unas cigarras que sólo yo escuchaba, o quizá alguien más lo hiciera. Como la mayoría de las personas, huía del silencio para no escuchar el interior. Porque el silencio es sólo el principio, es la entrada”.

El propósito de la película es el de participar en las vidas de las personas que padecen Tinnitus y el de plantear una serie de reflexiones sobre la forma en que nos relacionamos con el entorno a través del sentido del oído. Somos espectadores de unas vidas unidas por un rasgo en común, donde el silencio no existe y un zumbido suena permanentemente. De aquí surgen las ideas sobre la escucha, la atención, el oído como vínculo con el entorno y como forma de entender el mundo y a nosotros mismos (el mundo sonoro interior y exterior). También se plantea el silencio como concepto que conlleva múltiples interpretaciones y se tratan los aspectos de la cognición referidos al sentido del oído.

Álbaro es uno de los 3 protagonistas del documental que padecen Tinnitus (lo puedes ver en el teaser) y la Banda Sonora Original del documental la va a componer El Columpio Asesino.

He visto el Panamérika Film Club y me ha parecido interesante!

Muchas gracias por vuestro interés!
Saludos desde Bilbao!
Hablamos!
Iñaki Sagastume
Productor

[... cuídense las orejas, muchachos y muchachas...]

Fuente:  http://panamerika.fm/blog/del-tinnitus-y-otros-sonidos-asesinos-para-leerse-y-oirse/

viernes, 1 de junio de 2012

Músicos unidos para la prevención de acúfenos

Gary Numan (en la foto), dice que no cuidó sus oídos y ahora tiene problemas, a tal punto que ya no puede mezclar bien su música.

Debido al conocido zumbido en los oídos llamado acúfenos, músicos reconocidos han pedido a sus seguidores moderen el volumen de la música






El músico de hip hop y rap británico, Plan B, en conjunto con otros artístas, ha pedido a sus seguidores que moderen la forma de escuchar música, pues escucharla en volumen excesivo, puede resultar fatal para nuestros oídos, pues pueden aparecer zumbidos crónicos en él llamados acufenos
Según especialistas, el nievel seguro de ruido para nuestros oídos se encuentra entre los 70 y los 80 decibeles (dB), lo cual es totalemente imposible obtener en un concierto con música en vivo pues su registro de aproximademente 110.
 
Miles de personas alrededor del mundo son afectadas por acúfenos, en especial músicos y quienes se encuentran en el ambiente de la música, pues están expuestos a altísimos decibles. Este problema puede irse agravando si no es solucionado una vez que sea detectado.
 
Algunas declaraciones 
 
"Si uno está escuchando mucha música, produciendo música o tocando en vivo, siempre hay que usar tapones para los oídos", dijo Plan B en el marco de la campaña Loud Music (Música Fuerte, en inglés), de la organización no gubernamental Action On Hearing Loss (Acción sobre la pérdida de audición).
 
"Lamentablemente, cuidar los oídos es algo en lo que no piensas hasta que aparece un problema, tengo diez años con acúfenos y he evitado que empeore porque me he comensado a cuidar". Dijo el vocalista de Coldplay Chris Martin, quien también participa de la iniciativa.
 
"No cuidé de mis oídos y ahora tengo problemas", contó el músico de 54 años Gary Numan. "Es serio, a tal punto que ya no puedo mezclar bien mi música; ha impactado en mi carrera".
 
Más información
 
Además del volumen alto, otra causa de acúfenos es producida por enfermedades (acumulación de cerumen), inflamaciones por infección presión arterial más alta de lo normal, el efecto secundario de ciertos medicamentos o un tumor benigno del nervio auditivo.
 
Puede ser tratada de varias formas, entre ellas la relajación el uso de terapias de sonido para distraer al paciente del zumbido o el timbre del acúfeno, así com también terapias de habituación para alterar los sistemas de respuesta del sonido. (Con información de BBC MUNDO)
Fuente:  http://www.sumedico.com/nota11712.html