PENGAMBILAN DARAH VENA UNTUK HEMATOLOGI

Dalam kegiatan pengumpulan sampel darah dikenal istilah phlebotomy yang berarti proses mengeluarkan darah. Dalam praktek laboratorium klinik, ada 3 macam cara memperoleh darah, yaitu : melalui tusukan vena (venipuncture), tusukan kulit (skinpuncture) dan tusukan arteri atau nadi. Venipuncture adalah cara yang paling umum dilakukan, oleh karena itu istilah phlebotomy sering dikaitkan dengan venipuncture.

Kita akan membahas pengambilan darahh vena

Untuk mendapat sampel darah yang memenuhi syarat uji laboratorium, maka prosedur pengambilan sampel darah harus dilakukan dengan benar, maka perlu diperhatikan:

• Persiapan peralatan/perlengkapan sampling
• Preparasi Spuit !!
• Palpitasi- pengambilan.

1. Mempersiapkan alat-alat yang diperlukan, yaitu :

1. spuit injeksi 3 ml / 5 ml
2. botol penampung darah
3. karet pembendung (torniquet)
4. kapas
5. alkohol 70%
6. plester

 2. Mempersiapkan antikoagulansia, yaitu :

      a. Na-EDTA 10%

      b. Na-citras 3,8% (dimasukkan ke dalam botol penampung darah)

            Persiapan spuit

1. Mengencangkan Jarum 
2. Meng-aspirasi spuit
3. Melepaskan tutup Jarum dengan satu tangan

3.Lokasi yang boleh diambil:

Lokasi yang tidak diperbolehkan diambil darah adalah :

• Lengan pada sisi mastectomy
• Daerah edema
• Hematoma
• Daerah dimana darah sedang ditransfusikan
• Daerah bekas luka
• Daerah dengan cannula, fistula atau cangkokan vascular
• Daerah intra-vena lines Pengambilan darah di daerah ini dapat menyebabkan darah menjadi lebih encer dan dapat meningkatkan atau menurunkan kadar zat tertentu.

Pemilihan letak pengambilan harus sangat diperhatikan dan harus memenuhi syarat yaitu pada lengan yang tidak terluka dan tidakterpasang infus. Jika syarat tersebut tidak terpenuhi maka pengambilan dilakukan pada lengan sebelah dan apabila semua lengan terpasang infus maka penambilan vena dapat dilakukan pada vena kaki(apabila sangat terdesak)

Cara pengambilan darah vena:

  Darah diambil dari  salah satu vena dalam fossa cubiti

  Bersihkan tempat yang akan diambil dengan alkohol 70% dan biarkan sampai kering

  Pasanglah ikatan pembendung pada lengan atas (tidak perlu terlalu erat)  dan mintalah orang itu mengepal dan membuka tangannya berkali-kali agar vena jelas terlihat.

  Tegangkanlah kulit di atas vena dengan jari-jari tangan kiri supaya vena tidak bergerak.

  Tusuklah kulit dengan jarum dan semprit dengan tangan kanan sampai ujung jarum masuk ke dalam lumen vena

  Lepaskan atas renggangkan pembendungan dan perlahan-lahan tarik penghisap semprit sampai jumlah darah yang dikehendaki didapat

  Lepaskan ikatan pembendung jika masih terpasang

  Taruhlah kapas di atas jarum dan cabutlah semprit dan jarum itu

  Mintalah kepada orang yang darahnya diambil supaya tempat tusukan itu ditekan selama beberapa menit dengan kapas.

Pengambilan darah vena sangat bermanfaat bagi setiap pemeriksaan hematologi.

Yang perlu diperhatikan adalah:

  Pemasangan turniket (tali pembendung)

• pemasangan dalam waktu lama dan terlalu keras dapat menyebabkan hemokonsentrasi (peningkatan nilai hematokrit/PCV dan elemen sel), peningkatan kadar substrat (protein total, AST, besi, kolesterol, lipid total)
• melepas turniket sesudah jarum dilepas dapat menyebabkan hematoma

  Jarum dilepaskan sebelum tabung vakum terisi penuh sehingga mengakibatkan masukknya udara ke dalam tabung dan merusak sel darah merah.

  Penusukan

• penusukan yang tidak sekali kena menyebabkan masuknya cairan jaringan sehingga dapat mengaktifkan pembekuan. Di samping itu, penusukan yang berkali-kali juga berpotensi menyebabkan hematoma.
• tutukan jarum yang tidak tepat benar masuk ke dalam vena menyebabkan darah bocor dengan akibat hematoma

  Kulit yang ditusuk masih basah oleh alkohol menyebabkan hemolisis sampel akibat kontaminasi oleh alcohol, rasa terbakar dan rasa nyeri yang berlebihan pada pasien ketika dilakukan penusukan

Pilot Sukhoi

Satu jenazah yang diduga kuat pilot Sukhoi Superjet 100, Alexander Yablontsev, akhirnya ditemukan. Ini merupakan satu-satunya jasad korban yang ditemukan dalam kondisi utuh.

"Jasad pilot berhasil ditemukan dalam kondisi utuh. Ditemukan sekitar pukul 10.00," kata seorang anggota Tim SAR dari Kopassus di lapangan Helipad, Pasir Pogor, Cijeruk, Bogor, Jawa Barat, Sabtu (12/5/2012).

Dugaan jasad yang ditemukan ini adalah sang pilot dilihat dari pakaian yang dikenakan. "Ini terlihat dari pakaian yang dipakai. Jenazahnya tidak hancur," kata petugas Tim SAR yang enggan disebut namanya.

Anggota Tim Charlie, Sersan Satu Abdul Haris, mengatakan bahwa dugaan itu pilot karena ada parasut yang juga tersangkut di pohon. "Kan, kalau pilot itu pasti dipersiapkan parasut," kata dia di sekitar lokasi jatuhnya pesawat, Curug Nangka.

Indikasi kedua adalah wajah yang masih dikenali, kulitnya putih, rambutnya berbeda dengan warna kulit orang Indonesia. "Itu orang bule," ujarnya seraya menambahkan, kondisi bagian pinggang ke bawah tak utuh lagi, begitu juga dengan bagian belakang kepala.Petugas juga menemukan identitas di dompet yang ada di saku celananya.

Dari sekian banyak kantong jenazah yang sudah dievakuasi dan diterbangkan ke Jakarta, hanya jasad pilot inilah yang bentuk dari luar terlihat masih utuh. Kantong jenazahnya juga terlihat lekukan bentuk tubuh pada umumnya.

Saat ini, jasad pilot senior yang memiliki  lebih dari 14.000 jam terbang itu sudah diangkut menggunakan helikopter Tim SAR menuju Lanud Halim Perdanakusuma, Jakarta. Sebanyak 1.300 jam terbang didapat Yablontsev bersama Sukhoi Superjet 100.

Pesawat Sukhoi Superjet 100 yang melakukan demo flight pada Rabu (9/5/2012) hilang kontak pada pukul 14.33. Pesawat ini sempat meminta turun pada ketinggian 6.000 kaki kepada Aero Traffic Center Bandara Soekarno-Hatta, Jakarta. Pada Kamis (10/5/2012), puing-puing pesawat ditemukan berceceran di sebuah tebing di Gunung Salak, Bogor.

LIVE

Every moment of your life is like a picture you've never seen, and images that will never be seen again. So, enjoy your life and make every moment beautiful.

Do not spoil what you have right now to pursue something that you might not have. Because, what you have today could be one of the many things that you most dream of.

If you pray, do not ask for an easy life, but ask God to make you a stronger person.

Life is like a bicycle mengendaradi. To maintain balance, the bike had to go. Similarly, this life.

Celebrate every day of your life tomorrow will surely come very quickly.

Education is not preparation for life because real education is life itself.

Nothing is softer than the power, and there is nothing stronger than gentleness.

The fool always thought that god is on his side. Instead, the wise man is always trying to draw close to God.

A smile is the little things that can make life easier.

Living through the streets unhindered very rarely lead to success.

BATIK

Kain gendongan means a baby carrrier (kain = cloth, gendong = to carry, gendongan = carrier). While a selendang or shoulder piece is sometimes worn by womenfolk in the Nusantara region (roughly present day Malaysia, Indonesia, Singapore, Brunei and some parts of the Phillipines) to sling onto their shoulders and can be easily used to shield their heads from the rays of the tropical sun, or to cover their hair when needed to), or even to bundle up things.
Here are 2 examples of these long cloths which can be used as either a kain gendongan or selendang, or naturally, both. These traditional cloths like these are rich in traditional symbols which often convey specific meanings.
Piece 1: A Javanese-styled batik cap piece – kain gendongan / selendang
Dimension: 160 X 51.5 cm

This harmonious piece comes in the more bold, sombre colours which give it an impression of some of the old Cirebon batiks in terms of colour choice and motifs. While the piece is a batik cap piece, and may not be that old in terms of age, it is rich in traditional symbols.
The pavilion amidst the rocky formations recall the symbol of taman arum (literally, fragrant gardens or sometimes called meditative gardens) in Cirebon iconography, may indicate a dimension of spiritual progress. The layered rock formations are also known as wadas (coral rock formations) and can be attributed to Chinese influences in the local batik designs.
Piece 2: A Chinese influenced batik cap piece – kain gendongan / selendang
Dimension: 176 X 53 cm

The piece depicts phoenixes (burung cenderawasih) (or some people say, the peacock, or burung merak) perching on flowering branches of flowers. The phoenix abound in old Malay and Chinese legends. In Malay legends, it is believed to come from the heavens or paradise, and is said to be fragrant and can bring luck to the owner. Even when dead, it is said that it will not rot, and it is believed that its feathers have magical and healing powers. In China, it is a symbol of the Chinese Empress and the bird is said to appear only in times of great prosperity and peace. This piece, which comes from Indonesia, has some ringings of Chinese influences and tastes about it such as the pastel colours that the local Peranakan Chinese community favours and also the phoenix on a peony branch motif which is a favourite symbol. In Indonesia where there is much criss-cross of cultures, it could have been used by either the local people or even the local Peranakan Chinese community. Whatever so, the phoenix and luxuriant blooms carry wishes of blessings and happiness to the wearer.

SUARA SMK ANALIS

Hari ini nampak begitu cerah, walau sejatinya sungguh sangat mendung. bukan karena langit yang membuatnya nampak cerah tapi hati kami sedang indah.hari ini kami para murid SMP siap melepas seragam dan berganti seragam. penantian kami selama ini terbayar dengan senyum bangga. kami sangat bahagia bukan hanya menjadi siswa SMA, tapi kami berhasill masuk ke sebuah SMK favorit.
Kami berhasil masuk ke sebuah SMK jurusan analis kesehatan. sungguh menarik bukan? inilah cita-cita kami.
beribu-ribu mimpi dan harapan siap kami raih satu persatu. dan yang paling penting kami bisa sedikit membahagiakan orang tua. mereka...yang secara cuma-cuma memberikan apapun yang dimiliki untuk wujutkan mimpi kami.
Bukan tanpa sebab kami memilih jirusan analis kesehatan. kami ini hanya orang tak bergelimang harta yang punya mimpi cepat bekerja dan bersaing di dunia kerja. kami ini generasi penerus bangsa yang tak kaya harta tapi kaya harapan untuk maju.kami ini generasi yang di gadang-gadang negara memajukan bangsa.
Tapi...................semua mimpi kami seakan sirna,seakan melayang-layang.sebuah aturan baru pemerintah menghancurkan mimpi dan harapan kami.apakah ini yang namanya generasi bangsa yang dilindungi?apakah ini yang namanya para muda yang diberi tumpuan masa depan bangsa?
Untuk apa usaha kami,apabila bekerja sesua bidangpun belum bisa.padahal,kami juga sangat siap bersaing..

KONSER SUJU DI INDONESIA

enjadi salah satu boyband teratas yang menyalurkan musik K-Pop di Indonesia, wajar saja jika penggemar Super Junior begitu besar di sini. Bahkan saat konser mereka tahun lalu dalam acara KIMCHI, hampir semua penonton adalah ELF. Padahal SuJu hanya tampil dengan 6 lagu dalam konser itu.
Tidak hanya saat konser KIMCHI, ketika SuJu menggelar tur mereka, Super Show di negara tetangga, ELF Indonesia kebanyakan datang untuk menyerbu. Dan antusias itu terus berlanjut saat film konser mereka SS3 3D diputar akhir pekan lalu di Jakarta dan Bandung yang dihadiri ratusan ELF.
Mengetahui antusias itu, salah satu perusahaan HP raksasa asal Korea Selatan yang mengambil SuJu sebagai brand ambassador mereka, LG Mobile akhirnya memutuskan untuk akan memboyong SuJu ke Indonesia
 Melalui @lgmobileid, mereka menegaskan bahwa SuJu tetap akan datang ke Indonesia. Namun kehadiran mereka terpaksa diundur lantaran adanya persoalan teknis, termasuk dengan konser MoA yang awalnya digelar Februari.
Mereka juga melanjutkan bahwa untuk waktu, tempat, dan jenis konser SuJu di Indonesia akan diumumkan pada pertengahan Februari mendatang, yakni sekitar tanggal 13 Februari. Bahkan untuk menunggu kepastiannya, LG Indonesia sudah memastikan akan membagikan tiket konser mereka, fanmeeting dan semua original souvenir SuJu hanya untuk ELF Indonesia.

The Angklung is a musical instrument made of two bamboo tubes attached to a bamboo frame. The tubes are carved to have a resonant pitch when struck and are tuned to octaves. The base of the frame is held in one hand, whilst the other hand strucks the instrument. This causes a repeating note to sound. Each of three or more performers in an angkalung ensemble play just one note or more, but altogether complete melodies are produced. The Angklung is popular throughout Southeast Asia, but it originated in today's Indonesia and has been played by the Sundanese for many centuries.

The word "angklung" was originated from Sundanese "angkleung-angkleungan", that means the movement of angklung player and the sound "klung" that comes from the instrument.^[1]
Another theory suggested that the word "angklung" was formed from two Balinese words - angka and lung. Angka means "tone", and lung means "broken" or "lost". Angklung thus means an "incomplete tone".

According to Dr.Groneman, angklung had already been a favorite musical instrument of the entire archipelago even before the Hindu era. According to Jaap Kunst in Music in Java, besides West Java, angklung also exists in South Sumatra and Kalimantan. Lampung, East Java and Central Java are also familiar with the instrument.^[1]
In the Hindu period and the time of the Kingdom of Sunda, the angklung played an important role in ceremonies. The angklung was played to honor Dewi Sri, the goddess of fertility, so she would bless their land and lives.^[2] The angklung also signaled the time for prayers, and was said to have been played since the 7th century in Kingdom of Sunda. In the Kingdom of Sunda, it provided martial music during the Battle of Bubat, as told in the Kidung Sunda.^[3]
The oldest surviving angklung is 400 years old Angklung Gubrag. It was made in the 17th century in Jasinga, Bogor. Other antique angklung are stored in the Sri Baduga Museum, Bandung.^[3] The oldest angklung tradition is called "Angklung Buhun" (Sundanese: "Ancient Angklung") from Lebak Regency, Banten ^[4] Angklung buhun is an ancient type of angklung played by Baduy people of inland Banten province during Seren Taun harvest ceremony.
In 1938, Daeng Soetigna, from Bandung, created an angklung that is based on the diatonic scale instead of the traditional pélog or sléndro scales. Since then, the angklung has returned to popularity and is used for education and entertainment, and may even accompany western instruments in an orchestra. One of the first performances of angklung in an orchestra was in 1955 during the Bandung Conference. In 1966 Udjo Ngalagena, a student of Daeng Soetigna, opened his "Saung Angklung" (House of Angklung) as a centre for its preservation and development.^[3]
UNESCO designated the angklung a Masterpiece of Oral and Intangible Heritage of Humanity on November 18, 2010.^[5]
In Bali, an ensemble of angklung is called gamelan angklung (anklung). While the ensemble gets its name from the bamboo shakers, these days most compositions for Gamelan Angklung do not use them. An ensemble of mostly bronze metallophones is used instead, generally with about 20 musicians.
While the instrumentation of gamelan angklung is similar to gamelan gong kebyar, it has several critical differences. First, the instruments are tuned to a 5-tone slendro scale, though actually most ensembles use a four-tone mode of the five-tone scale played on instruments with four keys. An exception is the five-tone angklung from the north of Bali. But even in four-tone angklung groups, the flute players will occasionally touch on the fifth implied tone. Secondly, whereas many of the instruments in gong kebyar span multiple octaves of its pentatonic scale, mosts gamelan angklung instruments only contain one octave, although some five-tone ensembles have roughly an octave and a half. The instruments are considerably smaller than those of the gong kebyar.
Gamelan angklung is often heard in Balinese temples, where it supplies musical accompaniment to temple anniversaries (odalan). It is also characteristic of rituals related to death, and therefore connected in Balinese culture to the invisible spiritual realm and transitions from life to death and beyond. Because of its portability, gamelan angklung may be carried in processions while a funeral bier is carried from temporary burial in a cemetery to the cremation site. The musicians also often play music to accompany the cremation ceremony. Thus many Balinese listeners associate angklung music with strong emotions evoking a combination of sacred sweetness and sadness.
The structure of the music is similar to gong kebyar, although employing a four tone scale. Jublag and jegog carry the basic melody, which is elaborated by gangsa, reyong, ceng-ceng, drum, and flute. A medium sized gong, called kempur, is generally used to punctuate a piece's major sections.
Most older compositions do not employ gong kebyar's more ostentatious virtuosity and showmanship. Recently many Balinese composers have created kebyar-style works for gamelan angklung or have rearranged kebyar melodies to fit the angklung's more restricted four tone scale. These new pieces often feature dance, so the gamelan angklung is augmented with more gongs and heavier gongs. Additionally, some modern composers have created experimental instrumental pieces for the gamelan angklung.
The angklung was first invented in West Java, Indonesia; with a possibility of cultural transmittance to various other places such as Malaysia & the Philippines over the course of several centuries. In the early 20th century during the time of Dutch East Indies, the angklung was adopted in Thailand, where it is called angkalung (อังกะลุง). It was recorded that angklung was brought to Siam in 1908 by Luang Pradit Pairoh, royal musician in the entourage of HRH Field Marshal Prince Bhanurangsi Savangwongse of Siam, who paid a royal visit to Java that year (27 years after the first state visit of his elder brother, King Chulalongkorn to Java in 1871.) The Thai angklung are typically tuned in the Thai tuning system of seven equidistant steps per octave, and each angklung has three bamboo tubes tuned in three separate octaves rather than two, as is typical in Indonesia.
In 2008, there was a grand celebration in the Thai traditional music circle, to mark the 100th anniversary of the introduction of angklung to Thailand. Both the Thai and Indonesian governments supported to celebration.
Angklung has also been adopted by its Austronesian-speaking neighbors, in particular by Malaysia and the Philippines, where they are played as part of bamboo xylophone orchestras. Formally introduced into Malaysia sometime after the end of the Confrontation, angklung found immediate popularity.^[6] They are generally played using a pentatonic scale similar to the Indonesian slendro, although in the Philippines, sets also come in the diatonic and minor scales used to perform various Spanish-influenced folk music in addition to native songs in pentatonic.
At least one Sundanese angklung buncis ensemble exists in the United States. Angklung Buncis Sukahejo is an ensemble at The Evergreen State College, and includes eighteen double rattles (nine tuned pairs) and four dog-dog drums.
Many angklung videos are available on youtube. People have even started to play pop songs on them, which just goes to show how quickly this generation is going by.