#Feeding Devices Market

[health-views-updates]

Industry Forecast: Enteral Feeding Devices Market Growth & Revenue Trends 2024-2032

The Enteral Feeding Devices Market was valued at USD 4.15 billion in 2023 and is projected to grow to USD 7.06 billion by 2032, registering a steady CAGR of 6.11% over the forecast period from 2024 to 2032. The market's expansion is driven by increasing prevalence of chronic diseases, advancements in feeding devices, and a growing aging population that requires long-term nutritional care.

Key Growth Drivers

Enteral feeding devices are widely used for patients who are unable to consume adequate nutrients orally due to conditions such as cancer, gastrointestinal disorders, or neurological impairments. The rising global burden of such chronic diseases has significantly increased the demand for enteral feeding devices.

Technological advancements, such as the development of portable and user-friendly feeding devices, are further enhancing market growth. Innovations in materials and designs are ensuring improved patient comfort and reduced risk of complications, making these devices more appealing to healthcare providers and patients alike.

Moreover, the growing focus on home healthcare is driving the adoption of enteral feeding devices outside of hospital settings. The convenience and cost-effectiveness of home-based enteral feeding solutions are expected to contribute significantly to market growth in the coming years.

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Regional Insights

North America leads the enteral feeding devices market due to its advanced healthcare infrastructure, high healthcare expenditure, and significant prevalence of chronic diseases. Europe follows closely, driven by an aging population and supportive government policies promoting nutritional care. Meanwhile, the Asia-Pacific region is anticipated to exhibit the highest growth rate during the forecast period, fueled by increasing healthcare investments, rising awareness of enteral nutrition, and a growing demand for advanced medical devices.

Future Outlook

The enteral feeding devices market is expected to witness robust growth in the coming years, driven by continuous innovation and increasing demand for minimally invasive feeding solutions. Manufacturers are focusing on integrating smart technologies, such as IoT-enabled devices, to monitor and optimize nutritional delivery, which is likely to open new avenues for market expansion.

With a growing emphasis on patient-centered care and the rising adoption of enteral feeding devices in emerging economies, the market presents significant opportunities for stakeholders. Enhanced regulatory frameworks and increased funding for healthcare innovation are expected to further accelerate market growth.

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[aarunresearcher]

United States enteral feeding devices market size reached USD 987 Million in 2024. Looking forward, IMARC Group expects the market to reach USD 1,696 Million by 2033, exhibiting a growth rate (CAGR) of 6.2% during 2025-2033. The growing need for shaping the landscape of alternative nutrition delivery methods, along with the increasing number of chronic illnesses, is primarily driving the market growth across the country.

[industrynewsupdates]

Enteral Feeding Devices Market Key Drivers and Emerging Trends 2024-2030

The global enteral feeding devices market size was valued at USD 4.3 billion in 2023 and is projected to grow at a compound annual growth rate (CAGR) of 5.0% from 2024 to 2030. 

Growing geriatric population has resulted in increased incidences of diabetes, severe pancreatitis, and other gastrointestinal diseases, which aids market growth. Adoption of the “Feed Early Enteral Diet Adequately for Maximum Effect” (FEED ME) protocol in surgical trauma ICUs in the U.S. enables subsidies on these devices. Technological advancements such as the introduction of tri-funnel replacement G-tubes and J-tubes with reverse balloon designs are also expected to aid in growth during the forecast period.

Gather more insights about the market drivers, restrains and growth of the Enteral Feeding Devices Market

Numerous NCBI studies suggest that people over 65 years pose a higher risk of developing chronic illnesses including Parkinson’s and nervous system disorders. The global population aged 60 years and older is expected to increase from around 1 billion in 2020 to about 1.4 billion in 2030 and is expected to double by 2050 to reach around 2.1 billion. The number of elderly patients with critical illnesses has increased significantly over the past few years. The risk of malnutrition and frailty among the geriatric population with comorbidities, such as stroke, depression, and dementia, is much higher, mainly owing to various age-related changes in body composition and muscle mass. This results in a reduced ability to perform Activities of Daily Living (ADLs), thereby increasing the risk of falls or injuries.

Enteral Feeding Devices Market Segmentation

Grand View Research, Inc. has segmented the global enteral feeding devices market report based on product, age group, indication, end-use, and region:

Product Outlook (Revenue, USD Million, 2018 - 2030)

• Giving Set

• Enteral Feeding Pump

• Percutaneous Endoscopic Gastrostomy Device

• Low Profile Gastrostomy Device

• Nasogastric Tube

• Gastrostomy Tube

Age Group Outlook (Revenue, USD Million, 2018 - 2030)

• Adults 

• Pediatrics

Indication Outlook (Revenue, USD Million, 2018 - 2030)

• Alzheimer’s

• Nutrition Deficiency

• Cancer Care

• Diabetes

• Chronic Kidney Diseases

• Orphan Diseases

• Dysphagia

• Pain Management

• Malabsorption/GI Disorder/Diarrhea

• Others

End-use Outlook (Revenue, USD Million, 2018 - 2030)

• Hospitals

o Cardiology

o Neurology

o Critical Care (ICU)

o Oncology

o Others

• Home Care

Regional Outlook (Revenue, USD Million, 2018 - 2030)

• North America

o U.S.

o Canada

• Europe

o U.K.

o Germany

o France

o Spain `          

o Italy

o Russia

o Sweden

o Norway

o Denmark

• Asia Pacific

o China

o Japan

o India

o South Korea

o Australia

o Thailand

o Singapore

• Latin America

o Brazil

o Mexico

o Argentina

• MEA

o South Africa

o Saudi Arabia

o UAE

o Kuwait

Browse through Grand View Research's Medical Devices Industry Research Reports.

• The global surgical drills market size was estimated at USD 1.27 billion in 2023 and is projected to grow at a CAGR of 5.5% from 2024 to 2030.

• The global ophthalmic ultrasound devices market size was valued at USD 590.9 million in 2023 and is projected to grow at a CAGR of 5.7% from 2024 to 2030.

Key Companies & Market Share Insights

The market players are focusing on product development, new technological advancements, and other initiatives to strengthen their market position.

Key Enteral Feeding Devices Companies:

• Conmed Corporation

• C.R.Bard

• Cook Medical

• Boston Scientific Corporation

• Moog Inc.

• Fresenius Kabi AG

• Danone Medical Nutrition

• Kimberly-Clark

• Abbott Nutrition

• B Braun Melsungen AG

• Avanos Medical, Inc.

• Cardinal Health

• Applied Medical Technology, Inc.

• Vygon India

• Fidmi Medical

• ALCOR Scientific

• Amsino International, Inc.

Recent Developments

• In September 2023, Cardinal Health launched Kangaroo OMNI enteral feeding pump, intended to give patients undergoing enteral feeding more options to suit their individual needs over the course of their enteral feeding journey.

• In August 2023, Cardinal Health launched its next-generation NTrainerTM System 2.0, a medical device intended to shorten the length of stay in the neonatal intensive care unit (NICU) for premature and newborn infants by assisting them in developing the oral coordination skills necessary for the transition to independent feeding more quickly. The NTrainerTM System gives parents confidence in their newborns' progress and potential for success after discharge by giving clinicians the objective data they need to monitor an infant's development of pre-feeding skills through real-time assessment technology.

Order a free sample PDF of the Enteral Feeding Devices Market Intelligence Study, published by Grand View Research.

[bhushans]

Beyond Diagnosis: Exploring Global Enteral Feeding Devices Market

The global enteral feeding devices market is poised for significant growth over the next decade, expanding at an average compound annual growth rate (CAGR) of 4.0% during the forecast period. In 2023, the market is valued at approximately USD 2.8 billion and is projected to reach an estimated USD 4.1 billion by 2033.

This robust growth trajectory is driven by several key factors, including increasing prevalence of chronic diseases, rising geriatric population, and advancements in medical technology. The growing awareness about the benefits of enteral feeding in improving patient outcomes, particularly in critical care settings, further supports the market expansion.

As the market evolves, industry leaders are expected to focus on innovative product development and strategic partnerships to cater to the increasing demand for efficient and reliable enteral feeding solutions. The ongoing investments in research and development are likely to result in more user-friendly and technologically advanced feeding devices, enhancing patient comfort and care quality.

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The enteral feeding devices market’s positive outlook underscores its critical role in the healthcare sector, addressing the nutritional needs of patients who cannot consume food orally. With sustained growth and continuous innovations, the market is set to make significant strides in improving patient care worldwide.

Key Takeaways:

Market Growth: The enteral feeding devices market is projected to grow at a CAGR of 4.0% from 2023 to 2033.

Current and Future Valuation: The market holds a current valuation of US$ 2.8 billion in 2023 and is expected to reach US$ 4.1 billion by 2033.

Driving Factors: Key drivers of this growth include rising incidences of chronic diseases, technological advancements in medical devices, and an aging global population necessitating increased nutritional support.

Market Dynamics: The market dynamics are influenced by healthcare providers’ increasing focus on homecare settings, enhancing patient comfort and reducing hospital stays.

Enteral Feeding Devices Market — Regional Analysis

North America and Europe are expected to cumulatively account for nearly 70% of overall market value, with the former holding 40% of the share.

The dominance of these regions is attributed to favorable medical policies and the strong presence of market players.

Asia Pacific is forecasted to register tremendous growth on the back of rising healthcare expenditure, the presence of a large patient pool, and a burgeoning number of preterm births.

Enteral Feeding Devices Market — Competitive Landscape

Major market players operating in the market include ICU Medical, Boston Scientific Corporation, Fresenius Kabi, Abbott Laboratories, Cook Medical, Cardinal Health, Inc., Becton Dickinson & Company, and Dynarex Corporation among others. Market players are focusing on developing innovative products with low weight to increase portability.

On these lines, Infinity Feeding Pumps launched the Zevex EnteraLite Infinity Feeding Pump, which weighs less than one pound.

Key Contributors:

Abbott Nutrition

ALCOR Scientific

Applied Medical Technology

B. Braun Melsungen AG

Boston Scientific

CONMED Corporation

Cook Medical

Cardinal Health, Inc.

Becton, Dickinson, and Company

Fresenius Kabi

Owens & Minor, Inc. (Halyard Health)

Medline

Moog

Nestlé Health Science

Danone SA

Vygon SA

Amsino International, Inc.

Fuji Systems Corp

Neomed

Smiths Medical (Smiths Group)

Key Segments:

By Product Type:

Enteral Feeding Pumps

Nasogastric Tubes

Nasojejunal Tubes

Percutaneous Endoscopic Gastrostomy (PEG) Kit

PEG Balloon Kit

PEG Non-Balloon Kit

Replacement G-Tubes

Replacement Balloon G-Tubes

Replacement Non-Balloon G-Tubes

Percutaneous Endoscopic Gastro-Jejunostomy (PEGJ) Tubes

Low-profile Tubes

Low-profile Balloon Tubes

Low-profile Non-Balloon Tubes

By Age Group:

Adult

Pediatric

By End User:

Hospital

Clinic

Ambulatory Surgical Center

Home Care Setting

By Region:

North America

Latin America

Europe

Asia Pacific (APAC)

The Middle East & Africa (MEA)

[mitalipingale]

The Enteral Feeding Devices Market in 2023 is US$ 3.96 billion, and is expected to reach US$ 6.87 billion by 2031 at a CAGR of 7.12%.

[medically-a-ms-tree]

I’m so sorry you kids have had to worry about me the way you have over these last few years. I’m humbled by, and so ridiculously proud of, how you’ve tied processing it all with your art and love of all things owl house.

A kind of backstory thing to the hunter with a feeding tube thing. Basically, a much younger luz found hunter somewhere and became his friend, and camila took him in. Eventually, he falls very sick and is sent to the hospital where they find serious organ damage and is given a nasal feeding tube. Luz is so upset here because she was very worried for hunter and thought he would die like her father

First panel: a younger luz is playing with a toy in a child waiting room with a tired look on her face

Second panel: camila holds her hand out to luz

Third panel: luz holding camila's hand, she's looking to the ground with a tired, disappointed expression

Fourth panel: camila opens the door to a hospital room

Fifth panel: a younger hunter is in a hospital bed, reading a book about birds, he has a feeding tube held up by a stand

Sixth panel: luz lets go of her mother's hand and runs

Seventh panel: she runs up to hug hunter

Eighth panel: they end the hug she wipes her nose and eyes as hunter looks in front of himself with a look of awe

Ninth panel: The two children smile at each other

[levigarden999]

random modern!levi headcanons .. ୨ৎ

୨ৎ levi would be the most stereotypical, a little older internet user. he would be the one who refuses to download any form of social media, because he’s simply not a person who enjoys sharing his life to others. however the bigger reason for this is the fact that he is afraid someone would steal his credit info and sell his identity on the black market. this is a little contradictory, because every time levi gets scam text messages or emails where they demand personal information or bank details from him – he always falls for it.

୨ৎ levi would always clean the rooms of the hotels he stays at by himself. of course he knows that those rooms have been properly cleaned and sanitized between customers – he simply just doesn’t trust the cleaners’ work enough.

୨ৎ levi would love scrubdaddy. and basically every other cleaning product as well. however, that doesn’t mean he isn’t careful about what his buying. he always makes sure he buys the most sufficient and scent free ones with the least chemicals in them.

୨ৎ levi tells everyone that he’s not addicted to devices. meanwhile the guy owns an iphone, an ipad and also a laptop. oh, and a work phone as well.

୨ৎ levi is usually a little rude and grumpy towards customer servants. it’s not like he truly means to be cruel or demanding, he simply wants the best service wherever he goes. he believes that every human should do their best at work every day, so if he experiences bad service, he is definitely not satisfied. however, despite his grumpiness, levi appreciates especially cashiers and waiters, since he knows that he wouldn’t ever be able to do such work as they do.

୨ৎ levi showers every day and washes his hair every two days, with no expectations. once a week he does an everything shower, where he scrubs his skin, washes his hair, shaves and soaps his skin. he also has a skin care routine and makes sure to lotion his body daily – especially during winters, when the skin often feels dryer.

୨ৎ levi loves dark, black coffee with no milk or sugar.

୨ৎ levi doesn't often buy new clothes, since he's very much against the idea of capitalism. however, when he buys clothes, he makes sure to buy actually high quality products. levi's wardrobe is pretty empty, but it only contains a bit more expensive clothing with casual coloring and design (no silver leggings i swear) so it's easier to match the different clothes to each other.

୨ৎ levi feeds stray cats and dogs. not by hand or anything, because that would be way too unhygienic for him, but he places small bowls of freshly poured milk and meat on the side of the street, a little further away from where he lives at. the citizens around have started to think why the stray animals have been looking healthier lately.

[rallamajoop]

So why are there so many gay vampires?

From the time of Carmilla all the way up to the works of Anne Rice (a universe that seems to get only less subtle as the years go on), gay vampires have been a thing basically as long as anyone was writing about vampires. Lesbian vampires have been a genre all their own for decades. Bram Stoker, author of the most famous vampire novel ever written, was gay himself. So why vampires specifically?

I’ve seen people attempt to answer this one before, and there are all sorts of contributing factors I could point to here, from the genres’ beginnings with Lord Byron (infamous bisexual disaster fuckboy), to modern discourse about why queer folks so often find themselves identifying with the monsters and outcasts of fiction. Few other monsters besides vampires can so easily pass for ‘normal’, or are nearly so well known for their snappy dress sense and ‘unnatural cravings’ for human flesh. And that’s without even getting into all those skeezy outdated stereotypes casting queer people as predators, or the idea that even one ‘gay experience’ could somehow ‘convert’ you into being one yourself.

But to my mind, there’s just one really important thing that makes vampires so gay, and it’s the same thing that makes them sexy in the first place: plausible deniability.

You see, a vampire’s bite is simultaneously a) ridiculously sexual, and b) not even a little bit sexual at all.

You don’t have to look far for vampire canons where there’s nothing sexy about being bitten by a vampire. Bloody, violent, painful, sure ‒or just clinically miserable, human bodies torn open or hung up to drain like a human blood bag. What’s sexy about getting bitten by a mosquito, or a fecking leech? The diet of the actual vampire bat requires it to process so much water that it apparently spends mealtimes busily pissing out the difference, and the anti-coagulants in its saliva leave the wound bleeding messily long after it’s gone. The basic act of feeding is no more inherently sexual for a vampire than it is for a zombie.

Vampires are even a surprisingly acceptable monster to market to children. There’s a vampire muppet, a cartoon about a vampire duck, and a whole series of books about a vampire rabbit. You can put a vampire on the side of a cereal box without undue outrage. Vampires do not have to be R-rated for sex or violence.

So of course vampires will go after victims of the same sex. Do you stop to inquire whether the cow you’re eating was male or female? It’s all just predator and prey!

Until it’s everything but.

Do not let the ‘vampires aren’t supposed to be sexy!’-purists fool you. The tradition of sexy vampires goes all the way back to the oldest folklore, where the first victim of a newly-risen vampire was often their still-living spouse. Vampires were even occasionally known to get women pregnant (a convenient excuse for any widow who might turn up pregnant slightly too many months after their husband's death). The ‘original’ Nosferatu sounds more like an incubus than the naked mole-rat creature they made that movie about. The demon lover aspect of the vampire has been there all along.

And it’s not hard to imagine why. If someone is biting and sucking on your neck, then either they’re a vampire, or they’re well on the way to second base (other folklore has its vampires feed directly from their victim’s heart, which is scarcely less suggestive). The implications of an exchange of bodily fluids were never subtle, even in Stoker’s day (I'm looking at you, Lucy-with-the-three-husbands), and the vampire as a sexual predator was a popular literary device well before Stoker's time. Beautiful vampire women would seduce men to their demise, and the males of the species might visit the bedroom of some innocent maiden time and again. The Victorian obsession with mesmerism, meanwhile, provided the perfect explanation for how victims might be hypnotised into eager compliance, and perhaps not even remember being fed upon at all. Vampires have been the ultimate guilt-free sexual fantasy since way back in the day, compatible with all your awkward Victorian mores! (Not quite ready to admit they're sexual fantasies? No problem: he's just here to, y'know, suck on your neck a bit. No subtext here!)

The whole act of biting is so suggestive that in the early years of vampire cinema, it wasn’t shown at all, not even between opposite-sex participants. The camera of 1922’s Nosferatu maintains a demure distance during the climactic scene where the heroine is finally bitten and slowly drained of blood, and Universal’s Dracula conveniently fades to black or cuts away whenever it’s about to take place. But even if the biting has to take place off screen, who’s to say a vampire isn’t going to pick victims of both sexes?

The stately tradition of the lesbian vampire has cinematic examples going all the way back to 1936, with Universal’s Dracula’s Daughter. Though the titular vampire has a nominal male love interest – a psychologist who naively advises her to confront her temptations without fear – the result of his advice is a famous sequence where she picks up a young woman under the premise of wanting an artist's model, and convinces her to remove her top. No actual biting or nudity is shown (it was only 1936), but her fate is left in little doubt.

By the era of 70’s sexploitation, all such subtlety had been abandoned. If we’re all good with naked boobs, who’s going to be offended by a little biting?

In fact, when it comes to men rather than women, a vampire bite was, for many years, far too sexy to be shown, or even alluded to. Nosferatu clearly feeds on that film’s Jonathan-expy, but our only evidence is the bitemarks on his neck in the morning, and the final sacrifice to defeat the evil monster must naturally be female. Universal’s Dracula had to ignore explicit studio mandate that only the brides should be allowed to feed on their own Jonathan-equivalent, as to even imply that Dracula himself had fed upon a man was obviously far too homoerotic to contemplate (never mind that it’s Dracula who must be established as the threat in this opening sequence, or that it’s Dracula his victim will spend the rest of the film obsessed with).

But in that unspeakable land of male-on-male homoeroticism, you might be surprised how much homo we can squeeze in even without resorting to fangs-in-necks. The Lost Boys is surely one of the most homoerotic vampire films ever made, but there, the one big blood-drinking scene is rendered in a bloody massacre of slasher-movie violence. And though Anne Rice certainly describes the scene where Lestat drains Louis of blood in lurid detail (and even has them spend their first sunrise together sharing a coffin), Louis is already thoroughly seduced before he ever reaches this point.

You see, the lore of the pop-cultural vampire conveniently comes with a second and equally-compelling target for plausible deniability: the act of making a new vampire.

Obviously, to work, this has to be deliberate. A world where anyone bitten by a vampire becomes one hasn’t much to offer us, and the relationship between maker and fledgling can just as easily be framed as parental, as recruitment into a cult, or purely transactional. But whichever way you twist it, the implications of choosing another to share in your own eternal youth and immortality… like, I don’t have to spell this one out for you, do I? Did I mention how that thing where a vampire’s traditional first victim tended to be their own mortal widow goes all the way back?

But if we’re not ready to be completely obvious with our mainstream audience, some alternative explanation can always be provided for cover. Lestat doesn’t really want Louis, he just wants Louis’ money! (He also really wants Louis.) The Lost Boys just want Michael to join their gang! (Their very, very pretty gang, who swan around in mesh shirts, tank tops and assless chaps.)

The two sides of the vampire-deniability coin aren’t mutually exclusive, either. Carmilla drinks her new paramour’s blood, but also gazes into her eyes while promising her you will be mine. Drinking blood is a key part of making a new vampire in so many vampire stories, after all.

Carmilla isn’t even the only gay vampire story of the Victorian era. I recently posted about two other fascinating examples, both featuring male/male pairings: one being pretty much just a gender-flipped version of Carmilla, and the other a tragic love story filled with significant "vampire = gay lover" metaphors (why oh why must the townsfolk keep us apart, when we’ll only ever be happy once we’re united once more?) This stuff goes surprisingly far back.

In fact, you can find queer subtext in vampire fiction that predates even Byron and Polidori. 1819's The Vampyre was the first published vampire story, yes, but the first known work of vampire-fiction in the English language is a poem published by John Stagg in 1810, also called The Vampyre (look, the genre didn’t exist yet, you didn’t have to be creative with your titles).

In brief, Stagg’s poem recounts a conversation between a wife (Gertrude) and her dying husband (Herman), whose dear friend Sigismund, lately deceased and deeply mourned, has returned as a vampire. Night after night, he crawls into Herman’s room to drain his blood. Herman’s fate is already sealed, but unless Gertrude takes action, it will surely be she that Herman will take as his own first victim when he rises from the grave.

There may be nothing intentional about the queer subtext of this tale. A vampire’s victims often include friends he knew in life, as Stagg himself cites in his introduction. But if Herman’s first victim will be his wife, what are we to read about the fact Sigismund’s first victim is Herman? Especially given how long he’s kept secret from poor Gertrude that his dear ‘friend’ has been climbing into his bedroom each night, lying beside him in bed and sucking and draining "the fountain of my heart!" while Herman moans and tosses (in pain, obviously!), always leaving him "exhausted, spent." Ultimately, Gertrude is saved only when both Herman and Sigismund are staked through the heart, and we close on the image of them slumbering together in the tomb.

It is, however you turn it, pretty gay.

I reiterate: this is the very first known work of vampire fiction written in the English language. The second was the one that was kind-of-written-by, kind-of-stolen-from, and unambiguously based on bisexual-disaster-fuckboy Lord Byron. And the two most influential works of vampire fiction of the next hundred years would be Carmilla, the very lesbian vampire story written by a… presumably straight man? And Dracula, the not-completely-convincingly-hetero story written by #1 Walt Whitman fanboy Bram Stoker. Vampires have always been very equal-opportunity kind of monsters.

There are, of course, plenty of influential heterosexual vampire tales to fill out the roster too. Varney the Vampire, a penny dreadful from the 1840s, was so successful it ran for over 200 chapters. The 1960s had their own wildly successful Varney-equivalent in the soap opera Dark Shadows. Love it or hate it, we really can't ignore Twilight either. My own introduction to the genre was Christopher Pike’s The Last Vampire series, which came out alongside the original Vampire Diaries novels. So there's plenty of material around to keep the straights entertained – and honestly, that’s only as it should be, because the very thing that makes vampires so queer-friendly is that the sex of their victims doesn’t matter. And it’s so easy to make vampires sexy (let alone a full vampire-proposal!) that even the Victorians could do it.

Now, if your reaction to all this theorising is to tell me "but the LGBTQ’s shouldn’t have to hide behind plausible deniability!" I can only counter, "well sure, but why should the straights have all the fun?" Because playing with all the ambiguity of "is this monster really just after my blood or is this going somewhere?" can be all sorts of fun, regardless of the genders involved. And as long as they’re up for exchanging bodily fluids with persons-and-or-victims of either gender equally, why not have some fun with it?

So, okay, maybe the real title of this post should have been "why are there so many pansexual vampires?" But the answer doesn’t change. Vampires have been the bisexual disaster fuckmonsters for as long as anyone’s been writing about vampires, and have been a metaphor allowing people publish barely-coded gay attraction since 1872. And much like the queer community, they’ve only become more complex, more sympathetic, and all the more popular as romantic paramours as the years have gone by.

[aarunresearcher]

United States enteral feeding devices market size is projected to exhibit a growth rate (CAGR) of 6.20% during 2024-2032. The growing need for shaping the landscape of alternative nutrition delivery methods, along with the increasing number of chronic illnesses, is primarily driving the market growth across the country.

[clinical-space-podcast]

Okay here it is. The moment that zero of you have been waiting for: My infodump about framing devices and modern audio fiction.

If you're a newer fiction podcast listener, you may have asked, "Why do so many shows pretend to be some real thing?" And if you're a newer fiction podcast creator (as I am), you may have asked, "Do I have to use a framing device?"

Short Answer: It's never been a requirement, but it is fun for some creators, it is useful for some stories, and the tradition of it dates back farther than you might think.

(Extremely) Long Answer:

I would say that the tradition's lineage can be traced back in two directions, separately: horror and radio.

Horror.

This one goes way back. Way way back. Dracula, Frankenstein, etc etc... There really is something about what we would now call "found footage" that creates a workable balance between believable and unbelievable - make it seem like it could have actually happened, however impossible the story is, and (if done right) the horror aspects hit deeper. Combine that with the automatic sense of the unkown that comes from only reading snippets from a few characters' personal perspectives; horror thrives on the unknown.

[Tangent] The podcast Re:Dracula, which I feel should be mentioned here, is a very interesting representation of all this - as a direct adaptation, it maintains the framing device of the novel Dracula: the letters. Its extension of the device is brought not in the audio format but in the RSS feed format. No attempt is made to explain why we're hearing the voices of the characters, as many fiction podcasts default to, rather the immersion comes in experiencing the sense of time between the missives. [End Tangent]

Moving into film, found footage actually took a while to make it onto the scene, but once it did, oh my god did it change everything. Okay, Blair Witch was technically not the first found footage horror film, but we're not going down that rabbit hole. Most would call it the first good one, or at least the first successful one. Which is interesting because at this point we've had plenty of films based on books with framing devices, most of which entirely do away with the framing in the adaptation. So why was 1999 the year film was ripe for framing devices to enter the horror film genre in a big way? I would say it's plausibility. Personal-sized video cameras were now (relatively) affordable, and had been around long enough that people who made and watched films were familiar with them. So it's now a believable thing to be able to cobble together a documentary from clips found on a camcorder, and so they do and now the horror market is changed forever. Next comes copycats, and movies that take the concept and make it their own (like Cloverfield and Paranormal Activity), and movies that parody the now-ubiquitous trope (like Grave Enounters).

So by the time fiction podcasts take off, found footage horror is well established as a beloved reawakening of a beloved literary tradition. And it fits easily in audio horror for much the same reasons as it did in video horror. Think Magnus, Archive 81, probably every SCP podcast, and so on. And within audio fiction, the horror genre is very popular and very much a trendsetter, historically speaking.

Radio.

I could probably get away with just discussing a single event here, and you can probably guess it, but I'll try to go for a broader scope than just the autumn of 1938.

So, honestly, as far as I can tell, old radio shows had a habit of using framing devices just for funsies (or at least for lots of different reasons that I could get lost in exploring but I won't). Importantly though, they largely used different framing devices than books had used up to this point. They were innovative, which is an attitude that certainly transferred into modern audio fiction. Without digging too deep into any of them, here's some notable examples:

Let's start with The Shadow because of course we start with The Goddamn Shadow. This one used a very soft framing device, since it doesn't really explain why the audio broadcast exists, just why it's coming to you in audio format instead of visual: The Shadow has invisibility powers. Yeah I know that's a pretty weak connection, but it's a connection the show attempts to imply: The Shadow often manifests as a disembodied voice, and that ties in to it being a radio show. 🤷🏻

Sherlock Holmes (the one with Basil Rathbone) used a somewhat stricter framing device in pretending to be conversations between Holmes, Watson and an interviewer, in which they describe the events of solving the mystery after the fact - pretty similar to the framing of the original books, but adapted well to audio.

Dragnet framed itself as police reports, I think.

Dimension X and X Minus One both, to varying degrees, frame themselves as tales coming to the listener from the actual future and from an actual alternate universe, respectively. (If you ask me, they should have traded names.) Of course, this doesn't make much use of the audio format specifically, but it illustrates that by this point framing devices in audio were a tradition and not unusual at all.

~We now return you to the music of Ramón Raquello and his orchestra.

Yeah okay here it is. We have to go here.

October 30, 1938 was a day that changed science fiction, audio drama, FCC regulations, and probably the entirety of scripted performance art, forever.

Orson Welles' radio adaptation of The War of the Worlds was so flawlessly framed as breaking news that it famously caused something of a mass panic. While the extent of the panic was slightly exaggerated, it's true that the show was so well done that many people who missed the beginning (or didn't pay attention to it) thought the nation was actually being invaded.

The story that they wanted to tell relied heavily on the device of being a purported news broadcast, and there's no doubt that its impact stems from that device - we're still talking about it 90 years later, and not because of the plot of the story.

I'll leave the parallels and differences between the legacy of War of the Worlds and that of The Black Tapes to be explored by someone else.

Modern Audio Fiction Carries On the Tradition.

Broadcasts.

I've already mentioned TMA, Re:Drac, and Black Tapes.

I haven't mentioned Welcome to Night Vale, which (love it or hate it) was without a doubt one of the biggest catalysts of the audio drama renaissance in podcast form. We all know people who have only ever listened to one fiction podcast, almost invariably either TMA or WtNV. And Night Vale came first and got popular first. Its format as a small-town news radio broadcast has been imitated, innovated, responded to, and intentionally avoided more times than I can count. Very much worth mentioning is that Night Vale popularized the idea of using a framing device not as a way to add plausibility to its stories (nothing could, it's peak absurdism after all), but to add structure. The author knows what to write where, the listener knows what to expect when. Another appeal of framing devices, and another reason why they're so widespread.

Tapes.

Ah yes the tapes. Horror podcasts and their tapes. Drowning in tapes (/lh). It works so well because (a) it's an easy fit for found footage audio, (b) it adds a "spooky" analog horror vibe, and (c) it's fun and fairly easy to design, and forgives a lot in terms of recording quality and editing skill - good for creators at all levels of proficiency. Voicemail and voice memos have similar benefits but without the well-loved "spooky analog" aspect.

Limitations.

The Bright Sessions, Moonbase Theta Out, Wolf 359, and quite a few others all have something in common: they eventually gave up their framing devices. In my opinion, the shows' improvements after doing so is not by any means a reflection on framing as a concept, but instead a demonstration of a show's need to adapt as it grows. Sometimes Episode 149 follows the same form and format as Episode 1, sometimes it doesn't, and a creator's ability to accurately assess whether the format fits the story they want to tell leads to decisions like this (which can be really difficult decisions to make), but ultimately, doing what's best for the story itself always pays off.

When you choose a framing format, you sort of lock in how you're going to write the show and what it's going to sound like. This can be very useful. Like in writing poetry, some of us work better under constraints - it causes us to flex our creativity. It also, as explained above, creates a framework, a formula, which can make it easier to outline an episode.

But it doesn't work for every story. Some shows hold on to their framing devices too long, the plot filling and stretching the format until the frame is bursting at the seams. Conversely, though, I say a series shouldn't abandon a device if it doesn't need the new narrative freedom to further the story - something to fill the absence of the episode format as a player itself in the work.

Form as Storytelling.

This is, in my opinion, one of the greatest (and too often untapped) strengths of framing devices in any medium. I LOVE IT when a piece of art uses its medium as part of the art itself. What part of your story can you only tell because of the medium you're using? What unique part of your medium can you use to enhance the story?

Some absolute favorite examples of this idea from other media, in no particular order: the ending of The Murder of Roger Ackroyd, the very end of Zelda TotK, Shakespeare's frequent use of play-within-a-play, the Thor fight in God of War, tons of bits of Series of Unfortunate Events (the books), the twist and out-of-game-play in DDLC, all of WandaVision, the elephant scene from It Takes Two, Asteroid City...

It's something I kind of want to see more of in audio fiction: powerful moments in using the medium of audio as a tool to tell the story rather than only a limitation to be written around. Framing devices help with this, but there are a lot of opportunities in other tools too. I find it in horror and comedy series, and few other places.

Conclusion.

This went on way longer than I expected. I have too many thoughts about it. To sum up:

Why are there so many shows pretending to be some real thing? Because there is a very strong tradition of it in audio fiction, because it provides a lot of structure and benefits especially to newer creators, because it allows for the medium to be part of the art form in a way, and of course because it's fun!

Should I use a framing device in my fiction podcast? My dear, nobody can answer that but you! Ask youself if it would improve your story, if it would improve your writing ability, if it sounds fun to you, and if it would create a show that you would want to listen to (I always say that you should be your own target audience; if you would want the thing to exist, odds are someone else will enjoy its existence). If you use one, you're in good company; if you don't, you're in good company. If you start with one and drop it for season 3, or if you start without one and pick it up partway through, you're in good company. You can do a full-cast immersive found-footage show with sound effects, you can do an audiobook as a podcast, and you can do anything in between!

Feel free to add corrections, context, and additional notes to any of the above. I'm not a history expert, I'm just a nerd with internet access.

Peace and love on every planet, y'all.

[bhushans]

Meeting the Needs of a Growing Population: The Evolving Global Enteral Feeding Devices Market

The global enteral feeding devices market is poised for significant growth, reaching an estimated US$ 4.1 billion by 2033, according to a recent report by Future Market Insights (FMI). This translates to a projected Compound Annual Growth Rate (CAGR) of 4.0% over the forecast period (2023-2033).

According to a new industry analysis published by Future industry Insights (FMI), the worldwide enteral feeding device market is expected to grow substantially in terms of value between 2020 and 2030. Every year, about a million new instances of stomach cancer are discovered, according to the US National Library of Medicine National Institutes of Health. Among the unpleasant side symptoms of the illness are indigestion, nausea, and abdominal pain, which make it more challenging to eat as directed.

Since enteral feeding devices facilitate the administration of food either orally or directly through the small intestine, the demand for them is growing in direct proportion to the number of cases. In addition to stomach cancer, the incidence of diverticulitis, hemorrhoids, perianal infections, and irritable bowel syndrome (IBS) is on the rise.

Preview Next-Level Insights Sample :

In a similar vein, the need for enteral feeding equipment is increasing due to the growing elderly population. Due to the high prevalence of chronic diseases in the senior population, which makes eating difficult, enteral feeding systems are required.

Enteral Feeding Devices Market — Key Takeaways :

The global enteral feeding devices market will expand at a healthy CAGR of 6.6% through 2030 and will surge past valuation of US$ 6 Bn.

Among applications, oncology is expected to drive the majority of demand for the devices as consumption of food naturally becomes onerous due to chemotherapy sessions.

Feeding pumps are expected to remain the most sought-out product types, gaining traction among more than 6 out of the 10 healthcare providers worldwide.

Nasoenteric tubes are gaining prominence among healthcare institutions, owing to their efficiency in administering nutrients to patients suffering from neurological disorders, dementia, and lateral sclerosis.

Although hospitals remain the leading end-users, the home care settings segment is forecasted to account for a significant share in the market value.

Enteral Feeding Devices Market — Key Trends

COVID-19 is expected to catalyze the growth of the market as a result of the infection which comprises the patient’s ability to intake solid food, thus asserting medical professionals to administer enteral feeding.

With the weight of the enteral feeding devices being a major limitation, manufacturers are now focusing on developing lightweight products to transmute the restrain into opportunity.

Enteral Feeding Devices Market — Regional Analysis

North America and Europe are expected to cumulatively account for nearly 70% of overall market value, with the former holding 40% of the share.

The dominance of these regions is attributed to favorable medical policies and the strong presence of market players.

Asia Pacific is forecasted to register tremendous growth on the back of rising healthcare expenditure, the presence of a large patient pool, and a burgeoning number of preterm births.

Enteral Feeding Devices Market — Competitive Landscape

Major market players operating in the market include ICU Medical, Boston Scientific Corporation, Fresenius Kabi, Abbott Laboratories, Cook Medical, Cardinal Health, Inc., Becton Dickinson & Company, and Dynarex Corporation among others. Market players are focusing on developing innovative products with low weight to increase portability.

On these lines, Infinity Feeding Pumps launched the Zevex EnteraLite Infinity Feeding Pump, which weighs less than one pound.

Key Contributors:

Abbott Nutrition

ALCOR Scientific

Applied Medical Technology

B. Braun Melsungen AG

Boston Scientific

CONMED Corporation

Cook Medical

Cardinal Health, Inc.

Becton, Dickinson, and Company

Fresenius Kabi

Owens & Minor, Inc. (Halyard Health)

Medline

Moog

Nestlé Health Science

Danone SA

Vygon SA

Amsino International, Inc.

Fuji Systems Corp

Neomed

Smiths Medical (Smiths Group)

Key Segments:

By Product Type:

Enteral Feeding Pumps

Nasogastric Tubes

Nasojejunal Tubes

Percutaneous Endoscopic Gastrostomy (PEG) Kit

PEG Balloon Kit

PEG Non-Balloon Kit

Replacement G-Tubes

Replacement Balloon G-Tubes

Replacement Non-Balloon G-Tubes

Percutaneous Endoscopic Gastro-Jejunostomy (PEGJ) Tubes

Low-profile Tubes

Low-profile Balloon Tubes

Low-profile Non-Balloon Tubes

By Age Group:

Adult

Pediatric

By End User:

Hospital

Clinic

Ambulatory Surgical Center

Home Care Setting

By Region:

North America

Latin America

Europe

Asia Pacific (APAC)

The Middle East & Africa (MEA)

[mitalipingale]

The Enteral Feeding Devices Market in 2023 is US$ 3.96 billion, and is expected to reach US$ 6.87 billion by 2031 at a CAGR of 7.12%.

[medically-a-ms-tree]

This post has both made my heart so full and brought tears to my eyes. Thank you for raising awareness around #enteralfeeding, #gastroparesis, #superiormesentericarterysyndrome, #elhersdanlossyndrome, #dysmotility, #nasojenunal, #medicallycomplex, #heds, #chronicillness, #tubefeeding, #medicalisedlife, and done it through your art and love for all things owl house. Thank you for being my Luz and making sure I’ve never felt alone in my transition to tube feeding. You are beyond amazing.

Luz is helping Hunter to do his meds, not because he really needs it, but because it's an excuse for them to spend time talking together, Hunter takes medication to help him digest food and not throw up, bur even then, he can only have around one small meal a day for purely social and taste reasons, he gets near no nutritional value from it.

Description: Hunter and Luz are sitting on the bottom bunk of the bed (so Hunter can manage being connected overnight easily). Luz is running the meds through his line while they both chat enthusiastically and happily. There is a wolf plush on the bed.