Determination of chitin content in fungal cell wall: an alternative flow cytometric method

The conventional methods used to evaluate chitin content in fungi, such as biochemical assessment of glucosamine release after acid hydrolysis or epifluorescence microscopy, are low throughput, laborious, time-consuming, and cannot evaluate a large number of cells. We developed a flow cytometric assay, efficient, and fast, based on Calcofluor White staining to measure chitin content in yeast cells. A staining index was defined, its value was directly related to chitin amount and taking into consideration the different levels of autofluorecence. Twenty-two Candida spp. and four Cryptococcus neoformans clinical isolates with distinct susceptibility profiles to caspofungin were evaluated. Candida albicans clinical isolate SC5314, and isogenic strains with deletions in chitin synthase 3 (chs3Δ/chs3Δ) and genes encoding predicted Glycosyl Phosphatidyl Inositol (GPI)-anchored proteins (pga31Δ/Δ and pga62Δ/Δ), were used as controls. As expected, the wild-type strain displayed a significant higher chitin content (P < 0.001) than chs3Δ/chs3Δ and pga31Δ/Δ especially in the presence of caspofungin. Ca. parapsilosis, Ca. tropicalis, and Ca. albicans showed higher cell wall chitin content. Although no relationship between chitin content and antifungal drug susceptibility phenotype was found, an association was established between the paradoxical growth effect in the presence of high caspofungin concentrations and the chitin content. This novel flow cytometry protocol revealed to be a simple and reliable assay to estimate cell wall chitin content of fungi.

Tendências dos processos de profissionalização no campo da saúde

Neste artigo, resultante de uma comunicação proferida nas III Jornadas de Ciências Sociais e Humanas em Saúde, abordam-se as dinâmicas presentes nas relações profissionais e as tendências dos processos de profissionalização que ocorrem no campo da saúde. O trabalho de investigação empírica, realizado no quadro de um estudo de caso sobre os técnicos de cardiopneumologia e o desenvolvimento da reflexão sobre o tema, constituem o ponto de partida da análise sobre o tema que toma como referência o conjunto dos grupos socioprofissionais deste setor. Após enquadrar os contextos de transformação social que têm ocorrido desde as últimas décadas do século XX e a forma como incidiram no campo da saúde, bem como na recomposição dos respetivos grupos socioprofissionais, salientam-se cinco tendências relativas aos processos de profissionalização observadas neste setor, relacionadas com as relações de poder e dominação profissional; os efeitos da delegação de tarefas e competências ao nível da transferência de legitimidade entre os grupos socioprofissionais; o grau de autonomia; a variabilidade das situações quotidianas ocorridas em diferentes contextos de trabalho que se traduz numa disparidade de tendências muitas vezes contraditórias e paradoxais entre si; o efeito das alterações recentes nos cenários de inserção profissional, num contexto de crescente precariedade e desregulação do mercado de trabalho.

Weaving encounters: towards an art of participation

In the early 21st Century, with the phenomenon of digital convergence, the consecration of Web 2.0, the decrease of the cost of cameras and video recorders, the proliferation of mobile phones, laptops and wireless technologies, we witness the arising of a new wave of media, of an informal, personal and at times “minority” nature, facilitating social networks, a culture of fans, of sharing and remix. As digital networks become fully and deeply intricate in our experience, the idea of “participation” arises as one of the most complex and controversial themes of the contemporary critical discourse, namely in what concerns contemporary art and new media art. However, the idea of “participation” as a practice or postulate traverses the 20th century art playing an essential role in its auto-critic, in questioning the concept of author, and in the dilution of the frontiers between art, “life” and society, emphasizing the process, the everyday and a community sense. As such, questioning the new media art in light of a “participatory art” (Frieling, 2008) invokes a double gaze simultaneously attentive to the emerging figures of a “participatory aesthetics” in digital arts and of the genealogy in which it is included. In fact, relating the new media art with the complex and paradoxical phenomenon of “participation” allows us to, on the one hand, avoid “digital formalism” (Lovink, 2008) and analyse the relations between digital art and contemporary social movements; on the other hand, this angle of analysis contributes to reinforce the dialogue and the links between digital art and contemporary art, questioning the alleged frontiers that separate them.