Left orthotopic lung transplant in rats: the learning process.

INTRODUCTION: The orthotopic left lung transplantation model in rats has been developed to answer a variety of scientific questions in transplant immunology and in the related fields of respiratory diseases. However, its widespread use has been hampered by the complexity of the procedure. AIM OF THE RESEARCH: Our purpose is to provide a detailed description of the procedure of this technique, including the complications and difficulties from the very first microsurgical step until the ultimate successful completion of the transplant procedure. MATERIALS AND METHODS: The transplant procedures were performed by two collaborating transplant surgeons with microsurgical and thoracic surgery skills. A total of 150 left lung transplants in rats were performed. Twenty-seven syngeneic (Lewis to Lewis) and 123 allogeneic (Brown-Norway to Lewis) lung transplants were performed using the cuff technique. RESULTS: In first 50 transplant procedures, post-transplant survival rate was 74% of which 54% reached the end-point of 3 or 7 days post-transplant; whole complication rate was 66%. In the subsequent 50 transplant surgeries (from 51 to 100) post-transplant survival rate increased to 88% of which 56% reached the end-point; whole complication rate was 32 %. In the final 50 transplants (from 101 to 150) post-transplant survival rate was confirmed to be 88% of which 74% reached the end-point; whole complication rate was again 32 %. CONCLUSIONS: One hundred-fifty transplants can represent a reasonable number of procedures to obtain a satisfactory surgical outcome. Training period with simpler animal models is mandatory to develop anesthesiological and microsurgical skills required for successfully develop this model. The collaboration between at least two microsurgeons is mandatory to perform all the simultaneous procedures required for completing the transplant surgery.

Computational creativity: an interdisciplinary approach to sequential learning and creative generations

Creativity seems mysterious; when we experience a creative spark, it is difficult to explain how we got that idea, and we often recall notions like ``inspiration" and ``intuition" when we try to explain the phenomenon. The fact that we are clueless about how a creative idea manifests itself does not necessarily imply that a scientific explanation cannot exist. We are unaware of how we perform certain tasks, such as biking or language understanding, but we have more and more computational techniques that can replicate and hopefully explain such activities. We should understand that every creative act is a fruit of experience, society, and culture. Nothing comes from nothing. Novel ideas are never utterly new; they stem from representations that are already in mind. Creativity involves establishing new relations between pieces of information we had already: then, the greater the knowledge, the greater the possibility of finding uncommon connections, and the more the potential to be creative. In this vein, a beneficial approach to a better understanding of creativity must include computational or mechanistic accounts of such inner procedures and the formation of the knowledge that enables such connections. That is the aim of Computational Creativity: to develop computational systems for emulating and studying creativity. Hence, this dissertation focuses on these two related research areas: discussing computational mechanisms to generate creative artifacts and describing some implicit cognitive processes that can form the basis for creative thoughts.