Dose-painting intensity-modulated proton therapy for intermediate- and high-risk meningioma.

BACKGROUND Newly diagnosed WHO grade II-III or any WHO grade recurrent meningioma exhibit an aggressive behavior and thus are considered as high- or intermediate risk tumors. Given the unsatisfactory rates of disease control and survival after primary or adjuvant radiation therapy, optimization of treatment strategies is needed. We investigated the potential of dose-painting intensity-modulated proton beam-therapy (IMPT) for intermediate- and high-risk meningioma. MATERIAL AND METHODS Imaging data from five patients undergoing proton beam-therapy were used. The dose-painting target was defined using [68]Ga-[1,4,7,10-tetraazacyclododecane tetraacetic acid]- d-Phe(1),Tyr(3)-octreotate ([68]Ga-DOTATATE)-positron emission tomography (PET) in target delineation. IMPT and photon intensity-modulated radiation therapy (IMRT) treatment plans were generated for each patient using an in-house developed treatment planning system (TPS) supporting spot-scanning technology and a commercial TPS, respectively. Doses of 66 Gy (2.2 Gy/fraction) and 54 Gy (1.8 Gy/fraction) were prescribed to the PET-based planning target volume (PTVPET) and the union of PET- and anatomical imaging-based PTV, respectively, in 30 fractions, using simultaneous integrated boost. RESULTS Dose coverage of the PTVsPET was equally good or slightly better in IMPT plans: dose inhomogeneity was 10 ± 3% in the IMPT plans vs. 13 ± 1% in the IMRT plans (p = 0.33). The brain Dmean and brainstem D50 were small in the IMPT plans: 26.5 ± 1.5 Gy(RBE) and 0.002 ± 0.0 Gy(RBE), respectively, vs. 29.5 ± 1.5 Gy (p = 0.001) and 7.5 ± 11.1 Gy (p = 0.02) for the IMRT plans, respectively. The doses delivered to the optic structures were also decreased with IMPT. CONCLUSIONS Dose-painting IMPT is technically feasible using currently available planning tools and resulted in dose conformity of the dose-painted target comparable to IMRT with a significant reduction of radiation dose delivered to the brain, brainstem and optic apparatus. Dose escalation with IMPT may improve tumor control and decrease radiation-induced toxicity.

Art, Painting

Signatur des Originals: S 36/F12235

The Merry Musician. From the painting by Gerrit van Honthorst. In the Museum at Amsterdam

Signatur des Originals: S 36/G04512

Fábrica de sueños

Es licenciado en Artes Plásticas de la Universidad Nacional de Cuyo Mendoza- Argentina Ha recibido 24 premios en su actividad como grabador, dibujante y pintor La pintura de Thormann puede enrolarse dentro de la corriente surrealista con un marcado expresionismo dado por líneas, texturas y colores que le otorgan fuertes y personales caracteristicas Es miembro de jurados de salones provinciales y nacionales Es profesor titular de la cátedra de dibujo en la carrera de diseño de la Universidad Champagnat y docente del colegio San Jorge, Mendoza Argentina Diseñó y realizó las cajas lumínicas de la fiesta nacional de la vendimia 2004 Su actividad incluye exposiciones, cursos y trabajos docentes en distintas ciudades de Latinoamérica. Sus obras se exponen y forman parte de colecciones privadas y públicas en Chile, Canada, Taiwán, Mexico, España, Inglaterra y USA Actualmente reside en Mendoza, Argentina

The sand hill [Material gráfico] : engraved from an original painting of D. Teniers...

Inscripción en ángulo inf. derech.: "Nº 23"

El cuarto propio de Eileen Gray. "Tempe à pailla" 1932-1934: síntesis Crítica de un Aprendizaje Arquitectónico

En esta tesis se estudia la vivienda “Tempe à pailla” (1932-1934) construida por Eileen Gray para uso propio, en la localidad francesa de Castellar. La expresión “cuarto propio” en el título del trabajo identifica este proyecto con la búsqueda de un lugar para la autoexperimentación. “Tempe à pailla” es el resultado de una enseñanza autodidacta adquirida por Eileen Gray gracias a la convivencia con los protagonistas del movimiento moderno, en el marco de la Francia de entreguerras. Las experiencias artesanales de E. Gray previas a la arquitectura y los instrumentos de aprendizaje permiten comprender el desarrollo de una mente crítica que cuestiona continuamente lo observado. Por ello, para demostrar la influencia de los postulados de los movimientos contemporáneos en la evolución de sus creaciones, y como preámbulo al análisis de “Tempe à pailla” se realiza un recorrido por las técnicas experimentadas y se analizan dos de sus primeros ejercicios de proyecto: “Vivienda de tres plantas” (1923) y “Maison pour un ingénieur” (1926). La enseñanza adquirida en torno a la herramienta del dibujo analítico y técnico, junto a su investigación en el campo de lo pictórico trasladada al mobiliario realizado en laca, o al diseño y tejido de tapices, constituyen un conjunto de prácticas que desembocan, primero en el acondicionamiento de interiores, para ensayar novedosas composiciones espaciales entre sus objetos y, por último, en el proyecto de arquitectura como disciplina capaz de conjugar todo lo experimentado anteriormente. El binomio Intuición más Método, en todos estos itinerarios prácticos de Eileen Gray, combinado con una mirada atenta hacia las obras, exposiciones, lecturas y revistas especializadas de su tiempo, amalgaman una personalidad compleja que investigó progresivamente, primero en el ámbito de la domesticidad, y en su etapa de madurez en torno a los mínimos de habitar y a los espacios colectivos. El propósito de esta tesis es descubrir cómo los aspectos sociales, artísticos y arquitectónicos del contexto, entrelazados con la propia subjetividad crítica de la arquitecto conforman los fundamentos de esta vivienda y condicionan las decisiones de una mente que proyecta copiando, reelaborando y descartando entre lo conocido y lo aprendido. La elección de esta casa como protagonista de la investigación persigue, en primer lugar, descubrir su relación con los discursos del momento, constituyéndose en objeto arquitectónico paradigmático de un diálogo continuado y abierto. Y en segundo lugar, establecer una síntesis valorativa de la coherencia o la falta de ella en las decisiones objetivas del proyecto, confrontándolas con otros ejemplos. Para alcanzar estos dos objetivos se ha diseccionado la casa desde cinco perspectivas: su vínculo con la preexistencia del lugar, su organización en planta alejada de cualquier tipo normalizado, su vocabulario como reflejo de la modernidad, las relaciones espacio-temporales conseguidas y la sinergia establecida entre el equipamiento doméstico y la arquitectura. Este desarrollo ha hecho posible situar “Tempe á pailla” como un punto de inflexión en la arquitectura de Eileen Gray, y un ejemplo donde fue capaz de anticipar las futuras revisiones del movimiento moderno en aspectos como: la adecuación y empatía de lo construido con el lugar de emplazamiento, el rechazo a las connotaciones del concepto de “machine d’habiter” y la búsqueda de un confort enfatizado por la percepción, la experiencia e incluso los efectos psicológicos del interior doméstico. La relectura de esta casa, enmarcada dentro de la trayectoria práctica de su autora, invita a fijar la mirada en un inexcusable aprendizaje, previo a lo arquitectónico, que aúne la TEORÍA y la PLÁSTICA del momento con ensayos materializados en la PRÁCTICA, demostrando que, para madurar el conocimiento y proyectar con criterio crítico, es imprescindible el factor TIEMPO. ABSTRACT This thesis examines the housing “Tempe à pailla” (1932-1934) built by Eileen Gray for her own use, in the French village of Castellar. The expression “own room” in the title of the work identifies this project as the searching for a place for self experimentation. “Tempe à pailla” is the result of a self-directed learning acquired by the authoress due to coexistence with the protagonists of the modern movement, within the framework of the interwar France. Gray’s craft experiences previous to the architecture along the learning tools allow us to understand the development of a critical mind that questions continuously what she observes. Therefore to demonstrate the influence of the postulates of the contemporary movements in the evolution of her creations, and as a preamble to analysis of “Tempe à pailla”, this thesis makes a tour, along the techniques that she experienced, and studies two of her first exercises of project: “Three-storey housing”(1923) and “Maison pour an ingénieur” (1926). Lesson learned around the analytical tool of architectural drawing, together her research in the field of painting transferred to furniture made in lacquer, or to the design and fabric of tapestries, they constitute a set of craft experiences that lead, first in the conditioning of interiors, rehearsing novel spatial compositions among her objects and finally in the architectural project as a discipline capable of combining everything she learnt previously The binomial Intuition plus Method in all of these practicals Eileen Gray’s itineraries, combined with her look toward the works, exhibitions, readings and journals of her time, become together a complex personality that progressively innovates firstly in the context of domesticity and, in her stage of maturity, on the minimum living and collective spaces. The purpose of this thesis is to discover how the social, artistic and architectural aspects of the context, interlaced with the own critical subjectivity of the architect shape the foundations of this housing and determine the decisions of a mind that projects copying, re-elaborating and rejecting among the aspects known and learned. The choice of this house as the protagonist of the thesis aims, first to discover the relationship with the speeches of her time, becoming a paradigmatic architectural object of a continued and open dialogue. And secondly, to establish a evaluative synthesis of the consistency or lack of it in the project decisions, confronting them with others appropriate examples. To achieve these two objectives the house has been dissected from five perspectives: Its link with the preexistence of the place, its organization on floor away any standard type, its vocabulary as a reflection of modernity reached spatial-temporal relations and the synergy established between the domestic equipment and architecture. The development has made possible to place “Tempe à pailla” as a turning point in the architecture of Eileen Gray, and an example where she was able to anticipate future revisions of the modern movement in aspects such as: adaptation and empathy of the architecture with the site, the rejection of the connotations of the concept of “machine d’habiter” and the pursuit of comfort emphasized by the perception, the experience and even the psychological effects of the domestic interior. The re-reading of this singular and reduced House, framed within the practical trajectory of her authoress, invites to gaze inexcusable learning prior to the architecture, which combines the THEORY and the PLASTIC with trials materialized in PRACTICE, demonstrating that the essential factor to mature knowledge and planning with critical criteria, is the TIME.

Painting of fourth, a chromosome-specific protein in Drosophila

Chromosome-specific gene regulation is known thus far only as a mechanism to equalize the transcriptional activity of the single male X chromosome with that of the two female X chromosomes. In Drosophila melanogaster, a complex including the five Male-Specific Lethal (MSL) proteins, “paints” the male X chromosome, mediating its hypertranscription. Here, with the molecular cloning of Painting of fourth (Pof), we describe a previously uncharacterized gene encoding a chromosome-specific protein in Drosophila. Unlike the MSL proteins, POF paints an autosome, the fourth chromosome of Drosophila melanogaster. Chromosome translocation analysis shows that the binding depends on an initiation site in the proximal region of chromosome 4 and spreads in cis to involve the entire chromosome. The spreading depends on sequences or structures specific to chromosome 4 and cannot extend to parts of other chromosomes translocated to the fourth. Spreading can also occur in trans to a paired homologue that lacks the initiation region. In the related species Drosophila busckii, POF paints the entire X chromosome exclusively in males, suggesting relationships between the fourth chromosome and the X and between POF complexes and dosage-compensation complexes.

Development of a bovine X chromosome linkage group and painting probes to assess cattle, sheep, and goat X chromosome segment homologies.

The X chromosome linkage group is conserved in placental mammals. However, X chromosome morphological differences, due to internal chromosome rearrangements, exist among mammalian species. We have developed bovine chromosome painting probes for Xp and Xq to assess segment homologies between the submetacentric bovine X chromosome and the acrocentric sheep and goat X chromosomes. These painting probes and their corresponding DNA libraries were developed by chromosome micromanipulation, DNA micropurification, microcloning, and PCR amplification. The bovine Xp painting probe identified an interstitially located homologous segment in the sheep and goat Xq region, most probably resulting from chromosome inversion. Ten type II (microsatellite) markers obtained from the bovine Xq library and five other X chromosome assigned, but unlinked, markers were used to generate a linkage map for Xq spanning 89.4 centimorgans. The chromosome painting probes and molecular markers generated in this study would be useful for comparative mapping and tracing of internal X chromosome rearrangements in all ruminant species and would contribute to the understanding of mammalian sex chromosome evolution.