An inter-laboratory validation of methods of lipid peroxidation measurement in UVA-treated human plasma samples

Lipid peroxidation products like malondialdehyde, 4-hydroxynonenal and F(2)-isoprostanes are widely used as markers of oxidative stress in vitro and in vivo. This study reports the results of a multi-laboratory validation study by COST Action B35 to assess inter-laboratory and intra-laboratory variation in the measurement of lipid peroxidation. Human plasma samples were exposed to UVA irradiation at different doses (0, 15 J, 20 J), encoded and shipped to 15 laboratories, where analyses of malondialdehyde, 4-hydroxynonenal and isoprostanes were conducted. The results demonstrate a low within-day-variation and a good correlation of results observed on two different days. However, high coefficients of variation were observed between the laboratories. Malondialdehyde determined by HPLC was found to be the most sensitive and reproducible lipid peroxidation product in plasma upon UVA treatment. It is concluded that measurement of malondialdehyde by HPLC has good analytical validity for inter-laboratory studies on lipid peroxidation in human EDTA-plasma samples, although it is acknowledged that this may not translate to biological validity.

Nancy Spero: pain and politics, 1966-1976

The ten-year period that started with Nancy Spero’s War Series (1966-70) and ended with the completion of Torture of Women (1974-6) were of vital importance to the development of this key figure of feminist art. This was the moment when Spero turned her focus to politics, departing from a practice that was concerned with personal disaffection, instead focusing on profoundly social concerns. Essential to this evolution is a focus on pain. From the War Series through the Artaud Paintings (1970-71), Codex Artaud (1971-2), and Torture of Women, pain, both internal and external, was imagined in multiple forms. In Spero’s explorations of the theme, pain becomes metaphoric of the experience of women living under patriarchy, an amorphous but still profoundly disabling sensation that attacks both body and mind. This thesis explores Spero’s use of physical pain during moment of feminist art’s emergence, seeing it as a political metaphor for the way in which patriarchy invisibly controls and undermines women. Framed broadly by the question of art's relationship with politics during this turbulent period of anti-war and feminist activism, this thesis closely examines the way in which an analogy to pain figures the body in the work in complex terms, pursuing an ideological ambition through recourse to feeling.

Petrus Hispanus O.P. Auctor Summularum (III) ¿”Petrus Alfonsi” o “Petrus Ferrandi”?

Este artículo pretende ser complemento y continuación de mis anteriores trabajos sobre la figura de Petrus Hispanus O. P., Auctor Summularum. Comienzo presentando algunos nuevos documentos relacionados con las cuestiones ya examinadas en mis artículos de 1997 y 2001. A continuación, me ocupo de las cuestiones aplazadas en el artículo de 2001: los problemas relativos a la figura de “Petrus Ferrandi” y su posible relación con el “auctor Summularum”, así como los argumentos de Tugwell contra la hipótesis de la posible identidad de estas dos figuras, examinados ahora desde la perspectiva del autor de la Legenda prima. Tras analizar testimonios procedentes de muy diversos ámbitos, afirmo, por una parte, que la hipótesis de la identidad entre “Petrus Ferrandi” y “Petrus Hispanus” podría ser correcta y, por otra parte, que no hay argumentos concluyentes que obliguen a afirmar con seguridad que el autor de la Legenda prima es Pedro Ferrando. Aunque los análisis no permiten por el momento determinar si es “Petrus Alfonsi” o “Petrus Ferrandi” el “auctor Summularum”, los testimonios recogidos y las conexiones establecidas contribuirán, sin duda, a orientar futuras investigaciones en torno a la figura de “Petrus Hispanus”.

A experiência no Tai Chi: possibilidades para pensar o corpo sem órgãos e a preparação do ator

Although research in the field of performing arts has substantially advanced over the last century, the actor, in general, still needs a repertoire of specific references to guide or support his practice. But how the actor must work the material foundation of his art that is his own body? Starting from a prerogative of a idiosyncrasy that is part of theater, this study intend, from the description and reflection about one physical experience with the Tai Chi, to weave relations between this experience and the possible developments of acting preparation. This research is also aimed to highlight the elements of connection between the principles that rules Tai Chi and the body without organs, idealized by Artaud, with the perspective of pointing possible contributions for actors work. The work presented here refers to a qualitative study that considers the body experience in practice of Tai Chi as a reference to dialogue and reflect about the acting preparation. The process of acting preparation presupposes a constant redoing of the body by certain practices. My experience with Tai Chi within this research allowed me verify that the work from established body techniques could be a way of technical preparation for the actor. As the body conscience expands, Tai Chi promotes a greater freedom of creation and expression, giving the actor the possibility of experience the body without organs, the artistic equivalent of the daily body, present, conscious, the organic foundation of emotions, in wich it is possible the materiality of ideas

Holography, probe branes and isoperimetric inequalities

In many instances of holographic correspondences between a d-dimensional boundary theory and a (. d+. 1)-dimensional bulk, a direct argument in the boundary theory implies that there must exist a simple and precise relation between the Euclidean on-shell action of a (. d-. 1)-brane probing the bulk geometry and the Euclidean gravitational bulk action. This relation is crucial for the consistency of holography, yet it is non-trivial from the bulk perspective. In particular, we show that it relies on a nice isoperimetric inequality that must be satisfied in a large class of Poincaré-Einstein spaces. Remarkably, this inequality follows from theorems by Lee and Wang.

Contributo de betões de cânhamo na regulação passiva da humidade no interior dos edifícios

Verifica-se um crescimento no interesse do uso de materiais de construção amigos do ambiente, tais como o betão de cânhamo, devido à necessidade de minimizar o impacto ambiental do sector da construção nas mudanças climáticas. O betão de cânhamo possui reduzida energia incorporada durante o processo de fabrico devido à sua composição: elevado teor de fibras de cânhamo, um ligante e água que formam uma pasta que aglutina as fibras. Este material de construção pode ser utilizado em elementos de alvenaria leves ou, geralmente, em placas de revestimento e isolamento. É muito higroscópico, podendo trazer vantagens a nível de economia energética, bem como da saúde e conforto térmico dos habitantes do espaço onde é aplicado. Apresenta-se um estudo experimental que teve como objetivo comparar a higroscopicidade de três tipos de betões de cânhamo e a correspondente capacidade de contribuírem para a regulação da humidade relativa (HR) no interior dos edifícios. Os betões diferem fundamentalmente no tipo de ligante utilizado nas suas formulações: cal aérea (PF70), cal hidráulica (Calco) e um ligante não identificado produzido pelo Grupo Parex (NL). Pretendeu-se ainda avaliar a contribuição da espessura de material nessa função de regulação passiva da HR. Provetes com distintas espessuras dos três betões foram sujeitos ao ensaio de determinação do Moiture Buffering Value (MBV), com ciclos diários de variação de HR: 8h a 75% de HR e 16h a 33% de HR em condições isotérmicas (23°C). Registou-se um bom MBV e não foi detetada uma diferença significativa na capacidade higroscópica dos diferentes betões, formulados com os distintos ligantes. A análise dos resultados, feita com o auxílio de modelos teóricos, permitiu destacar que a espessura envolvida na regulação da HR se mantém, na generalidade, limitada a 5cm em todas as formulações em estudo. Contudo, algumas irregularidades da superfície podem ter um forte impacto sobre a espessura ativa.

Do pouco mais que nada até ao coletivo orgânico (sobre o processo de criação do espetáculo Tem dói-dói?)

Dissertação de Mestrado, Comunicação, Cultura e Artes, Especialização em Teatro e Intervenção Social e Cultural, Faculdade de Ciências Humanas e Sociais, Universidade do Algarve, 2014

S.P.O.T.: Sensações, paixões, ódios e taras - a vida em palco: Relatório de estágio em assistência de encenação do espectáculo

Este estágio permitiu-me reflectir sobre questões fundamentais para a minha formação em Dramaturgia e Encenação. A capacidade de trabalho e coordenação requeridas a um encenador tomaram-se preocupações concretas no meu trabalho. Ter a noção de todos os elementos a ter em conta para criar um espectáculo permitiu-me compreender a importância individual de cada um, bem como a minúcia da harmonização entre eles. Esta viagem começa na origem e compreensão do texto, passando pela análise do trabalho do encenador, e culminando na observação da evolução do meu trabalho. Executar o que até agora apenas conhecia das linhas escritas por Peter Brook, Artaud, Stanislavki, António Damásio e Erving Goffman, entre outros, significa levantar um véu e ver com os meus olhos as texturas que compõem a arte do Teatro. ABSTRACT: This training period opened the field for broader reflection on fundamental issues related to Dramatology and Staging Techniques. The skills acquired, the coordination, and the endurance demanded from a stage director showed the actual dimension of the whole that one must consider when creating a show. namely. by understanding the importance of each and every individual on stage as well as the difficult minute details necessary to develop a sense of harmony with different parts. My voyage starts with the work, ending with the criticism of my own work. With practical staging experience - unveiling the most significant textures in the art of Theatre - I fully realized the writing of authors such as Brook. Artaud. Stanislavski, Damacio and Goffman.

A experiência no Tai Chi: possibilidades para pensar o corpo sem órgãos e a preparação do ator

Although research in the field of performing arts has substantially advanced over the last century, the actor, in general, still needs a repertoire of specific references to guide or support his practice. But how the actor must work the material foundation of his art that is his own body? Starting from a prerogative of a idiosyncrasy that is part of theater, this study intend, from the description and reflection about one physical experience with the Tai Chi, to weave relations between this experience and the possible developments of acting preparation. This research is also aimed to highlight the elements of connection between the principles that rules Tai Chi and the body without organs, idealized by Artaud, with the perspective of pointing possible contributions for actors work. The work presented here refers to a qualitative study that considers the body experience in practice of Tai Chi as a reference to dialogue and reflect about the acting preparation. The process of acting preparation presupposes a constant redoing of the body by certain practices. My experience with Tai Chi within this research allowed me verify that the work from established body techniques could be a way of technical preparation for the actor. As the body conscience expands, Tai Chi promotes a greater freedom of creation and expression, giving the actor the possibility of experience the body without organs, the artistic equivalent of the daily body, present, conscious, the organic foundation of emotions, in wich it is possible the materiality of ideas

Poïétique de la création sonore au cinéma : la figure de l’artiste-poïéticien

Nous proposons, dans ce mémoire, d’explorer les possibilités pratiques et pédagogiques d’une approche autopoïétique de la création sonore au cinéma. Notre principal souci sera de saisir les modalités de l’ascèse propre aux artistes qui se livrent à une telle activité, comprise comme un « apprentissage de soi par soi » (Foucault), afin de faire celui qui peut faire l’œuvre (processus de subjectivation), et le rôle descriptif et opératoire de cet exercice - en tant qu’effort pour penser de façon critique son propre savoir-faire -, dans le faire-œuvre et l’invention de possibles dans l’écriture audio-visuelle cinématographique. Pour ce faire, d’une part, nous étudierons, à partir de témoignages autopoïétiques, le rapport réflexif de trois créateurs sonores à leur pratique et leur effort pour penser (et mettre en place) les conditions d’une pratique et d’une esthétique du son filmique comme forme d’art sonore dans un contexte audio-visuel, alors qu’ils travaillent dans un cadre normalisant : Randy Thom, Walter Murch et Franck Warner. D’autre part, nous recourrons à différentes considérations théoriques (la théorie de l’art chez Deleuze et Guattari, la « surécoute » chez Szendy, l’histoire de la poïétique à partir de Valéry, etc.) et pratiques (la recherche musicale chez Schaeffer, la relation maître-apprenti, les rapports entre automatisme et pensée dans le cinéma moderne chez Artaud et Godard, etc.), afin de contextualiser et d’analyser ces expériences de création, avec l’objectif de problématiser la figure de l’artiste-poïéticien sur un plan éthique dans le sillage de la théorie des techniques de soi chez Foucault.

Integration of a graph-based model indexer in commercial modelling tools

Softeam has over 20 years of experience providing UML-based modelling solutions, such as its Modelio modelling tool, and its Constellation enterprise model management and collaboration environment. Due to the increasing number and size of the models used by Softeam’s clients, Softeam joined the MONDO FP7 EU research project, which worked on solutions for these scalability challenges and produced the Hawk model indexer among other results. This paper presents the technical details and several case studies on the integration of Hawk into Softeam’s toolset. The first case study measured the performance of Hawk’s Modelio support using varying amounts of memory for the Neo4j backend. In another case study, Hawk was integrated into Constellation to provide scalable global querying of model repositories. Finally, the combination of Hawk and the Epsilon Generation Language was compared against Modelio for document generation: for the largest model, Hawk was two orders of magnitude faster.

Poïétique de la création sonore au cinéma : la figure de l’artiste-poïéticien

Nous proposons, dans ce mémoire, d’explorer les possibilités pratiques et pédagogiques d’une approche autopoïétique de la création sonore au cinéma. Notre principal souci sera de saisir les modalités de l’ascèse propre aux artistes qui se livrent à une telle activité, comprise comme un « apprentissage de soi par soi » (Foucault), afin de faire celui qui peut faire l’œuvre (processus de subjectivation), et le rôle descriptif et opératoire de cet exercice - en tant qu’effort pour penser de façon critique son propre savoir-faire -, dans le faire-œuvre et l’invention de possibles dans l’écriture audio-visuelle cinématographique. Pour ce faire, d’une part, nous étudierons, à partir de témoignages autopoïétiques, le rapport réflexif de trois créateurs sonores à leur pratique et leur effort pour penser (et mettre en place) les conditions d’une pratique et d’une esthétique du son filmique comme forme d’art sonore dans un contexte audio-visuel, alors qu’ils travaillent dans un cadre normalisant : Randy Thom, Walter Murch et Franck Warner. D’autre part, nous recourrons à différentes considérations théoriques (la théorie de l’art chez Deleuze et Guattari, la « surécoute » chez Szendy, l’histoire de la poïétique à partir de Valéry, etc.) et pratiques (la recherche musicale chez Schaeffer, la relation maître-apprenti, les rapports entre automatisme et pensée dans le cinéma moderne chez Artaud et Godard, etc.), afin de contextualiser et d’analyser ces expériences de création, avec l’objectif de problématiser la figure de l’artiste-poïéticien sur un plan éthique dans le sillage de la théorie des techniques de soi chez Foucault.