Staurosporine-induced apoptosis and hydrogen peroxide-induced necrosis in two human breast cell lines.

The use of apoptosis-inducing agents in the treatment of malignant cancer is increasingly being considered as a therapeutic approach. In this study, the induction of apoptosis and necrosis was examined in terms of temporal dose responses, comparing a malignant and nonmalignant breast cell line. Staurosporine (SSP)-induced apoptosis and H2O2-induced necrosis were evaluated by two cytotoxicity assays, neutral red (NR) and methyl-thiazolyl tertrazolium (MTT), in comparison with a differential dye uptake assay, using Hoechst33342/propidium iodide (Hoechst/PI). Confirmatory morphological assessment was also performed by routine resin histology and transmission electron microscopy. Cell viability was assessed over a 0.5-48 h time course. In nonmalignant HBL-100 cells, 50 nM SSP induced 100% apoptosis after a 48 h exposure, while the same exposure to SSP caused only 4% apoptosis in metastatic T47D cells. Although complete apoptosis of both cell lines was induced by 50 M SSP, this effect was delayed in T47D (24 h) compared with HBL-100 (4 h). Results also showed that neither MTT or NR can distinguish between the modes of cell death, nor detect the early onset of apoptosis revealed by Hoechst/PI.

Alkynyl-Bridged Ruthenium(II) 4 '-Diferroceny1-2,2 ':6 ',2 ''-terpyridine Electron Transfer Complexes: Synthesis, Structures, and Electrochemical and Spectroscopic Studiese

The novel ligand 4'-diferrocenylallcyne-2,2':6',2 ''-terpyridine (7; Fc-C C-Fc-tpy; tpy = terpyridyl; Fc = ferrocenyl) and its Ru2+ complexes 8-10 have been synthesized and characterized by single-crystal X-ray diffraction, cyclic voltammetry, and UV-vis and luminescence spectroscopy. Electrochemical data and UV absorption and emission spectra indicate that the insertion of an ethynyl group causes delocalization of electrons in the extended pi* orbitals. Cyclic voltammetric measurements of 7 show two successive reversible one-electron-oxidation processes with half-wave potentials of 0.53 and 0.78 V. The small variations of the E-1/2 values for the Fe2+/Fe3+ redox couples after the coordination of the Ru2+ ion suggest a weak interaction between the Ru2+ and Fe2+ centers. After insertion of an ethynyl group, UV-vis absorption spectra show a red shift of the absorption peak of the (1)[(d(pi)(Fe))(6)]->(1)[(d(pi)(Fe))(5)(pi*(Ru)(tpy))(1)] MMLCT of the Ru2+ complexes. The Ru2+ complex 8 exhibits the strongest luminescence intensity (lambda(em)(max) 712 nm, Phi(em) = 2.63 x 10(-4), tau = 323 ns) relative to analogous ferrocene-based terpyridine Ru(II) complexes in H2O/CH3CN (4/1 v/v) solution.

Counselling for sight loss: Using systematic case study research to build a client informed practice model

There is compelling evidence to suggest that acquired sight loss negatively impacts on emotional well-being. Despite increasing recognition of the need to provide emotional support for people with sight loss, we still do not fully understand what counselling interventions help and why they help. The aim of this study was to examine the process and outcome of counselling for a 70-year-old client who had experienced complete, irreversible, post-operative sight loss in order to gain a deeper understanding of client-defined helpful aspects of therapy. A Hermeneutic Single-Case Efficacy Design study was undertaken having received ethical approval from the University's Research Ethics Committee. The client received six sessions of counselling from a vision-impaired counsellor working within a pluralistic framework. Measures were completed by the client at every session, as well as at pre-and post-counselling. All sessions were recorded and transcribed. The client also participated in pre-and post-counselling interviews. Data formed a rich case record that was analysed by a quasi-judicial enquiry team. Results suggested that this was a successful outcome case. Client-defined helpful aspects of therapy were (1) feeling understood; (2) being able to express emotions around the loss of sight; (3) finding a new identity; (4) finding ways to cope with fear, loss, dependency, and other people's perceptions; (5) exploring the possibility of a positive future without sight; (6) making sense of things; and (7) finding ways to become more socially connected. Relevant therapeutic tasks are proposed, and four key aspects of therapy are identified, which may have implications for the development of a practice model.

Towards a general framework for social media research using big data

The increasing adoption of cloud computing, social networking, mobile and big data technologies provide challenges and opportunities for both research and practice. Researchers face a deluge of data generated by social network platforms which is further exacerbated by the co-mingling of social network platforms and the emerging Internet of Everything. While the topicality of big data and social media increases, there is a lack of conceptual tools in the literature to help researchers approach, structure and codify knowledge from social media big data in diverse subject matter domains, many of whom are from nontechnical disciplines. Researchers do not have a general-purpose scaffold to make sense of the data and the complex web of relationships between entities, social networks, social platforms and other third party databases, systems and objects. This is further complicated when spatio-temporal data is introduced. Based on practical experience of working with social media datasets and existing literature, we propose a general research framework for social media research using big data. Such a framework assists researchers in placing their contributions in an overall context, focusing their research efforts and building the body of knowledge in a given discipline area using social media data in a consistent and coherent manner.

Resilience

Over the past decade the concept of ‘resilience’ has been mobilised across an increasingly wide range of policy arenas. For example, it has featured prominently within recent discussions on the nature of warfare, the purpose of urban and regional planning, the effectiveness of development policies, the intent of welfare reform and the stability of the international financial system. The term’s origins can be traced back to the work of the ecologist Crawford S. Holling and his formulation of a science of complexity. This paper reflects on the origins of these ideas and their travels from the field of natural resource management, which it now dominates, to contemporary social practices and policy arenas. It reflects on the ways in which a lexicon of complex adaptive systems, grounded in an epistemology of limited knowledge and uncertain futures, seeks to displace ongoing ‘dependence’ on professionals by valorising self-reliance and responsibility as techniques to be applied by subjects in the making of the resilient self. In so doing, resilience is being mobilised to govern a wide range of threats and sources of uncertainty, from climate change, financial crises and terrorism, to the sustainability of development, the financing of welfare and providing for an aging population. As such, ‘resilience’ risks becoming a measure of its subjects’ ‘fitness’ to survive in what are pre-figured as natural, turbulent orders of things.

Seasons, Family and Nation in American Horror Story

Arguably, the title of American Horror Story sets out an agenda for the program: this is not just a horror story, but it is a particularly American one. This chapter examines the way that the program uses seasonal celebrations as a way of expressing that national identity, with special emphasis on the importance of family to those celebrations. The particular seasonal celebrations focused on are those of Halloween and Christmas, each of which has associations with the supernatural. However, the use of the supernatural at those seasons is one which is particularly associated with the US, presenting Halloween as a time of supernatural incursion and horror, and of disruption to society and the normal order of things, while Christmas is presented more as a time of unity for the family. Where the supernatural emerges in American Christmas television, it is typically as a force to encourage togetherness and reconciliation, rather than as a dark reminder of the past. While these interpretations of these festivals have been broadcast abroad by American cultural products, not least American television, they have different associations and implications elsewhere, as will be shown. So the particular uses of these festivals is part of what marks American Horror Story out as American, as is the way that the program's narratives have been structured to fit in with US television scheduling. This chapter, then, argues that the structures of the narratives combines with their use of the festivals of Halloween and Christmas in order to enhance the sense of this series as a particularly American horror story.

To Hell with Herbert Read

Freee write manifestos by taking a pencil (or a laptop) to an historical text, usually belonging to the entwined traditions of the avant-garde and political activism. Sometimes, as Tristan Tzara advised, we choose the text according to its length, while other times, such as in this instance, we selected the text according to the conditions of the invitation that triggered the writing of the manifesto. Our manifesto ‘To Hell with Herbert Read’ was written originally as a contribution to a conference held in Manchester that took its title from Herbert Read’s book ‘To Hell with Culture’. ‘To Hell with Culture’ is a book that cuts itself off from the world whereas ‘To Hell with Herbert Read’ relocates Read’s book in a world of cultural, social, economic and political actualities that are part of common experience. Read rejects culture because he thinks it is a useless, wasteful, elitist, puffed-up, decorative supplement to the functional, factual, palpable, purposeful world of things. He is a positivist kind of modernist who presents himself as the opposite, an enemy of the status quo. He is an anarchist of a particularly bourgeois hue: he wants us all to have decent pots and pans, not the inferior ones that are supplied by market forces cheaply. Rather than taking his aim precisely to target the dominant forces of his day - the industrial capitalists and their financiers - he rejects the world and all its inhabitants. He not only despises elitist culture but popular culture too.

To Hell with Herbert Read

Freee write manifestos by taking a pencil (or a laptop) to an historical text, usually belonging to the entwined traditions of the avant-garde and political activism. Sometimes, as Tristan Tzara advised, we choose the text according to its length, while other times, such as in this instance, we selected the text according to the conditions of the invitation that triggered the writing of the manifesto. Our manifesto ‘To Hell with Herbert Read’ was written originally as a contribution to a conference held in Manchester that took its title from Herbert Read’s book ‘To Hell with Culture’. ‘To Hell with Culture’ is a book that cuts itself off from the world whereas ‘To Hell with Herbert Read’ relocates Read’s book in a world of cultural, social, economic and political actualities that are part of common experience. Read rejects culture because he thinks it is a useless, wasteful, elitist, puffed-up, decorative supplement to the functional, factual, palpable, purposeful world of things. He is a positivist kind of modernist who presents himself as the opposite, an enemy of the status quo. He is an anarchist of a particularly bourgeois hue: he wants us all to have decent pots and pans, not the inferior ones that are supplied by market forces cheaply. Rather than taking his aim precisely to target the dominant forces of his day - the industrial capitalists and their financiers - he rejects the world and all its inhabitants. He not only despises elitist culture but popular culture too.

Chromatic Aberration

Chromatic Aberration is a film installation which explores the early technologies of colour filmmaking drawn from the archives of George Eastman House, Rochester, New York. Featuring vibrant close-ups of eyes from fledgling archival experiments in colour film, Chromatic Aberration turns the cinematic lens in on itself: from the prosthetic recording eye of the camera, to an evocation of the abstract inner screen of one's eyelids. Early 1920s colour film footage - mainly tests shots featuring members of George Eastman's family as well as Hollywood stars of the time - is shot in such a way so as to reveal the inherent chromatic fringing, distortion and misalignment. Using specialist equipment at the BFI National Archive, London, the footage is reworked through the use of extreme close-up and magnification, honing in on the eyes. The installation evokes an imagined abstract colour world, a flickering eyelid trapped in a mechanical peephole. Exhibitions: Solo exhibition as film installation at Tyneside Cinema (Newcastle, Oct-Nov 2014); Solo exhibition at George Eastman Museum (Rochester, New York, Jan-April 2015), including a second work on display. Film festivals nominations for competitions: Winner of Best Vanguard Film Competition in Lima Independiente International Film Festival (Peru). Nominations: Filmadrid festival (Spain); Curtas Vila do Conde film festival (Portugal); Festival du Nouveau Cinema (Canada); Jihlava International Documentary Film Festival (Czech Republic ); International Film Festival Bratislava (Slovenia). Additional screenings at International Rotterdam Film Festival (Netherlands); European Media Art Festival (Germany); BFI London Film Festival (UK); Mini-retrospective screening at DIM CINEMA, The Cinematheque (Vancouver May 2015). Reviews and interviews in Artforum, The Wire Magazine, After Image, Studio International. Public lectures: with Prof. Sarah Street at Tyneside Cinema (Nov 2014); Royal Academy visiting public lecture (Nov 2014); ‘The Laughter of Things’ symposium, International Film Festival Rotterdam and Piet Zwart Institute (Jan 2015); George Eastman Museum and Rochester University (April 2015). Acquired by the George Eastman Museum for their collection.

Sistema de visão inteligente de baixo custo para parque de estacionamento

Dissertação de mestrado, Engenharia Elétrica e Eletrónica, Instituto Superior de Engenharia, Universidade do Algarve, 2015

Poéticas do testemunho em Maurice Blanchot e Samuel Beckett : o dom da literatura

Tese de doutoramento, Estudos da Literatura e da Cultura (Estudos Comparatistas), Universidade de Lisboa, Faculdade de Letras, 2014

Estar em casa no mundo : Hannah Arendt, crise do sentido e ser do humano

Tese de doutoramento, Filosofia (Filosofia Política), Universidade de Lisboa, Faculdade de Letras, 2015

Aphomoioo : existir entre o processo e a obra

Coming from the need to express an image – aphomoioo – is more than a dissertation trying to prove its argument. It is the result of an experimentation born from within an anguish felt through an image. An uncontrollable desire that transforms my need into an answer to my craft. Through a discursive organization of speech enmeshed by psychoanalytic, biological, philosophical and linguistic concepts, we are allowed to discover that existing is more than agreeing on a target with an end but, as the relationship that it is, it does not define us as beings, but as an active/interactive limit. And this identity which puts us face to face with the reality - constructed and constructive - seeking to describe the similarity of the existence of things, the images. These beings from the reality that sends us to the symbolic place of our existence, the mundanity. A restlessness that is embedded into every action of knowing that, through language, establishes as true everything which silences the symbolic through a rule of conduct - the principle of reason - a formal rule of all knowledge that establishes the contemplative way for all knowledge originally set up as one signification event. The nature of our organization as living beings, our structural coupling, is what enables us to conclude that all formalities established as knowledge are born into a delirium that is expressed in the conformity of an answer. That being the end of an aphomoioo. The purpose of a "doing" that expresses itself into an image that is projected into a representation. A "doing" made after an image through an ergo genesis – the "artwork" – an answer to my making that expresses the image of my separation from myself as an image of ego established in a represented projection of my hallucinatory image

The Confederate Air Corps Certificate, 1958

A certificate from The Confederate Air Corps that reads, "To all who shall see these presents, greeting: Know yes, that in recognition of his having manifested an unusually high regard for black-eyed peas, turnip greens, hog jowl, sow belly, pot likkers, grits, chittlins, and good old corn squeezins, Dorothy Rungeling is, as of this date, hereby appointed to the rank of Colonel in the Confederate Air Corps. This officer will, by virtue of this appointment, therefore, be obliged to carefully and diligently discharge the duties of the office to which appointed by doing and performing all manner of things thereunto belonging. As evidence of his good faith in accepting this commission, the officer named herein will continue to praise the glories of the Deep South, consume a true gentleman's share of the fares mentioned above, pay respectful homage to our lovely Southern Belles, save his Confederate money, harass the carpetbaggers, and always remember that damnyankee is one word. As Secretary of this Corps, I strictly charge and require all officers of the air militia of the South to render such obedience and courtesies as are due an Officer of this distinguished rank and honored position. Done at the City of Montgomery, Alabama, the Cradle of the Confederacy, this Seventh day of July in the year One Thousand Nine Hundred and Fifty Eight." It is stamped with the name Thadeus P. Throckmorton - Secretary, Confederate Air Corps.