Essential elements of postabortion care: origins, evolution and future directions

In this comment, we chronicle the development and expansion of a postabortion care model designed to promote interventions that address abortion-related public health concerns even when abortion laws and policies are restrictive. We review years of program experience with the original model, which led to the development of an expanded and updated model, Essential Elements of Postabortion Care (PAC). Implementing the model challenges global public health leaders, donors, technical assistance agencies and ministries of health to work with communities to ensure that all women who want to prevent or space pregnancies can obtain contraceptive services; that all women have access to services to manage complications from abortion, whether induced or spontaneous; and that all women receiving treatment also receive counseling and the reproductive and other health services they need at the treatment visit, as well as follow-up care and contraceptive resupply

Differences among origins on nutritional and quality parameters of soybean meal

Soybean meal (SBM) is the main protein source in livestock feeds. United States (USA), Brazil (BRA), and Argentine (ARG) are the major SBM exporter countries. The nutritive value of SBM varies because genetics, environment, farming conditions, and processing of the beans influence strongly the content and availability of major nutrients. The present research was conducted to determine the influence of origin (USA, BRA and ARG) on nutritive value and protein quality of SBM.

Governmentaly in the origins of European Female PE and Sport: the Spanish case study (1883-1936)

The purpose of the paper is twofold: (1) to contribute to the analysis of the origins of modern European female PE and sports from a power perspective, inspired by Foucault's work; and (2) to present a detailed analysis of female PE and sport in Spain (1883–1936) as a specific European case study. It is argued that these physical activities could be conceived in the Spanish case as part of a specific kind of ‘governmentality’ with a dual nature. On the one hand they represented disciplinary ‘technologies of power’ over the female body. Selected physical activities—dictated mainly from the hygienic-moral position of the Regeneracionistas (‘Regenerationists’)—were exerted as a kind of ‘bio-power’ for the control of the female population. On the other hand, such kind of activities (especially sports) represented certain ‘technologies of the self’ for middle and upper class women. Through participation in sports, women gained a more active and public role in the Spanish society of the era, obtaining some degree of autonomy in self-governance over their bodies and their lives

Mapping of the Music Ontology to the Media Value Chain Ontology and the PROV Ontology

Mapping of the Music Ontology to the Media Value Chain Ontology and the PROV Ontology

Genetic diversity and relationships in accessions from different cultivar groups and origins in the tree tomato (Solanum betaceum Cav.)

Abstract Tree tomato (Solanum betaceum) is an Andean small tree cultivated for its juicy fruits. Little information is available on the characterization of genetic resources and breeding of this neglected crop. We have studied the molecular diversity with AFLP markers using 11 combinations of primers of a collection of 25 S. betaceum accessions belonging to four cultivar groups, most of which had been previously morphologically characterized, as well as one accession of the wild relative S. cajanumense.Atotal of 197 AFLP fragments were scored, of which 84 (43 %) were polymorphic. When excluding S. cajanumense from the analysis, the number of polymorphic AFLP fragments was 78 (40 %). Unique AFLP fingerprints were obtained for every accession, but no AFLP fragments specific and universal to any of the four cultivar groups were found. The total genetic diversity (HT) of cultivated accessions was HT = 0.2904, while for cultivar groups it ranged from HT = 0.1846 in the orange group to HT = 0.2498 in the orange pointed group. Genetic differentiation among cultivar groups (GST) was low (GST = 0.2248), which was matched by low values of genetic distance among cultivar groups. The diversity of collections from Ecuador, which we hypothesize is a center of diversity for tree tomato, was similar to that from other origins (HT = 0.2884 and HT = 0.2645, respectively). Cluster and PCoA analyses clearly separated wild S. cajanumense from the cultivated species. However, materials of different cultivar groups and origins were intermingled in both analyses. The Mantel test correlation coefficient of the matrices of morphological and AFLP distances was low (-0.024) and non-significant. Overall, the results show that a wide diversity is present in each of the cultivar groups, indicate that Ecuador may be regarded as a center of accumulation of diversity for this crop, and confirm that AFLP and morphological characterization data are complementary. The results obtained are of value for the conservation of genetic resources and breeding of tree tomato, as an assessment of the genetic diversity and relationships among differen

Variation among origins in nutrient composition and protein quality of soybean meals

Investigación sobre las variaciones en la composición y en la calidad de las proteinas de la alimentación animal basada en la soja en función de los orígenes

La musique c'est l'air, l'architecture, la lumiêre = Music is air, architecture is light [Entrevista]

La musique c'est l'air, l'architecture, la lumiêre = Music is air, architecture is light [Entrevista]

La arquitectura de José M. García de Paredes ideario de una obra

Acercarse a las obras de José M. García de Paredes, y mirarlas como un conjunto de ideas que nos indican una manera de pensar y de hacer arquitectura, nos explica un ideario que persiste en el tiempo. Tomando prestado el término “explicar” en el sentido que Stravinski le da en su Poética musical1: desplegar, desarrollar, describir una cosa, descubrir y aclarar su génesis, se comprueban las relaciones que cosas aparentemente dispersas tienen entre si, cómo se originan las obras para saber cómo determinan la arquitectura, una vez que ésta tiene vida propia y uso, pasado el tiempo. El motivo de esta tesis se encuentra en el orden, análisis y estudio de su archivo, realizado a partir del año 1990. García de Paredes, titulado en Madrid, fue arquitecto entre 1950 y 1990 y se inició en la arquitectura en un tiempo tan complejo como el actual. No fue un teórico de la arquitectura, si bien conoció en profundidad su teoría y dejó escritos y reflexiones sobre la manera de abordar el proyecto. Quizás no fue un arquitecto radicalmente innovador y sus obras son silenciosas, aunque muchas encierran planteamientos rotundos que permanecen voluntariamente en penumbra. Sin embargo sus obras son nítidas, tienen el valor de la coherencia y son valiosas por el conocimiento y por los valores que transmiten. Han cumplido su objetivo y ahora son parte de los lugares para los que se construyeron y parte de la vida de las personas para las que se proyectaron. En gran medida, poseen ya la pátina del tiempo. Su obra, no muy extensa, aúna ideas necesarias para abordar la práctica del proyecto y para llegar a ese voluntario resultado final en el que la arquitectura sea, además de una expresión personal, una actividad social capaz de hacer mejor la vida de las personas. Mirar la arquitectura de García de Paredes a través del estudio de todas las cuestiones que intervienen en ella y convertir su conocimiento en un instrumento útil de trabajo en el proyecto, es el objetivo de esta tesis. Así se analizan determinadas obras para exponer temas de antes y de ahora, ideas que son a la vez antiguas y contemporáneas. Este ideario sobre la arquitectura de García de Paredes no pertenece sólo a un tiempo, pues la bella utilidad social de la arquitectura y cómo llegar a ella a través del conocimiento y de la economía intelectual, sigue vigente. Y este objetivo tiene claramente una segunda lectura, pues al poner en valor el ideario de su obra, la presente tesis constituye tanto un homenaje como un agradecimiento al arquitecto. Sintetizar este ideario ha necesitado tanto del tiempo para organizar un archivo como de la práctica de la arquitectura para constatarlo. Durante una década, entre 1981 y 1990, trabajé en el estudio de José M. García de Paredes, con la mirada enfocada hacia los proyectos que entonces se desarrollaban en su estudio. En esos años, la música y las secciones de las salas de concierto llenaban las mesas de dibujo. En 1990, tras su inesperada marcha, me encontré con un legado de documentos que constituyen un fragmento de la arquitectura contemporánea española, que encierran la explicación de proyectos y planteamientos que son respuesta clara a la realidad de su momento. La preparación entonces de la documentación para las tres monografías sobre su obra me llevó a ordenar, clasificar y a documentar los fondos del estudio de manera sistemática y cronológicamente. Los documentos, conservados en archivadores y tubos sin numerar, desvelaban una obra en un momento en el cual el escenario de fondo del debate sobre arquitectura era ético. De manera casi artesanal y próximo de un grupo coherente de arquitectos, algunos vinculados también a las artes plásticas, García de Paredes utiliza los medios materiales a su alcance, interpretando la realidad de una forma personal, alejada de la frialdad del movimiento moderno estricto, con una voluntad de mejorarla y de prescindir de todo aquello que no fuera necesario. Las obras dan respuesta a esa realidad de tal manera que la transforman, como si de un “mágico realismo” se tratara. Estos documentos con olor a antiguo, más que narrar una historia, explican la manera en que se ha hecho esa historia, cómo las biografías y los acontecimientos se entrelazan para llegar al conocido resultado final. Y de un primer análisis, disponiéndolos a la vista de un mismo tiempo, va surgiendo otro interés que no es el de explicar su obra sino el de observar el proceso de trabajo de un arquitecto para desvelar un método de proyecto. Sobre el método de trabajo de un músico, Azorín se pregunta en su artículo “Vida imaginaria de Falla”: “Es fácil ver trabajar a un pintor, no es tan fácil ver enfrascado en su labor a un literato, aunque en las redacciones solamos ver cómo escribe un poeta que hace artículos para un periódico. ¿Pero cómo imaginamos a un músico en su tarea?. ¿Cómo escribe un músico?. ¿Es que siente de pronto un arrebato lírico y un poco desmelenado, los músicos deben llevar el pelo largo, se sienta al piano y comienza a tañer como una inspirada pitonisa?. ¿es que se levanta a media noche y, arrebatado por la inspiración y a la luz de la luna, si la hay, escribe febrilmente esas garrapatitas que vemos en los hilos telegráficos de la música?" Manuel de Falla en una carta le responde: “Nada de eso, mi querido amigo, mi trabajo de compositor no es tan misterioso como usted imagina: podría compararse al de un escritor que fuera a la vez arquitecto”. ¿Y cómo trabaja un arquitecto?. La complejidad del proceso arquitectónico nos presenta sin embargo resultados finales que sólo a través de una observación minuciosa permiten entrever el recorrido desde el pensamiento hasta la obra acabada. El escritor narra lo que ve o imagina y el arquitecto construye y da forma a esa realidad o a esos deseos y para ello debe mirar, escuchar y debe saber hacer. Analizar este proceso nos lleva inexorablemente a desvelar las claves que hacen valiosas determinadas arquitecturas. En junio de 1986 García de Paredes escribe el texto “Tres paisajes con arquitecturas”4. El texto describe tres paisajes culturales diferentes en distintos tiempos. El primero que describe es el Madrid neoclásico y el significado que tiene en este paisaje el Museo del Prado. El segundo paisaje se denomina “Alhambra versus Carlos V” y en él relata un delicado escenario donde se entrelazan distintas cuestiones relativas a la intervención en lugares históricos. En el tercer paisaje “Paisaje con Ruinas” tras describir las hermosas ruinas físicas del pasado concluye con una reflexión: “Hay ruinas y ruinas… Pero quizá no sean estas las verdaderas ruinas de nuestro tiempo. Qué clase de ruina producirá nuestra modesta arquitectura del siglo XX?. Nuestro legado no debería leerse en clave de piedras como las de otras épocas que no disponían de otro lenguaje que el de construir para los tiempos. Sin embargo es posible que surjan otras claves, quizá aún no bien conocidas, que sean para las generaciones futuras de tan clara lectura como la de este tercer Paisaje”. Encontrar esas claves contemporáneas, es el objeto de este paseo por las obras y escritos de García de Paredes. Mirar, suprimido el tiempo, los planos, dibujos, escritos, libros y fotografías del archivo del arquitecto, ordenando y comprendiendo los motivos que propiciaron cada obra, nos lleva a pensar que la arquitectura de cada momento es sólo un desplazamiento de los anteriores. Nada ahora es completamente distinto de lo que era entonces y la arquitectura de antes puede ser interpretada, más allá de aspectos formales, por otras generaciones, desdibujándose el tiempo donde pretendemos ordenarla. Este legado de claves conceptuales nos es útil ahora para conocer lo que permanece en la arquitectura pensando en cuestiones actuales a través de papeles antiguos. El legado de esa “modesta arquitectura” no se debe leer pues en clave de “piedras”, como expresaba García de Paredes. Gran parte de sus obras se construyen con materiales sencillos y la lectura de su valor no es directa. Sin embargo explican en qué momento la arquitectura pasa a ser un hecho capaz de transmitir intenciones ocultas y convertirse en una actividad social en sintonía con la realidad. Desvelar esta colección de ideas para enfocar cuestiones de arquitectura, en el convencimiento de que este ideario es tan válido hoy como entonces, nos acerca a ese utópico método de trabajo del arquitecto. En este ciclo abierto se han seleccionado determinadas obras que permiten plantear mejor las cuestiones que ilustran su razón de ser y así pues se suceden lugares y personas, números y geometrías, música, artes plásticas y arquitecturas. ABSTRACT Looking at the work of José M. García de Paredes as a set of ideas that outline a way of imagining and producing architecture, explains a vision that has persisted in time. Employing the word “explain” in the same sense as Stravinsky in his Poetics of Music: deploying, developing and describing something, discovering and clarifying its origins as a way of observing the relationships between things and the way designs originate in order to understand how they determine the architecture, once it has a life and use of its own after time has passed. This thesis is based on an analysis of the archives of José M. Garcia de Paredes, which began in 1990. After graduating from the Madrid School in 1950 —an equally complex time as today— he continued to practise architecture until 1990. He was not an architectural theorist but he had a deep understanding of theory and left essays and ideas on the way to tackle projects. Although he may not have been a radically innovative architect and his work may seem subdued, much of it embodies categorical approaches, which are deliberately overshadowed. Nevertheless, his work is sharp, consistent and is valuable for the knowledge and values it transmits. It has served its purpose, it now forms part of the places for which it was built and has become part of the lives of the people it was designed for. To a large extent, his buildings already show the patina of time. While not large in number, they bring together the ideas needed to put a project into practice and arrive at an end result in which the architecture is also a personal expression, a social activity that makes life better for people. The discourse takes a new look at the architecture of Garcia de Paredes through an analysis of all the issues involved in order to turn the resulting knowledge into a useful tool for project work. It therefore now, ideas that are old but at the same time contemporary. This vision time. The beautiful social utility of his architecture and the way he arrived at it through knowledge and intellectual economy still remain valid. The synthesis of this vision has required much time to organize the archive and also a professional architectural practice to put it into perspective. The preserved documents reveal a body of work that was designed at a time when ethics shaped the underlying scenario of the Relación de architectural debate. The architect used the material resources at his disposal in an almost craftsman-like way, in the company of a congruent group of architects. He interpreted reality in a personal way, removed from the coldness of the strict Modern Movement, striving to improve it and strip off anything that was unnecessary. His buildings responded to their context in such a way that transformed it, as if they were “magical realism”. Another line of analysis emerged from an initial analysis, with all the documents in view at the same time: not to explain his work but rather to study the design process of an architect in order to discover a method. In 1986, García de Paredes wrote “Three landscapes with architectures”, which describes three cultural landscapes in different times. After describing the beauty of the physical ruins of the past, the third landscape, “Landscape with Ruins”, concludes with this observation: “There are ruins and ruins ... But these might not be the real ruins of our time. What kind of ruin will be produced by our modest 20th century architecture? Our legacy should not be interpreted in the key of mere stones, like those of past eras which had access to no other language than construction for all times. Other keys, perhaps not yet familiar, may well emerge and be as legible for future generations as this third Landscape”. This tour of the work and writings of Garcia de Paredes is aimed at discovering these contemporary keys. The legacy of such keys can now help us to know what endures in architecture; thinking about current issues through the perspective of old papers. Having set aside the time factor, looking at the drawings, essays, books and photographs from the architect’s archives, organising and understanding the reasons that gave rise to each work, I now believe that the architecture of each moment is only previous work that has been shifted. Nothing is completely different now from what it was back then. The architecture of the past can be interpreted by other generations, looking beyond the aspects of form, blurring the time factor when we want to order it. For this purpose I have selected particular works that permit a better enunciation of the issues that illustrate their rationale, hence the succession of places and people, numbers and geometries, music, art and architectures.

Teaching Planning of Forestry Engineering in Spain : origins and evolution

This paper addresses the historical evolution of, from its inception, to the present day, within the changing context of EHEA and linked to professional competences. The research methodology, although it is mainly a historical document review, expert opinions on university educational planning of university education of forestry engineering in Spain are also included. The results show the evolution of centralized planning, based on technical knowledge transmission to an approach based on competences (technical, contextual and behavioral) focusing on learning for improving employability.

Fetal origins of the TEL-AML1 fusion gene in identical twins with leukemia

The TEL (ETV6)−AML1 (CBFA2) gene fusion is the most common reciprocal chromosomal rearrangement in childhood cancer occurring in ≈25% of the most predominant subtype of leukemia— common acute lymphoblastic leukemia. The TEL-AML1 genomic sequence has been characterized in a pair of monozygotic twins diagnosed at ages 3 years, 6 months and 4 years, 10 months with common acute lymphoblastic leukemia. The twin leukemic DNA shared the same unique (or clonotypic) but nonconstitutive TEL-AML1 fusion sequence. The most plausible explanation for this finding is a single cell origin of the TEL-AML fusion in one fetus in utero, probably as a leukemia-initiating mutation, followed by intraplacental metastasis of clonal progeny to the other twin. Clonal identity is further supported by the finding that the leukemic cells in the two twins shared an identical rearranged IGH allele. These data have implications for the etiology and natural history of childhood leukemia.

Exploring the origins of topological frustration: Design of a minimally frustrated model of fragment B of protein A

Topological frustration in an energetically unfrustrated off-lattice model of the helical protein fragment B of protein A from Staphylococcus aureus was investigated. This Gō-type model exhibited thermodynamic and kinetic signatures of a well-designed two-state folder with concurrent collapse and folding transitions and single exponential kinetics at the transition temperature. Topological frustration is determined in the absence of energetic frustration by the distribution of Fersht φ values. Topologically unfrustrated systems present a unimodal distribution sharply peaked at intermediate φ, whereas highly frustrated systems display a bimodal distribution peaked at low and high φ values. The distribution of φ values in protein A was determined both thermodynamically and kinetically. Both methods yielded a unimodal distribution centered at φ = 0.3 with tails extending to low and high φ values, indicating the presence of a small amount of topological frustration. The contacts with high φ values were located in the turn regions between helices I and II and II and III, intimating that these hairpins are in large part required in the transition state. Our results are in good agreement with all-atom simulations of protein A, as well as lattice simulations of a three- letter code 27-mer (which can be compared with a 60-residue helical protein). The relatively broad unimodal distribution of φ values obtained from the all-atom simulations and that from the minimalist model for the same native fold suggest that the structure of the transition state ensemble is determined mostly by the protein topology and not energetic frustration.

Two hemoglobin genes in Arabidopsis thaliana: The evolutionary origins of leghemoglobins

We cloned two hemoglobin genes from Arabidopsis thaliana. One gene, AHB1, is related in sequence to the family of nonsymbiotic hemoglobin genes previously identified in a number of plant species (class 1). The second hemoglobin gene, AHB2, represents a class of nonsymbiotic hemoglobin (class 2) related in sequence to the symbiotic hemoglobin genes of legumes and Casuarina. The properties of these two hemoglobins suggest that the two families of nonsymbiotic hemoglobins may differ in function from each other and from the symbiotic hemoglobins. AHB1 is induced, in both roots and rosette leaves, by low oxygen levels. Recombinant AHB1 has an oxygen affinity so high as to make it unlikely to function as an oxygen transporter. AHB2 is expressed at a low level in rosette leaves and is low temperature-inducible. AHB2 protein has a lower affinity for oxygen than AHB1 but is similar to AHB1 in having an unusually low, pH-sensitive oxygen off-rate.

Molecular evidence for multiple origins of woodiness and a New World biogeographic connection of the Macaronesian Island endemic Pericallis (Asteraceae: Senecioneae)

The prevalence of woody species in oceanic islands has attracted the attention of evolutionary biologists for more than a century. We used a phylogeny based on sequences of the internal-transcribed spacer region of nuclear ribosomal DNA to trace the evolution of woodiness in Pericallis (Asteraceae: Senecioneae), a genus endemic to the Macaronesian archipelagos of the Azores, Madeira, and Canaries. Our results show that woodiness in Pericallis originated independently at least twice in these islands, further weakening some previous hypotheses concerning the value of this character for tracing the continental ancestry of island endemics. The same data suggest that the origin of woodiness is correlated with ecological shifts from open to species-rich habitats and that the ancestor of Pericallis was an herbaceous species adapted to marginal habitats of the laurel forest. Our results also support Pericallis as closely related to New World genera of the tribe Senecioneae.

Structural origins of the exonuclease resistance of a zwitterionic RNA

Nuclease resistance and RNA affinity are key criteria in the search for optimal antisense nucleic acid modifications, but the origins of the various levels of resistance to nuclease degradation conferred by chemical modification of DNA and RNA are currently not understood. The 2′-O-aminopropyl (AP)-RNA modification displays the highest nuclease resistance among all phosphodiester-based analogues and its RNA binding affinity surpasses that of phosphorothioate DNA by 1°C per modified residue. We found that oligodeoxynucleotides containing AP-RNA residues at their 3′ ends competitively inhibit the degradation of single-stranded DNA by the Escherichia coli Klenow fragment (KF) 3′-5′ exonuclease and snake venom phosphodiesterase. To shed light on the origins of nuclease resistance brought about by the AP modification, we determined the crystal structure of an A-form DNA duplex with AP-RNA modifications at 1.6-Å resolution. In addition, the crystal structures of complexes between short DNA fragments carrying AP-RNA modifications and wild-type KF were determined at resolutions between 2.2 and 3.0 Å and compared with the structure of the complex between oligo(dT) and the D355A/E357A KF mutant. The structural models suggest that interference of the positively charged 2′-O-substituent with the metal ion binding site B of the exonuclease allows AP-RNA to effectively slow down degradation.