Co-distribution and co-infection of chikungunya and dengue viruses

BACKGROUND Chikungunya and dengue infections are spatio-temporally related. The current review aims to determine the geographic limits of chikungunya, dengue and the principal mosquito vectors for both viruses and to synthesise current epidemiological understanding of their co-distribution. METHODS Three biomedical databases (PubMed, Scopus and Web of Science) were searched from their inception until May 2015 for studies that reported concurrent detection of chikungunya and dengue viruses in the same patient. Additionally, data from WHO, CDC and Healthmap alerts were extracted to create up-to-date global distribution maps for both dengue and chikungunya. RESULTS Evidence for chikungunya-dengue co-infection has been found in Angola, Gabon, India, Madagascar, Malaysia, Myanmar, Nigeria, Saint Martin, Singapore, Sri Lanka, Tanzania, Thailand and Yemen; these constitute only 13 out of the 98 countries/territories where both chikungunya and dengue epidemic/endemic transmission have been reported. CONCLUSIONS Understanding the true extent of chikungunya-dengue co-infection is hampered by current diagnosis largely based on their similar symptoms. Heightened awareness of chikungunya among the public and public health practitioners in the advent of the ongoing outbreak in the Americas can be expected to improve diagnostic rigour. Maps generated from the newly compiled lists of the geographic distribution of both pathogens and vectors represent the current geographical limits of chikungunya and dengue, as well as the countries/territories at risk of future incursion by both viruses. These describe regions of co-endemicity in which lab-based diagnosis of suspected cases is of higher priority.

Trifurcated (four-center) hydrogen bond in solid state crystal structure of 5'-amino-5'-deoxyadenosine p-toluenesulfonate

The crystal structure of 5'-amino-5'-deoxyadenosine (5'-Am.dA) p-toluenesulfonate has been determined by X-ray crystallographic methods. It belongs to the orthorhombic space group P2(1)2(1)2(1) with a = 7.754(3)Angstrom, b = 8.065(1)Angstrom and c = 32.481(2)Angstrom. This nucleoside side shows a syn conformation about the glycosyl bond and C2'-endo-C3'-exo puckering for the ribose sugar. The orientation of N5' atom is gauche-trans about the exocyclic C4'-C5' bond. The amino nitrogen N5' forms a trifurcated hydrogen bond with N3, O9T and O4' atoms. Adenine bases form A.A.A triplets through hydrogen bonding between N6, N7 and N1 atoms of symmetry related nucleoside molecules.

Variations in the Levels of Chloroplast tRNAs and Aminoacyl-tRNA Synthetases in Senescing Leaves of Phaseolus vulgaris

The relative amounts of chloroplast tRNAs(Leu), tRNA(Glu), tRNA(Phe), tRNAs(Thr), and tRNA(Tyr) and of chloroplastic and cytoplasmic aminoacyl-tRNA synthetases were compared in green leaves, yellowing senescing leaves, and N(6)-benzyladenine-treated senescing leaves from bean (Phaseolus vulgaris, var Contender). Aminoacylation of the tRNAs using Escherichia coli aminoacyl-tRNA synthetases indicated that in senescing leaves the relative amount of chloroplast tRNA(Phe) was significantly lower than in green leaves. Senescing leaves treated with N(6)-benzyladenine contained higher levels of this tRNA than untreated senescing leaves. No significant change in the relative amounts of chloroplast tRNAs(Leu), tRNAs(Thr), and tRNA(Tyr) was detected in green, yellow senescing, or N(6)-benzyladine-treated senescing leaves. Relative levels of chloroplast tRNAs were also estimated by hybridization of tRNAs to DNA blots of gene specific probes. These experiments confirmed the results obtained by aminoacylation and revealed in addition that the relative level of chloroplast tRNA(Glu) is higher in senescing leaves than in green leaves. Transcription run-on assays indicated that these changes in tRNA levels are likely to be due to a differential rate of degradation rather than to a differential rate of transcription of the tRNA genes. Chloroplastic and cytoplasmic leucyl-, phenylalanyl-, and tyrosyl-tRNA synthetase activities were greatly reduced in senescing leaves as compared to green leaves, whereas N(6)-benzyladenine-treated senescing leaves contained higher enzyme activities than untreated senescing leaves. These results suggest that during senescence, as well as during senescence-retardation by cytokinins, changes in enzyme activities, such as aminoacyl-tRNA synthetases, rather than reduced levels of tRNAs, affect the translational capacity of chloroplasts.

Book Review: "The Interface: IBM and the Transformation of Corporate Design, 1945-1975", John Harwood, Minneapolis: University of Minnesota Press, 2011

Within the history of twentieth-century design, there are a number of well-known objects and stories that are invoked time and time again to capture a pivotal moment or summarize a much broader historical transition. For example, Marcel Breuer’s Model B3 chair is frequently used as a stand-in for the radical investigations of form and new industrial materials occurring at the Bauhaus in the mid-1920s. Similarly, Raymond Loewy’s streamlined pencil sharpener has become historical shorthand for the emergence of modern industrial design in the 1930s. And any discussion of the development of American postwar “organic design” seems incomplete without reference to Charles and Ray Eames’s molded plywood leg splint of 1942. Such objects and narratives are dear to historians of modern design. They are tangible, photogenic subjects that slot nicely into exhibitions, historical surveys, and coffee-table best sellers...

Kriitkko Einari J. Vehmas ja moderni taide

The doctoral dissertation Critic Einari J. Vehmas and Modern Art deals with one of the central figures of the Finnish art scene and his work as an art critic, art museum curator and cultural critic. The main body of research material consists of the writings of Einari J. Vehmas (1902 1980) from 1937 to the late 1960s. Vehmas wrote art reviews for magazines, and from the year 1945 he was a regular art critic for one of the major newspapers in Finland. Vehmas was heavily inclined towards French literature and visual arts. Marcel Proust and Charles Baudelaire influenced his views on the nature of art from the late 1920s onwards. Vehmas is commonly regarded as the most influential art critic of post-war Finland. His writings have been referred to and cited in numerous research papers on Finnish 20th-century art. A lesser known aspect of his work is his position as the deputy director of the Ateneum Art Museum, the Finnish national gallery. Through his art museum work, his opinions also shaped the canon of modern art considered particularly Finnish following the second world war. The main emphasis of the dissertation is on studying Vehmas s writings, but it also illustrates the diversity of his involvement in Finnish cultural life through biographical documents. The long chronological span of the dissertation emphasises how certain central themes accumulate in Vehmas s writings. The aim of the dissertation is also to show how strongly certain philosophical and theoretical concepts from the early 20th century, specifically Wassily Kandinsky s principle of inner necessity and Henri Bergson s epistemology highlighting intuition and instinct, continued to influence the Finnish art discourse even in the early 1960s, in part thanks to the writings of Vehmas. Throughout his production, Vehmas contemplated the state and future of modern art and humanity. Vehmas used a colourful, vitalistic rhetoric to emphasise the role of modern art as a building block of culture and humanity. At the same time, however, he was a cultural pessimist whose art views became infused with anxiety, a sense of loss, and a desire to turn his back on the world.

Roman Ingarden’s Objectivity vs. Subjectivity as a problem of Translatability

Ingarden (1962, 1964) postulates that artworks exist in an “Objective purely intentional” way. According to this view, objectivity and subjectivity are opposed forms of existence, parallel to the opposition between realism and idealism. Using arguments of cognitive science, experimental psychology, and semiotics, this lecture proposes that, particularly in the aesthetic phenomena, realism and idealism are not pure oppositions; rather they are aspects of a single process of cognition in different strata. Furthermore, the concept of realism can be conceived as an empirical extreme of idealism, and the concept of idealism can be conceived as a pre-operative extreme of realism. Both kind of systems of knowledge are mutually associated by a synecdoche, performing major tasks of mental order and categorisation. This contribution suggests that the supposed opposition between objectivity and subjectivity, raises, first of all, a problem of translatability, more than a problem of existential categories. Synecdoche seems to be a very basic transaction of the mind, establishing ontologies (in the more Ingardean way of the term). Wegrzecki (1994, 220) defines ontology as “the central domain of philosophy to which other its parts directly or indirectly refer”. Thus, ontology operates within philosophy as the synecdoche does within language, pointing the sense of the general into the particular and/or viceversa. The many affinities and similarities between different sign systems, like those found across the interrelationships of the arts, are embedded into a transversal, synecdochic intersemiosis. An important question, from this view, is whether Ingardean’s pure objectivities lie basically on the impossibility of translation, therefore being absolute self-referential constructions. In such a case, it would be impossible to translate pure intentionality into something else, like acts or products.

Traditional patterns and textures as values for meaningful automatization in music

This contribution focuses on the accelerated loss of traditional sound patterning in music, parallel to the exponential loss of linguistic and cultural variety in a world increasingly 'globalized' by market policies and economic liberalization, in which scientific or technical justification plays a crucial role. As a suggestion to an alternative trend, composers and music theorists are invited to explore the world of design and patterning by grammar rules from non-dominant cultures, and to make an effort to understand their contextual usage and its transformation, in order to appreciate their symbolism and aesthetic depth. Practical examples are provided.

The Role of Abduction in Self-Similarity

Based on the Aristotelian criterion referred to as 'abductio', Peirce suggests a method of hypothetical inference, which operates in a different way than the deductive and inductive methods. “Abduction is nothing but guessing” (Peirce, 7.219). This principle is of extreme value for the study of our understanding of mathematical self-similarity in both of its typical presentations: relative or absolute. For the first case, abduction incarnates the quantitative/qualitative relationships of a self-similar object or process; for the second case, abduction makes understandable the statistical treatment of self-similarity, 'guessing' the continuity of geometric features to the infinity through the use of a systematic stereotype (for instance, the assumption that the general shape of the Sierpiński triangle continuates identically into its particular shapes). The metaphor coined by Peirce, of an exact map containig itself the same exact map (a map of itself), is not only the most important precedent of Mandelbrot’s problem of measuring the boundaries of a continuous irregular surface with a logarithmic ruler, but also still being a useful abstraction for the conceptualisation of relative and absolute self-similarity, and its mechanisms of implementation. It is useful, also, for explaining some of the most basic geometric ontologies as mental constructions: in the notion of infinite convergence of points in the corners of a triangle, or the intuition for defining two parallel straight lines as two lines in a plane that 'never' intersect.

Diccionario Enciclopédico de Música en Mexico

The work is the most extensive encyclopedic compilation on Mexican music published to the date, in the form of a dictionary. It includes composer's bios, list of works, musical institutions, instruments, performers, theatres, and many other categories about the music of Mexico. Most of entries include bibliography.

The Ecologic Foundations of Stylistics in Music and in Language

This contribution suggests that it is possible to describe the transformations of musical style in an analogous way to the transformations of style in language, and also that it can be explained how the ‘musics in contact’ behave in an analogous way to the ‘languages in contact’. According to this idea, the ‘evolution’ of styles in music and in language can be identified and studied as dynamic exchanges in ecological niches. It is suggested, also, that the idiolectic-ecolectic, and acrolectic-basilectic relationships in music and language are functions of cycles in several ‘layers’ and ‘rhythms’. The presence of stylistic varieties and influences in music and in language may imply that they are part of major sign systems within a more complex ecological relationship.

Strömungen in der mexikanischen Musik

A short article summarizing the most visible streams of Mexican music along the last century. Special attention is paid to the intellectual and idiosyncratic components which are considered as elements of authenticity in Mexican culture.

Il canto sospeso de Luigi Nono

This article explains how Nono's Il canto sospeso (1956), for solo voices, choir and orchestra, is structured in a logic of counterbalances for each musical action, overlapping a harmonic or ‘intuitive’ geometry, with a contrasting or ‘anti-intuitive’ plot. Unlike the typical relationships with the golden ratio, found in many musical examples in which it appears ‘naturally’ (see Tatlow 2001), intervals in the prime numbers series here are perceived as ‘counter-rhythm’; as a form of a counterintuitive distribution, or, as Jameson (2003:vii) suggests, as “a very irregular way” of apparent distribution.

El Motezuma de Vivaldi

This article explores aesthetic and historical aspects of Antonio Vivaldi's (1678- 1741) Motezuma (1733), in three acts, to celebrate this opera revival after the score's discovery and its first premiere at De Doelen theatre, Rotterdam (2005). Particular attention is paid to cultural aspects, regarding the European interpretation of the Conquest of Mexico.

La música en la fiesta del dios Xipe Totec

In Aztec mythology and religion, Xipe Totec ("our lord the flayed one") was a life-death-rebirth deity, god of agriculture, vegetation, the east, disease, spring, goldsmiths, silversmiths and the seasons. The music used for his worship has been described by a diversity of documents (carved stones, depicted codices, and chronicles made by the first European friars arrived to Mexico). This article explores the symbolic content of these descriptions, especially in association with Xochipilli Macuilxochitl, master of music and poetry.