Toxin-antitoxin systems and its biotechnological applications

Fundação de Amparo à Pesquisa do Estado de São Paulo (FAPESP)

Síntese, caracterização e estudos de interação de um análogo da antitoxina CcdA empregando fluorescência no estado estacionário

Fundação de Amparo à Pesquisa do Estado de São Paulo (FAPESP)

Síntese e estudos de sistemas de bioencapsulação associados a peptídeos antimicrobianos miméticos da toxina natural CcdB

Pós-graduação em Biotecnologia - IQ

Sistemas drug delivery aplicados a novos inibidores de topoisomerases estruturalmente derivados de toxinas bacterianas

Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES)

Peptídeos derivados da toxina ParE: síntese, estrutura e estudos de inibição de DNA topoisomerases

Pós-graduação em Biotecnologia - IQ

e. Menura Supurba: Post human dreams of ersatz animals.

This paper discusses human and post-human relationships with nature and animals, using the work e. Menura Superba1 as a focal point. This interactive artwork takes the form of a Lyre bird in a cage, that mimics it’s audience in evocative ways. It is inspired by the historical practice of displaying taxidermy specimens and live species as trophies of travels to distant lands, and as symbols of wealth and status. In both form and intent the work hybridises elements from Enlightenment culture, with materials that conjure associations with dystopic post human futures (wire, post consumer electronic & other waste, as well working parts such as mobile phone screens, LED’s, camera, and cabling etc). Speculative science fiction, such as Phillip K Dick in Do Androids Dream of Electric Sheep? (Blade Runner), provides prescient stories about future (post) human worlds. This novel remains thought provoking as it describes a world that is all to rapidly approaching: where human activity has caused the destruction of most large animal species. In this fictional world, care for animals is not only a civic duty, it is one of the ways humans distinguish themselves from androids. As in Enlightenment times, ownership of animals (real, taxidermies, ersatz) is a form of commodity fetishism indicative of social status. Though whilst well heeled Victorians may have owned an elephant or have been proud of a trophy specimen, the wealthy in Dick’s future must be content with once common, even ersatz, animals such as sheep and owls, and would be repulsed to the core by the notion of killing an animal, even an ersatz animal, for sport. In becoming post human, humans have sought to separate themselves from the natural world, destroying much of it in the process. No technical prothesis will bring back to life the species we have rendered extinct. This (evolving) relationship between humanity and other species, therefore forms a central question in this work, providing a way of approaching the post human, and problematising anthropocentric perspectives. The world promised by post-human technology is indeed rich with possibility, but without corresponding steps to ensure the sustainability of technology (human society), this paper asks whether the richness of that experience will continue to be mirrored by the richness of the environments within which we exist?

Virus resistance and gene silencing : killing the messenger

On occasion, virus-derived transgenes in plants can be poorly expressed and yet provide excellent virus resistance, and transgene constructs designed to supplement the expression of endogenous genes can have the effect of co-suppressing themselves and the endogenous genes. These two phenomena appear to result from the same post-transcriptional silencing mechanism, which operates by targeted-RNA degradation. Recent research into RNA-mediated virus resistance and co-suppression has provided insights into the interactions between plant viruses and their hosts, and spawned several models to explain the phenomenon.

Cuando el miedo invade la ficción. Análisis de Perdidos (Lost) y de otros quality dramas de la era Post 11S.

521 p.

Regurgitated bodies: presenting and representing trauma in 'The Act of Killing'

Focusing on The Act of Killing, this chapter examines how an “ethics of realism” operates on three key cinematic arenas: genre, authorship and spectatorship. As far as genre is concerned, the film’s realist commitment emerges from where it is least expected, namely from Hollywood genres, such as the musical, the film noir and the western, which are used as documentary, that is to say, as a fantasy realm where perpetrators can confess to their crimes without restraints or fear of punishment, but which nonetheless retains the evidentiary weight of the audiovisual medium. Authorship, in turn, translates as Oppenheimer’s unmistakable auteur signature through his role of self-confessed “infiltrator” who disguises as a sympathiser of the criminals in order to gain first-hand access to the full picture of their acts. One of them, the protagonist Anwar Congo, is clearly affected by post-traumatic stress disorder, and his repetitive reliving of his killings is made to flare up in front of the camera so as to bring back the dead to the present time in their material reality, through his own body, including a harrowing scene of the actor’s unpredictable and uncontrollable retching as he re-enacts the killing of his victims through strangulation. Finally, in the realm of spectatorship, the usual process of illusionistic identification on the part of the spectator is turned onto its head by means of disguising these criminals as amateur filmmakers, led to shoot, act within, and then watch their own film within the film so as to force them to experience beyond any illusion the suffering they had caused.

Antibiotic-dependent correlation between drug-induced killing and loss of luminescence in Streptococcus gordonii expressing luciferase

Measuring antibiotic-induced killing relies on time-consuming biological tests. The firefly luciferase gene (luc) was successfully used as a reporter gene to assess antibiotic efficacy rapidly in slow-growing Mycobacterium tuberculosis. We tested whether luc expression could also provide a rapid evaluation of bactericidal drugs in Streptococcus gordonii. The suicide vectors pFW5luc and a modified version of pJDC9 carrying a promoterless luc gene were used to construct transcriptional-fusion mutants. One mutant susceptible to penicillin-induced killing (LMI2) and three penicillin-tolerant derivatives (LMI103, LMI104, and LMI105) producing luciferase under independent streptococcal promoters were tested. The correlation between antibiotic-induced killing and luminescence was determined with mechanistically unrelated drugs. Chloramphenicol (20 times the MIC) inhibited bacterial growth. In parallel, luciferase stopped increasing and remained stable, as determined by luminescence and Western blots. Ciprofloxacin (200 times the MIC) rapidly killed 1.5 log10 CFU/ml in 2-4 hr. Luminescence decreased simultaneously by 10-fold. In contrast, penicillin (200 times the MIC) gave discordant results. Although killing was slow (< or = 0.5 log10 CFU/ml in 2 hr), luminescence dropped abruptly by 50-100-times in the same time. Inactivating penicillin with penicillinase restored luminescence, irrespective of viable counts. This was not due to altered luciferase expression or stability, suggesting some kind of post-translational modification. Luciferase shares homology with aminoacyl-tRNA synthetase and acyl-CoA ligase, which might be regulated by macromolecule synthesis and hence affected in penicillin-inhibited cells. Because of resemblance, luciferase might be down-regulated simultaneously. Luminescence cannot be universally used to predict antibiotic-induced killing. Thus, introducing reporter enzymes sharing mechanistic similarities with normal metabolic reactions might reveal other effects than those expected.

Tributo en la Argentina post-dictadura : Los "muertos por la subversión"

El artículo analiza el lugar de Tributo, órgano de FAMUS (Familiares y Amigos de Muertos por la Subversión), en los años '80, en la reivindicación de la actuación militar en la última dictadura y de la represión en general antes de 1976. El argumento central es que la búsqueda de legitimidad en el espacio público se estructura a partir de formas particulares de matar y morir que permiten, a su vez, establecer una oposición radical entre los muertos propios y los del campo opuesto. Se muestra también la adecuación plástica de Tributo a la cambiante coyuntura de los años de la transición democrática y se rescatan las formas en que se iban construyendo las estrategias de los defensores de la represión, sus intentos en un momento dado de postergar para el futuro la justicia que en el presente no reciben y, vistos desde hoy, las líneas de continuidad con formas actuales de reivindicación, que ya en las páginas de Tributo aparecen claramente esbozadas

Tributo en la Argentina post-dictadura : Los "muertos por la subversión"

El artículo analiza el lugar de Tributo, órgano de FAMUS (Familiares y Amigos de Muertos por la Subversión), en los años '80, en la reivindicación de la actuación militar en la última dictadura y de la represión en general antes de 1976. El argumento central es que la búsqueda de legitimidad en el espacio público se estructura a partir de formas particulares de matar y morir que permiten, a su vez, establecer una oposición radical entre los muertos propios y los del campo opuesto. Se muestra también la adecuación plástica de Tributo a la cambiante coyuntura de los años de la transición democrática y se rescatan las formas en que se iban construyendo las estrategias de los defensores de la represión, sus intentos en un momento dado de postergar para el futuro la justicia que en el presente no reciben y, vistos desde hoy, las líneas de continuidad con formas actuales de reivindicación, que ya en las páginas de Tributo aparecen claramente esbozadas

Tributo en la Argentina post-dictadura : Los "muertos por la subversión"

El artículo analiza el lugar de Tributo, órgano de FAMUS (Familiares y Amigos de Muertos por la Subversión), en los años '80, en la reivindicación de la actuación militar en la última dictadura y de la represión en general antes de 1976. El argumento central es que la búsqueda de legitimidad en el espacio público se estructura a partir de formas particulares de matar y morir que permiten, a su vez, establecer una oposición radical entre los muertos propios y los del campo opuesto. Se muestra también la adecuación plástica de Tributo a la cambiante coyuntura de los años de la transición democrática y se rescatan las formas en que se iban construyendo las estrategias de los defensores de la represión, sus intentos en un momento dado de postergar para el futuro la justicia que en el presente no reciben y, vistos desde hoy, las líneas de continuidad con formas actuales de reivindicación, que ya en las páginas de Tributo aparecen claramente esbozadas

The Coming of Post-reflexive Society: Commodification and Language in Digital Capitalism

Language is a unique aspect of human communication because it can be used to discuss itself in its own terms. For this reason, human societies potentially have superior capacities of co-ordination, reflexive self-correction, and innovation than other animal, physical or cybernetic systems. However, this analysis also reveals that language is interconnected with the economically and technologically mediated social sphere and hence is vulnerable to abstraction, objectification, reification, and therefore ideology – all of which are antithetical to its reflexive function, whilst paradoxically being a fundamental part of it. In particular, in capitalism, language is increasingly commodified within the social domains created and affected by ubiquitous communication technologies. The advent of the so-called ‘knowledge economy’ implicates exchangeable forms of thought (language) as the fundamental commodities of this emerging system. The historical point at which a ‘knowledge economy’ emerges, then, is the critical point at which thought itself becomes a commodified ‘thing’, and language becomes its “objective” means of exchange. However, the processes by which such commodification and objectification occurs obscures the unique social relations within which these language commodities are produced. The latest economic phase of capitalism – the knowledge economy – and the obfuscating trajectory which accompanies it, we argue, is destroying the reflexive capacity of language particularly through the process of commodification. This can be seen in that the language practices that have emerged in conjunction with digital technologies are increasingly non-reflexive and therefore less capable of self-critical, conscious change.