bluuebunny/crossref_metadata_2025_split huggingface dataset:
P16.12 Proangiogenic effect of fibroblast activation protein positive stromal cells derived from human glioblastomas
Authors: Balaziova E , Vymola P , Hrabal P , Mateu R , Tomas R , Netuka D , Zemanova Z , Svobodova K , Sedo A , Busek P 
Published: September 2021

Abstract

BACKGROUND
Increased expression of fibroblast activation protein (FAP) is characteristic for several cancer types including human glioblastomas (GBM). FAP is expressed on both cancer as well as stromal cells which were demonstrated in extracranial tumors to maintain a microenvironment permissive for tumor growth and thus to contribute to tumor progression. FAP is considered a potential diagnostic and therapeutic target and several approaches for its targeting have been recently developed. In this work, we investigated the role of FAP+ stromal cells in glioblastoma angiogenesis.

MATERIAL AND METHODS
Expression of FAP and other phenotypic markers was assessed by immunocytochemistry and immunohistochemistry. FAP+ stromal cells and primary microvascular endothelial cells were isolated using magnetic activated cell sorting (MACS). Genetic aberrations were assayed by comparative genomic hybridization/single-nucleotide polymorphism analysis. Angiogenesis was evaluated using a 3D spheroid-based sprouting assay and a chorioallantoic membrane assay. A cytokine array was used to analyze soluble mediators released by FAP+ stromal cells.

RESULTS
FAP+ stromal cells were predominantly localized around activated CD105+ endothelial cells and their quantity positively correlated with glioblastoma vascularization. FAP+ stromal cells derived from human GBMs had a mesenchymal phenotype, were non-tumorigenic and in most cases lacked cytogenetic aberrations characteristic of GBMs. Conditioned media derived from FAP+ stromal cells induced angiogenic sprouting of both macrovascular HUVEC as well as microvascular primary endothelial cells derived from human GBMs. In a chorioallantoic membrane assay, admixture of FAP+ stromal cells to glioma cells was associated with increased angiogenesis and more frequent occurrence of hemorrhages. Cytokine array revealed a significant disbalance between several proangiogenic and antiangiogenic mediators compared to normal pericytes, and an increased Angiopoietin 2/1 ratio in conditioned media from FAP+ stromal cells.

CONCLUSION
Our results bring new evidence that GBM associated FAP+ stromal cell promote angiogenesis by changing the balance between proangiogenic and antiangiogenic mediators and thus they may contribute to glioblastoma progression.

ACKNOWLEDGEMENT
Supported by Progres Q28/1LFUK and grant LM2015064 of the EATRIS-CZ and the Center for Tumor Ecology (CZ.02.1.01/0.0/0.0/16_019/0000785).
Witnessing Space
Authors: Polli Andrea 
Published: September 2021

Abstract
Significant advances in scientific understanding in the twentieth century pointed to a convergence of time and space, known as SpaceTime. Related scientific discoveries related to the nature of the cosmos invoked sound not only metaphorically but quite literally. Einstein’s Theory of Relativity changed the position of an observer from neutral to active. This position is consistent with an embodied experience of sound. Simultaneous to these scientific advances, developments in recording and production technologies gave artists the tools to explore sound in space, and to create in the intersectional spaces between art, geography, astronomy, and other sciences. In addition R. Murray Schafer, Hildegard Westerkamp, and others created a contemporary sound art movement that highlights the presence of the listener as inextricable to a soundscape experience. Many sound artists have created compelling immersive experiences for listeners through the audification and sonification of spatial data. Such works raise important questions: if sonic experience of space is embodied, how can space be understood through sound, especially that which is scaled much larger or smaller or of a duration much shorter or longer than that which we can experience with our bodies? How do affect, mood, and emotion influence our embodied understanding of sound in space? In this introductory chapter to this volume’s section on space and sound art, the author’s embodied experiences and interactions with scientists in Antarctica will serve as a background to a personal meditation on sound and space on a human, cosmic, and micro-cosmic scale.
Sound and Wonder
Authors: Lee Ray 
Published: September 2021

Abstract
Starting by describing his experience of becoming lost in wonder at the Bakken Museum of Electricity and Life in Minneapolis, in this chapter the artist Ray Lee explores his fascination with the state of wonderment. Referencing his internationally touring sound art works Siren and The Ethometric Museum he reviews the strategies that he has used to attempt to create a sense of wonder, and why this has become both a valuable aspect of his practice and a distinctive part of the audience experience. Throughout the history of science wonder has been a driving force for discovery, yet the sublime, with its suggestion of the spiritual, has more often been used to describe the experience of art. The chapter looks at how wonder creates a sense of creative uncertainty, de Certeau’s ‘rift in time’ or, as Bataille puts it, a state of ‘intolerable non-knowledge, which has no other way out other than ecstasy’.
Sound and Thing
Authors: Evens Aden 
Published: September 2021

Abstract
‘Sound and Thing’ examines the tensions between the idea of a thing as stable, durable, locatable, and weighty versus the notion of sound as ephemeral, eventual, diffuse, and dematerialized. Considering recordings that focus on capturing the sounds of things (Resonance FM, ‘One Hour As ….’), composers and sound theorists who attempt to pin down the thingness of a sound (David Dunn, Pierre Schaeffer, Salomé Voegelin), and philosophers who articulate the surprisingly complex dynamics of things (Martin Heidegger, Dr. Seuss), this essay offers an uneasy rapprochement between sound and thing. But if sounds, finally, are things, they exhibit an unusual and dynamic thingness, a sonic vitalism, that resists the positivism of our age and of our leading technologies.
Sacrificial Floors and Tables
Authors: Richards John 
Published: September 2021

Abstract
A floor or table strewn with beer cans, toys, bits of scrap metal, ceramic bowls, miscellaneous electronics, and wires: a collection of things to make sound. Instrument and sound object have been sacrificed for a music of things. DIY electronic music and maker communities have challenged what sound is made with and to what end. Within these communities, the sacredness of the musical instrument has been debunked. Percussion is examined in relation to a music of things and object-orientated performance, and the performance-table is also viewed in the context of experimental sound and performance works. In this chapter George Brecht’s The Cabinet and readymade actions, and the performance-tables of Keith Rowe and Adam Bohman are illustrated. In addition, the work of Tetsuya Umeda is used to demonstrate performance-installation where making and unmaking are seen as critical parts of performance.
The unreliable mediator
Authors: Prior David 
Published: September 2021

Abstract
Within the array of sounding devices that have been deployed in the making of sound art, the speaker has a special status. Although not ubiquitous, the extent of the speaker’s influence on sound art cannot be underestimated, and yet for many artists the speaker remains an obstinate, unyielding thing, acknowledged for its function but not embraced for its form. Sound art has frequently positioned itself within the discourse of contemporary sculpture and installation art and, as such, both the affordances of sound itself and the materials of its technical apparatus need to be understood as different dimensions of what constitutes its medium. This brief survey of the uses of speakers in sound art uses Lucier’s Music on a Long Thin Wire as a case study in which the speaker is utilized not just for its ability to convey sonic meaning generated elsewhere but also as a thing in its own right.
The Ding in Itself
Authors: Mowitt John 
Published: September 2021

Abstract
Based on an extended reading of John Cage’s composition Water Walk as performed on the US television programme I’ve Got a Secret, the matter of what makes sound art, sound art is presented in this chapter in theoretical terms. Specifically, sound art is work that poses the question—what is a thing?—using the expressive resources (words, sounds, images, gestures) at the artist’s disposal. Starting with two things presented in Water Walk—a pressure cooker that sounds, and radios that sound differently—this chapter suggests how this presentation invites comparison with the philosophical treatment of ‘things’ to be found in the work of Kant (especially his distinction between noumenal and phenomenal things) Heidegger and Agamben. The comparison is shown to establish that what could be called sound art effectively drowns out the difference between art and theory. Put differently, sound art obliges us to hearken to the question sound ‘itself’ presents.
Sound is Silence
Authors: Hainge Greg 
Published: September 2021

Abstract
This chapter investigates the possibility of talking about the fabric of sound. The claim is made that sound has no fabric of its own and is extended only through other sites and media. It is suggested, however, that we might talk about sound not as a fabric but as un fabriquer, a term that brings with it something of the asubjective, relational, and operational nature of sound. When thinking through this in terms of sound art, greater complexity arises since a human subject is necessarily interpolated into the relation, and the fabric of sound (which is to say its ontology) must be thought of from a phenomenological perspective. To do this, I use the philosophy of Merleau-Ponty, in particular his concept of a chiasmic relation out of which the perceptible world is produced as what he terms ‘the flesh of the world’. I contend that this concept, as outlined in his late philosophy, is problematic because it is hard to see how it can lead to the kind of experiential intersubjectivity that it argues for. This argument is unpacked through a consideration of the physiological phenomenon of otoacoustic emissions before going on to argue that art, and in this specific case sound art, may provide a solution to the conundrum of how such necessary intersubjectivity can arise, a suggestion that is prosecuted via a consideration of Jacob Kirkegaard’s Labyrinthitis, a work of sound art constructed out of otoacoustic emissions.
Against a Falling Fabric
Authors: Kim-Cohen Seth 
Published: September 2021

Abstract
This chapter calls into question the celebratory use of certain adjectives typically applied to sound: ephemeral, immersive, remote, ineffable. Instead, these descriptions are attached to their less celebratory applications in the workings of neoliberalism: in contemporary warfare, the ubiquity of debt, and the unfettered movement of capital (but not peoples) known as ‘globalism’. We might refer to these qualities of neoliberalism as ‘acousmatic’, thereby connecting sound practice to the clandestine operations of contemporary economic logic and logistics. Examining sound works by the artists Samson Young and Matthieu Saladin, sound’s relationship to these adjectives is reimagined, not as a confirmation of sound’s privileges, but as a passage to a critical position.
Materiality
Authors: McKinnon Dugal 
Published: September 2021

Abstract
This chapter offers an examination of sonic materiality from a perspective strongly influenced by various strands of contemporary ontology, in particular Graham Harman’s object oriented ontology, Karen Barad’s agential realism, and Timothy Morton’s synthesis of sundry speculative realist approaches. The core argument of the chapter, supported by aspects of each of the theorists just mentioned, is that sound exists as part of the energetic entanglement of objects, a ‘hyper-object’ (Morton) established in ‘intra-action’ (Barad), which reveals the otherwise withdrawn (Harman) qualities and propensities of these multiple participants, including the human auditor and the medium which propagates sound. In this way, sound can be described as a kind of fabric, both ‘something made’ (fabricated) and made of the interweave of multiple elements.
Fukushima
Authors: Houdart Sophie 
Published: September 2021

Abstract
In places such as Fukushima that have been contaminated after a nuclear disaster, attesting to the presence of radioactivity is a challenge for the people there, who all know that one cannot touch, nor see, nor smell it. Nevertheless, since 2011, they have had to learn how to cohabit with radionuclides by—among other means—measuring their environment and every single item that populates it. Although when talking about a nuclear disaster, one often imagines the kind of ‘crackle’ sound produced by Geiger counters, life in the Fukushima region is strangely soundless. Most of the time, Geiger counters are calibrated to visualize an amount of rays via numbers, but by choice they are set to mute mode. This silence is echoed by the peculiar sound of deserted areas. Looking back over the history of the Geiger counter and ethnographical depictions, it will try to grasp and render the texture of sites such as these that force us as human beings to confront this deficiency in our senses.
Soundfullessness
Authors: Migone Christof 
Published: September 2021

Abstract
Are the predictable associations between sound and darkness, night and music, based solely on the ability of the aural sense to focus thanks to a reduction of the visible field? Even if the answer lies in a correlation between physical manifestation and physiological adaptation, the socio-cultural scaffolding that stems from this simple fact is of interest. Sites of investigation: John Oswald’s pitch black performances; Studio 303’s Noises from the Dark series; Adrian Piper’s Untitled Performance at Max’s Kansas City; Andre Lepecki’s (and by extension Fred Moten’s) ‘shared aurality’ active in the quartet of darkness/blackness/potentiality/freedom; Derek Jarman’s Blue and, especially, Akira Mizuta Lippit’s analysis of the film where sound becomes image and image becomes sound; the use of darkness at the famed 1938 International Surrealist Exhibition in Paris; the Saydnaya Military Prison; Guy Debord’s Hurlements en faveur de Sade; amongst others. Is sound necessarily of the dark, from the dark, in the dark? Eclipses and shadows, caves and caverns are moments and sites where and when sounds thrive, or at least are invoked and conjured. How does the night sound? Merleau-Ponty begins to answer the question by depicting the night as generator of a different kind of space, one that ‘has no outlines; … is pure depth without foreground or background, without surfaces and without any distance separating it from me’. The implications on sound of the inside/outside blur, the porous muddle, are that its sensorial properties have ontological consequences.
Last breath, Sensing Life
Authors: Bulut Zeynep 
Published: September 2021

Abstract
Drawing on electronic artist Rafael Lozano-Hemmer’s installation Last Breath (2012), this chapter explores the sonic sensibility of life. It discusses (un)knowing and (dis)locating a body through sound, sensing the plasticity of life through assembled breath and voice, and the urge for insisting on life. The chapter looks at (1) Lozano-Hemmer’s aesthetics and related works, (2) conceptions of life as informed by nineteenth-century German Romanticism and twentieth-century continental and materialist philosophies, (3) preservation and mobility of sound via sound recording technologies, (4) voice as a biometric portrait, and (5) the capacity of inanimate things for expression.
Danfo
Authors: Ogboh Emeka 
Published: September 2021

Abstract
This chapter explores the iconic symbol of Lagos as a space that inspires sound, a space to record, and a space in which to install sound within the context of my sound art practice. Such an exploration is inextricably tied to the external and internal dynamics of the operation of the Danfo bus and the key components that congregate to generate and dissipate the sounds of this mobile theatre. These include the bus stations, the bus driver, the bus conductor, the passengers, and the itinerant hawkers. The chapter will be discuss these characters and space in relation to my practice and recordings, with a particular interest in how these characters interact, utilize, generate, and transform sounds within and outside the Danfo, and how this ensemble has inspired me to transmit, overlay, mix, and combine the Danfo sounds and visuals in my art practice.
Minor Acoustics
Authors: LaBelle Brandon 
Published: September 2021

Abstract
The essay explores sound as a dynamic medium for facilitating and enabling unique forms of relationality. Specifically, this leads to investigating how sound contributes to socially engaged and sited art work, affording involvement in radical forms of sharing and affinity. From nonhuman species to abandoned buildings, found matter to strange publics, practices of sound art often steer us towards experimental forms of relationality, where experiences of contact are elaborated beyond the strictly social. Such an auditory position may challenge and extend a politics of identity and community, shifting the dominant discourses of social recognition. Following such relational views, sound is underscored as a means for enriching the complexity of what it means to live together in this global environment.
A Social Sonic Paradigm
Authors: Bristow Tegan , Zúñiga João Orecchia 
Published: September 2021

Abstract
This chapter presents an examination of why—in contemporary Africa, with Southern Africa as the primary focus—there are very few artists working with sound in a manner that fits the paradigm of sound art as it is known in Euro-America. Emphasis is not placed on a lack of intellectual engagement, which is significant in the Euro-American definition of sound art. What is presented does not aim to deviate from this, but rather acts to affirm an engagement with alternative forms of knowledge and mechanisms of sound found in the South. Three areas are explored; these however are interlinked and do not stand alone. The first is an understanding of the practice of interdisciplinarity as political engagement. The second explores the role of community and communal interaction with sound and how this is fundamental to form in the region. The third extends this by showing how the histories of knowledge and power are fundamental to these explorations in the region, emphasizing how contemporary explorations of sound are used to both contain and shift these histories. The chapter takes shape with the use of case studies and draws on interviews conducted by the authors.
Composing Fragmented Relations With Materials, Locations, and Archives
Authors: Southern Jen , Thulin Samuel 
Published: September 2021

Abstract
In this chapter we build on a relational perspective to sound art, drawing on theories of mobilities research and agential realism to explore the nature and texture of relations that are not only human but material, temporal, spatial and mobile. Informed by our work about a World War I memorial Homing (2016), we describe sound production as the composition of fragmented relations. These various aspects of fragmentation do not, however, make the work fall apart. Instead, within the building of a locative sound work, fragmentation becomes central to composition. Fragments are tied together, not into a smooth flow, but into a textured experience, as sound is used as a kind of connective tissue bringing disparate elements into relationships. We therefore suggest that by focusing on a Baradian reading of relationality in sound art, fragmented relations can be seen as both leading to composition and simultaneously being produced by its situated nature.
Origin Stories
Authors: Stoever Jennifer Lynn 
Published: September 2021

Abstract
This chapter examines auditory racism via the concepts of the sonic colour line and the listening ear and details its fundamental, deeply-rooted impact on what is called ‘sound art’. As the sonic colour line sorts ‘good’ listeners from ‘bad’, the curatorial listening ear—the disciplinary mode of white listening operating as the sonic colour line’s ready attendant—thoroughly permeates the exhibition, review, and scholarship of sound art, particularly in three areas: the field’s origin story, the pointed rejection of self-identified black diasporic aesthetics, and a refusal to hear critique on these grounds. In addition to auditing prior scholarship, I challenge previous renderings of ‘sound art’ via close and historically-contextualized analysis of artworks by Camille Norment, Betye Saar, Mendi + Keith Obadike, and Jennie C. Jones.
Listening
Authors: Denham Sue , Winkler István 
Published: September 2021

Abstract
Our perceptual systems provide us with information about the world around us and the things within it. However, understanding this apparently simple function is surprisingly difficult. In this chapter we focus on auditory perception and the ways in which we use sound to obtain information of the behaviour of objects in our environment. After a brief description of the auditory system, we discuss auditory scene analysis and the problem of partitioning the combined information from an unknown number of sources into the discrete perceptual objects with which we interact. Through this discussion, we conclude that auditory processing is shaped by the need to flexibly engage with the rhythms of living organisms and temporal regularities in the world.
Sound in the Mediated Space
Authors: Choi DooEun 
Published: September 2021

Abstract
With recent advances in technological media, the artistic notion of the multimedia environment has been dramatically extended. In this collection of interviews, sound will be examined in relation to various mediated spaces, from the ubiquitous urban space of telematic cities to enclosed audiovisual spaces. The sounds present in these mediated spaces act as triggers which allow the audience to transcend the sensory experiences of the mundane. They accomplish this through the visualization of invisible auditory forces, or by creating an immersive space beyond the realm of the physical ambient space. In some cases, sounds archived and shared on media platforms direct attention to larger sociopolitical issues. Such mediated environments, artistically augmented with the power of sound, become platforms wherein audiences can experience new potentials of sensory space. Furthermore, these works also introduce possibilities of new forms of sound-based connectivity and communication.
Sound Art and Time
Authors: Cox Christoph 
Published: September 2021

Abstract
This chapter explores the relationship between sound art and time, focusing on a set of works that mark milestones in the history of sound art and that explicitly engage varieties of temporality. It begins with a discussion of Thomas Edison’s invention of phonography, which allowed sound to be captured and gave it an untimely existence. It then turns to the work of John Cage, analysing it by way of Henri Bergson’s philosophy of time. The essay goes on to discuss the notions of time, duration, and eternity in Maryanne Amacher’s radio works, Max Neuhaus’s installations, La Monte Young’s Dream House, Jem Finer’s Longplayer, and other works.