bluuebunny/crossref_metadata_2025_split huggingface dataset:
The drizzly identity: A dissolution of the body as a solution of life
Authors: Tratnik Polona 
Published: August 2015

Abstract
Regenerative medicine requires living cells in order for it to work. The process involves a biologist entering the body, cutting into its flesh and taking away a part of it in order to return with an improvement. In other words, to optimize the body it first needs to be deconstructed. This process is demonstrated in the project ‘Hair in Vitro’. However, the fact that it is difficult to reconcile oneself with such a ‘disfigurement’ testifies to a certain sacredness surrounding the body in western culture, where its wholeness and completeness is still fundamental. Nevertheless, could one argue for the idea of an intimate, individual body; of an identity that is preponderantly distinguished and separated from the other world (especially if a human is to be acknowledged as being immersed in the world); where things reciprocally belong to each other in such a manner that they constitute the same flesh of the world?
The genetic profile of an individual is actually a much more complex assemblage than a profile of just one species. Micro-organisms not only live as components of the body, but also traverse from it into the environment, and vice versa. An exchange of living substances is constantly taking place. The horny layer of the skin is thus something of a vibrant exchange market; it is a region of the dissolution of identity: interiority extends out to exteriority and exteriority goes into interiority. Concepts of interiority and exteriority become senseless here: the body and the environment are intertwined; the body disperses into the milieu, and the milieu spreads onto and into the body. With the deconstruction of the notions of the boundaries of the body and the body as a closed distinguished substance, the idea of the wholeness of the organism has lost a great deal of sense. The body should not just be considered as a multitude, but its notion should denote openness, exchangeability, traversabilty and permeability. Its structure is, in short, rhizomatic – the body is a rhizome.
A body is a temporary locus of a particular organization of life. It is not a closed entity, but rather a drizzling identity. The delimitation of the body is constructed, and therefore where it ends up is drawn arbitrarily. Regenerative medicine derives from the notion of a body as a composition: a dissembling and re-assembling of bodies, as well as a restarting, delaying and slowing down of life processes. A performative installation with growing human organs such as ‘Initiation’ discloses this notion, positioning the observer into the dispersed body. A body dissolved in a milieu – a fertile yard – where human remains are given suitable living conditions for the afterlife; a platform of life where the life that once belonged to the body has emancipated itself. It thus becomes the living other of the body with which the self gets confronted. However, this life is also the body’s own identity.
Biology as a new media for art: An art research endeavour
Authors: Menezes Marta de 
Published: August 2015

Abstract
Throughout art history, numerous artists have explored connections to science. In the society of today, the relationship between art and biology has been acquiring special visibility. Moreover, the current importance given to science and technology by today’s public opinion directly drives an increased awareness about the relationship between art and science. The public has been eagerly following breakthroughs in scientific research, albeit with mixed feelings: simultaneously awe, hope and fear for its potential misuse. Such awareness about biological sciences and biotechnology has been having an increasing influence over artists, where the artist is no longer a mere observer of the scientific research and not quite a science researcher, but rather an art researcher. This particular position has led to the development of strategies to promote the exploration of possibilities deriving from a cross-talk between artists and scientists. This is a new art practice, based on a ‘risk-based’ situation; a timeless research strategy to develop new methods of practice, new media and new ways to manipulate materials for artistic expression. This is art research.
During the twentieth century, the key scientific advances – such as the discovery of the DNA structure, in vitro fertilization, transgenesis or the sequencing of the human genome (in the twenty-first century) – were perceived by society in diverse ways. The progressive incorporation of those concepts by society itself led to a point where biology and the medical sciences became the most promising areas of science. It is therefore not surprising that those same scientific disciplines have marked the development of the artistic discourse in a tremendous fashion, as well as also influencing all other areas of the contemporary society. Furthermore, these artworks explore new media, described as ‘moist’ in that they integrate dry in silico computer components with wet living biological systems.
The fluid coevolution of humans and technologies
Authors: Santaella Lucia 
Published: August 2015

Abstract
In this era of terabytes and big data, the field of digital culture and art is witnessing an emergence of dystopian lines of criticism denouncing new forms of programmed governmentality and ubiquitous surveillance, placing societies, lifestyles and the human psyche under the control of algorithms. These criticisms are so negative because they start from a belief of human autonomy from technology. To examine the other side of this argument, this article aims to discuss the coevolution of humans and technology. To accomplish this aim, the article is based on the writings and practice of the artist and theorist Roy Ascott, in whose work can be found the most original and significant conceptual sources for the defence of this thesis.
Moist art as telematic dance: Connecting wet and dry bodies
Authors: Santana Ivani 
Published: August 2015

Abstract
Assuming that the contemporary world is inevitably set in the context of moistmedia (Ascott 2000), this article discusses some artistic proposals that specifically seek to explore the relationship between dry technology and the wet human body, as in the case of telematic dance. This article is grounded in Clark’s (2003) concept of the ‘extended mind’ and ‘cognitive artefact’; Noë’s (2004; 2012) ‘activism’ theory; and Gallagher’s (2005) ideas surrounding ‘body image’ and ‘body schema’. My discussion of ‘moistmedia’ is focused on Ascott’s ‘Moist Manifesto’ (2000, 2003a), as well as moist theories which contribute to rethinking notions of (tele)presence, time, space, distance and of the very body. Through these new comprehensions we can understand the new perceptual demands that dancers have to deal with in the context of telematic dance. This new art configuration promotes different sensory motor experiences compared with a stage-based dance environment. The networked field of telematic dance is one way in which to render reality fluid in a moist context. In this sense, telematic projects could be assumed as moist art – ‘the hybrid interval between cyber and physical space’ – and as the ‘digitally dry, biologically wet, and spiritually numinous’ (Ascott 2003). Analyses of performances created within the project entitled ‘Embodied Varios Darmstadt’ 58’ (2013–14), with the collaboration of artists from Mexico, Spain, Portugal and Chile, will contribute to my discussion of telematic dance. This telematic artistic project was created to develop the concept of the ‘(tele) sonorous body’ from a theoretical and aesthetic point of view, so as to follow my interest in exploring telepresence beyond visual image. In this article, it is assumed that a human being experiences her/his world through sensory motor skills and that these are in play when s/he interacts with the environment (Noë 2004), a milieu garnered from Ascott’s ‘Moist Manifesto’ (2003a). The cultural shift proposed by this manifesto brings into play some important considerations, including notions of negotiation, construction, context and distributed mind, which overlap with conventional ideas of reception, representation, content and the autonomous brain respectively. Our interactions via telepresence with a dance partner bring about different ways of perceiving one another and oneself, because body image and body schema play an active role in shaping our perceptions (Gallagher 2005). Our actions and perceptions, our body image and body schema are responsible for our behaviour and learning in this world, interweaving these bodies partially wet (i.e. those onstage) with the dry (i.e. those tele-transported through cyberspace. The analysis of ‘Embodied Varios Darmstadt’ 58’ will contribute to understanding the perceptual demands of the dancer within the telematic environment, as well as the new notions of time, space, distance, presence, and the very notion of relationship or body contact in dance embedded into this ‘+ + biological culture’.
An artsci science
Authors: Fróes Maira M. 
Published: August 2015

Abstract
I see art as the most efficient technological field for triggering human imagination. I am not alone in my conviction that human imagination has the potential to feed back to arts and science in creative and transforming ways, as does to every humanconceived technology. More than progress, breakthroughs depend on it. A virtually unlimited conceptual hybridization from dramatically distinct knowledge fields is markedly attainable in the present day through use of an art we experience as growingly immaterial and distributed. As claimed by Roy Ascott (2006), the deep significance of this experience is only achieved when a sort of technological intermingling dissolves artwork and observer into a moistmedia that takes the form of a hybrid conscious body. Would the same be true for science?
In addressing this question, a first step is to recognize that there is more to the scientific process of thinking and creative conception than mere cognition (as defined by neuroscience); it also parallels artistic processes. Importantly, both artists and scientists operate at levels of subjacent realities. What would be the implications to scientific practice if, instead of romantic, essentially subjective, speculative guesses, we prove scientifically that subjective processes potentiate science? The present article proclaims the centrality of this question as a transforming demand to contemporary neuroscience. Moreover, it reverberates Roy Ascott’s proposition of the brain as an access system – a ‘moistmedia informer’.
In this article, hybrid artsci labs are proposed as systems that favour aesthetic rapture at different stages of scientific practices. A conceptualization of scientific objects – either material or immaterial – in contemporary art is central in this model. Artsci labs are essentially conceived as providing for interdigitating scientific, artistic and brain technological paradigms, and the effects on cognitive handling through directly controlled technical evaluation is presented. Results from my lab give support to Ascott’s proposition of an art development informed by the brain. Moreover, the hybrid multimodal character of the artwork returns to science as a gain in abstraction, favouring the idea of contemporary art as a speculum of knowledge resonances, while potentiating intuitive conceptual reframing and associative thinking usually detected as insights.
The complexification of self: At the crossroads of concepts of flux and ‘living at risk’
Authors: Choinière Isabelle 
Published: August 2015

Abstract
The idea of considering the living as an element of risk-taking was first inspired by my interest in existentialist approaches in different fields – literature, philosophy, the performing arts, etc. – as well as in the experimental approach Roy Ascott proposes between the arts and technology. Ascott (2003b: 150) advances an interpretation of change that is of particular interest to me: ‘the act of changing becomes a vital part of the total aesthetic experience of the participant’. In his article ‘Biophotonic flux: Bridging virtual and vegetal realities’, Ascott (2003a) speaks of a digital paradigm whose ‘systems and processes become increasingly ubiquitous and invisible, [while provoking] many artists [to] seek new horizons – in the biological sciences, nanotechnology, and the study of consciousness, leading to the emergence of a “moistmedia” (incorporating digitally dry and biologically wet systems)’. From the outset, Ascott (2003b: 123) positions his concept of moistmedia within a dynamic of experimentation, stating ‘I use the word experimental to mean making an action the outcome of which is not foreseen’. I consider these ideas as being fundamental for my own research and for this article, in which I propose a re-evaluation of the relationship between the moving body and technology; more specifically, I suggest focusing on recent perspectives in the performing arts which inscribe new manifestations and dynamics of cross-pollination between the somatic and technology. Thus, my latest research-creation projects led me to the conception and experimentation of a new aesthetic paradigm, which takes the form of a proposition of collective physical and mediated bodies. My interest in conducting creative research involving technology concerns the fact it reveals previously unknown aspects of the body. This article therefore reflects on the experience and conception of the performative body in the link it entertains with technology; an evolutive relationship from which emerges a complexification of self. To do so, I will highlight sensorial and perceptual phenomena and strategies related to the transformation of the body through its contact with technology – lived as a physicality – and subjective experience. This article also introduces the idea of how a culture of flux – reality in flux and constant transformation – is responsible for the emergence of new performative models, and how the dynamics of a loss of bearings and personal risk are essential with respect to this emergence.
Hemophagocytic lymphohistiocytosis in a patient with CD3δ deficiency
Authors: Alsalamah Mohammad , Sarpal Amrita , Siu Victoria Mok , Gibson Paul , Rupar CA , Barton Michelle , Salvadori Marina I , Goobie Sharan 
Published: August 2015

Introduction: Primary hemophagocytic lymphohistiocytosis (HLH) is a life-threatening inflammatory process that has been linked to abnormal cytotoxic T-cell and natural killer (NK) cell function. We report on the first case of severe combined immunodeficiency (SCID) caused by a CD3δ mutation presenting with HLH in a female of Mennonite descent. Case Description: A Low-German-speaking Mennonite female with past medical history of eczema, mouth sores, and refractory oral and diaper candidiasis presented at the age of 6 months with vomiting, diarrhea, and lethargy. The patient developed HLH that was refractory to treatment and led to multi-organ failure. Immunological evaluation was diagnostic for SCID and post-mortem genetic testing confirmed a homozygous mutation in CD3δ that was previously described in Mennonites. Method: Targeted molecular testing for CD3δ deficiency confirmed a homozygous C-to-T transition at nucleotide position 202, predicting a premature stop codon, with a truncation at residue 68 (R68X) in the extracellular domain of the protein. Discussion: Many primary immunodeficiency diseases (PID) that affect cytotoxic T cells and NK cells have presented with HLH. However, a growing number of PID with no obvious NK-cell defect have also been found to predispose patients to HLH, suggesting that failure of NK activity is not the only mechanism leading to this unusual form of inflammation. Conclusion: CD3δ is known to be critical for T-cell but not NK-cell development, which may suggest an alternate mechanism for overwhelming inflammation leading to HLH. Statement of novelty: This is the first case report of CD3δ deficiency presenting with HLH.
A variable exponent Sobolev theorem for fractional integrals on quasimetric measure spaces
Authors: Samko Stefan 
Published: August 2015

Abstract
We prove that the coefficients

a

i
j

(
x
)

${a_{ij}(x)}$

, q(x) and the domain Ω of a multidimensional fractional diffusion equation can be recovered uniquely from measurements

u
(
b
,
t
)

${u(b,t)}$

,

t
∈
(

t
0

,

t
1

)

${t\in (t_0,t_1)}$

, at an arbitrary single point b inside a bounded domain

Ω
⊂

ℝ
n

${\Omega \subset \mathbb {R}^n}$

. From the measurements we first recover infinitely many spectral data

(

λ
m

,

ϕ
m

(
x
)

)

${(\lambda _m,\varphi _m(x))}$

of the elliptic operator associated with the fractional diffusion equation. Then, the coefficients

a

i
j

(
x
)

${a_{ij}(x)}$

and q(x) are found from linear algebraic systems of the form

A
y
=
b

${Ay = b}$

, where A is a generalized Wronskian of some set of eigenfunctions that can be shown to be nontrivial. The domain Ω is reconstructed using the first eigenfunction

ϕ
1

(
x
)

${\varphi _1(x)}$

.
The role of Drosophila antifungal immune response genes in intestinal homeostasis
Authors: Hao Yangguang , Liu Qiang , Jin Li Hua 
Published: August 2015

Abstract
The signaling pathways that control intestinal
development, regeneration and disease show a high
degree of conservation between Drosophila and mammals.
The gut epithelia of Drosophila provide protection against
invasion of microorganisms through production of reactive
oxygen species (ROS) and antimicrobial peptides (AMPs).
Although Drosophila gut immunity has been extensively
studied, the specific responses to Gram-positive bacteria,
fungi and toxic compounds are not fully understood. To
identify the physiological role of genes involved in host
defense we studied Drosophila mutants in antifungal
genes identified previously and tested their survival upon
feeding with various pathogens and toxic compounds.
The results showed that several mutants displayed
decreased viability compared with wild-type flies, and
the lower survival rates were attributed to morphological
change and excessive cell death in mutant guts. Thus, we
identified several new Drosophila genes (spen, jumeau,
inv, DDB1 and shg) required for intestinal homeostasis or
stress responses.
Phenolic fingerprint of the seagrassPosidonia oceanicafrom four locations in the Mediterranean Sea: first evidence for the large predominance of chicoric acid
Authors: Grignon-Dubois Micheline , Rezzonico Bernadette 
Published: August 2015

AbstractThe phenolic fingerprint of the leaves ofPosidonia oceanicacollected from four different Mediterranean Sea regions was determined using a panel of analytical techniques. It was found to be dominated by caffeic tartrates, along with low amounts of coumaric and ferulic tartrates. Chicoric acid (CA) was unambiguously identified as the major phenolic compound, regardless of the sample or collection site. Caftaric acid (CAF) was the second most abundant phenolic, but in much lower average concentrations. These results contrast with most of the previous works, in which CA was not even mentioned. The dramatic influence of extract handling, as well as the importance of choosing the adequate criteria of identity to standards, was demonstrated. These results show the importance of analyzing the crude extract to avoid some of the major pitfalls in determining the phenolic fingerprints. This is the first report to identify and quantify CAF in the Posidoniaceae and to identify CA as the dominant phenolic inPosidonialeaves. The large accumulation of CA in both living (10.12–12.78 mg g-1dw) and detrital leaves (2.49–12.11 mg g-1dw) across large geographical scales is noteworthy. The lack of significant concentrations of flavonoids contrasts with other seagrass genera. Importantly, the phenolic signature ofP. oceanicashows significant similarities to those ofCymodocea nodosaandSyringodium filiforme, both belonging to the Cymodoceaceae. These results are discussed in terms of metabolic pathways and phylogenetic relationships.
Comparison of hydraulic conductivities by grain-size analysis,pumping, and slug tests in Quaternary gravels, NE Slovenia
Authors: Pucko Tatjana , Verbovšek Timotej 
Published: August 2015

Abstract
Hydraulic conductivities (K) can be obtainedfrom pumping and slug tests as well as grain size analysis.Although empirical methods for such estimations are longstanding,there is still insufficient comparison of K valuesamong the various approaches. Six grain-size analysismethods were tested on coarse-grained alluvial sedimentsfrom 12 water wells in NE Slovenia. Values of K from grainsizemethods were compared to those of pumping testsand slug tests. Six grain-size methods (USBR, Slichter,Hazen, Beyer, Kozeny-Carman, and Terzaghi) were usedfor comparison with the Theis and Neuman pumping testmethod and the Bouwer-Rice method for slug tests. Theresults show that the USBR (US Bureau of Reclamation)method overestimates K values and there is no correlationwith other results, so its use is not advised. Conversely,whilst the Slichter method gives much lower estimatesof K, it is the only one to completely fulfill the grainsize requirements. Other methods (Hazen, Beyer, Kozeny-Carman, and Terzaghi) result in intermediate values andare similar to the Slichter method; however they should beused for smaller-sized sediments. Due to their high transmissivityand small radius of inffiuence, slug tests shouldbe avoided in the analysis of gravels, as they only test asmall portion of the aquifer compared to pumping tests.This is confirmed by the low correlation coefficients betweenhydraulic conductivities obtained from pumpingtests and slug tests.
Effect of PNF technique for knee muscles on lower limb performance in subacute stroke – an experimental study
Authors: Kumar Sanjiv , Tiwari Shiva Prasad 
Published: August 2015

AbstractApproximately two-thirds of stroke survivors have sequel of neurological impairments. Although all sequels have direct impact on the performance of activities of daily living, motor deficits of the lower limbs have the most important impact on an individual’s functioning. The objective was to study the effect of proprioceptive neuromuscular facilitation (PNF) technique on lower limb performance in subjects with subacute stroke.Thirteen participants with subacute strokes were recruited. Participants were treated with PNF rhythmic stabilization technique. All participants received 10 days of intervention. Treatment sessions consisted of PNF rhythmic stabilization exercises for knee that utilizes alternating isometric contractions of agonist and antagonist against resistance. Lower limb performances were measured with Modified Emory Functional Ambulation Profile, Five Time Sit To Stand Test and Postural Assessment Scale For Stroke.Lower limb performances were improved after 10 days of intervention as compared to baseline assessment in all the outcome measures.This study suggests that the rhythmic stabilization technique is an effective method to improve lower limb function that can be used as an adjunct with other therapies.