cometadata/datacite-titles-descriptions-related-identifiers huggingface dataset:
DOI: 10.6084/m9.figshare.21989392
title: Decreased plasma H<sub>2</sub>O<sub>2</sub> levels are associated with the pathogenesis leading to COVID-19 worsening and mortality

description: Oxidative Stress (OS) is involved in the pathogenesis of COVID-19 and in the mechanisms by which SARS-CoV-2 causes injuries to tissues, leading to cytopathic hypoxia and ultimately multiple organ failure. The measurement of blood glutathione (GSH), H<sub>2</sub>O<sub>2</sub>, and catalase activity may help clarify the pathophysiology pathways of this disease. We developed and standardized a sensitive and specific chemiluminescence technique for H<sub>2</sub>O<sub>2</sub> and GSH measurement in plasma and red blood cells of COVID-19 patients admitted to the intensive care unit (ICU). Contrary to what was expected, the plasma concentration of H<sub>2</sub>O<sub>2</sub> was substantially reduced (10-fold) in COVID-19 patients compared to the healthy control group. From the cohort of patients discharged from the hospital and those who were deceased, the former showed a 3.6-fold and the later 16-fold H<sub>2</sub>O<sub>2</sub> reduction compared to the healthy control. There was a 4.4 reduction of H<sub>2</sub>O<sub>2</sub> concentration in the deceased group compared to the discharged group. Interestingly, there was no variation in GSH levels between groups, and reduced catalase activity was found in discharged and deceased patients compared to control. These data represent strong evidence that H<sub>2</sub>O<sub>2</sub> is converted into highly reactive oxygen species (ROS), leading to the worst prognosis and death outcome in COVID-19 patients admitted to ICU. Considering the difference in the levels of H<sub>2</sub>O<sub>2</sub> between the control group and the deceased patients, it is proposed the quantification of plasma H<sub>2</sub>O<sub>2</sub> as a marker of disease progression and the induction of the synthesis of antioxidant enzymes as a strategy to reduce the production of oxidative stress during severe COVID-19.HighlightsH<sub>2</sub>O<sub>2</sub> plasma levels is dramatically reduced in patients who deceased compared to those discharged and to the control group.Plasmatic quantification of H<sub>2</sub>O<sub>2</sub> can be possibly used as a predictor of disease progression.Catalase activity is reduced in COVID-19.GSH levels remain unchanged in COVID-19 compared to the control group. H<sub>2</sub>O<sub>2</sub> plasma levels is dramatically reduced in patients who deceased compared to those discharged and to the control group. Plasmatic quantification of H<sub>2</sub>O<sub>2</sub> can be possibly used as a predictor of disease progression. Catalase activity is reduced in COVID-19. GSH levels remain unchanged in COVID-19 compared to the control group.
DOI: 10.6084/m9.figshare.21989392.v1
title: Decreased plasma H<sub>2</sub>O<sub>2</sub> levels are associated with the pathogenesis leading to COVID-19 worsening and mortality

description: Oxidative Stress (OS) is involved in the pathogenesis of COVID-19 and in the mechanisms by which SARS-CoV-2 causes injuries to tissues, leading to cytopathic hypoxia and ultimately multiple organ failure. The measurement of blood glutathione (GSH), H<sub>2</sub>O<sub>2</sub>, and catalase activity may help clarify the pathophysiology pathways of this disease. We developed and standardized a sensitive and specific chemiluminescence technique for H<sub>2</sub>O<sub>2</sub> and GSH measurement in plasma and red blood cells of COVID-19 patients admitted to the intensive care unit (ICU). Contrary to what was expected, the plasma concentration of H<sub>2</sub>O<sub>2</sub> was substantially reduced (10-fold) in COVID-19 patients compared to the healthy control group. From the cohort of patients discharged from the hospital and those who were deceased, the former showed a 3.6-fold and the later 16-fold H<sub>2</sub>O<sub>2</sub> reduction compared to the healthy control. There was a 4.4 reduction of H<sub>2</sub>O<sub>2</sub> concentration in the deceased group compared to the discharged group. Interestingly, there was no variation in GSH levels between groups, and reduced catalase activity was found in discharged and deceased patients compared to control. These data represent strong evidence that H<sub>2</sub>O<sub>2</sub> is converted into highly reactive oxygen species (ROS), leading to the worst prognosis and death outcome in COVID-19 patients admitted to ICU. Considering the difference in the levels of H<sub>2</sub>O<sub>2</sub> between the control group and the deceased patients, it is proposed the quantification of plasma H<sub>2</sub>O<sub>2</sub> as a marker of disease progression and the induction of the synthesis of antioxidant enzymes as a strategy to reduce the production of oxidative stress during severe COVID-19.HighlightsH<sub>2</sub>O<sub>2</sub> plasma levels is dramatically reduced in patients who deceased compared to those discharged and to the control group.Plasmatic quantification of H<sub>2</sub>O<sub>2</sub> can be possibly used as a predictor of disease progression.Catalase activity is reduced in COVID-19.GSH levels remain unchanged in COVID-19 compared to the control group. H<sub>2</sub>O<sub>2</sub> plasma levels is dramatically reduced in patients who deceased compared to those discharged and to the control group. Plasmatic quantification of H<sub>2</sub>O<sub>2</sub> can be possibly used as a predictor of disease progression. Catalase activity is reduced in COVID-19. GSH levels remain unchanged in COVID-19 compared to the control group.
DOI: 10.17870/bathspa.12034809
title: Fiction Machines - Research Timeline & Research Questions

description: <i><b>Fiction Machines </b></i>is a multi-component output comprising a body of video art works, a journal article, a curated symposium and a journal special issue.The research considers how media art works can be developed that expose, rewrite and critique the mechanisms of contemporary control technologies from informational and affective perspectives.<br>Secondly, how re-appropriation can be used to harness source material drawn from the operations of these technologies? Thirdly how can the works themselves become self-reflexive machines, performing affective control on the viewer, whilst also exposing their artifice? Fourthly, how can similar research approaches that harness fiction to rethink technologies can be interrogated and brought into view?<br>This item contains the Research Timeline and Research Questions for the project.<br>
DOI: 10.17870/bathspa.12034809.v1
title: Fiction Machines - Research Timeline & Research Questions

description: <i><b>Fiction Machines </b></i>is a multi-component output comprising a body of video art works, a journal article, a curated symposium and a journal special issue.The research considers how media art works can be developed that expose, rewrite and critique the mechanisms of contemporary control technologies from informational and affective perspectives.<br>Secondly, how re-appropriation can be used to harness source material drawn from the operations of these technologies? Thirdly how can the works themselves become self-reflexive machines, performing affective control on the viewer, whilst also exposing their artifice? Fourthly, how can similar research approaches that harness fiction to rethink technologies can be interrogated and brought into view?<br>This item contains the Research Timeline and Research Questions for the project.<br>
DOI: 10.17870/bathspa.12034842
title: Fiction Machines - Oporavak (video stills)

description: <b><i>Fiction Machines</i></b> is a multi-component output comprising a body of video art works, a journal article, a curated symposium and a journal special issue. The research considers how media art works can be developed that expose, rewrite and critique the mechanisms of contemporary control technologies from informational and affective perspectives.<br><br>This item contains documentation of the initial video work <i><b>Oporavak</b></i> that was made in response to the research questions, in the form of video stills. The full film is documented in another item, via Vimeo link. <br><i>Oporavak</i> (2016) (4:40 minutes) proposes a methodology for what it calls ‘information recovery’ and the solving of ‘integrity problems’. Taking its inspiration from data recovery solutions and appropriating the language of achieving ‘complete visibility’ via forms of HD technology and big data, the film is part alternative software training video and part the voice of a subversive machine. It takes the intent of information restoration into a new context with its apparent ability to manipulate all sorts of digital and non-digital materials via its sentient interface and performative actions which can operate at molecular level. <br>The film utilises the voice of an unreliable narrator, which acts to draw viewers in and raise their awareness of inbuilt human desires for clarity and visibility. It also attempts to make viewers aware of the affective content and remixing tools that are constantly used to manipulate their senses within post-internet culture and it does this by exposing the software tools and revealing the video effects that are being used. The final section of the film looks towards a ‘sensing mechanism’ that has the functionality to manipulate and alter any type of visual material at its source and the capability of connecting with and manipulating the subconscious of its viewers.<br>
DOI: 10.17870/bathspa.12034842.v1
title: Fiction Machines - Oporavak (video stills)

description: <b><i>Fiction Machines</i></b> is a multi-component output comprising a body of video art works, a journal article, a curated symposium and a journal special issue. The research considers how media art works can be developed that expose, rewrite and critique the mechanisms of contemporary control technologies from informational and affective perspectives.<br><br>This item contains documentation of the initial video work <i><b>Oporavak</b></i> that was made in response to the research questions, in the form of video stills. The full film is documented in another item, via Vimeo link. <br><i>Oporavak</i> (2016) (4:40 minutes) proposes a methodology for what it calls ‘information recovery’ and the solving of ‘integrity problems’. Taking its inspiration from data recovery solutions and appropriating the language of achieving ‘complete visibility’ via forms of HD technology and big data, the film is part alternative software training video and part the voice of a subversive machine. It takes the intent of information restoration into a new context with its apparent ability to manipulate all sorts of digital and non-digital materials via its sentient interface and performative actions which can operate at molecular level. <br>The film utilises the voice of an unreliable narrator, which acts to draw viewers in and raise their awareness of inbuilt human desires for clarity and visibility. It also attempts to make viewers aware of the affective content and remixing tools that are constantly used to manipulate their senses within post-internet culture and it does this by exposing the software tools and revealing the video effects that are being used. The final section of the film looks towards a ‘sensing mechanism’ that has the functionality to manipulate and alter any type of visual material at its source and the capability of connecting with and manipulating the subconscious of its viewers.<br>
DOI: 10.5281/zenodo.7701494
title: HPC-JEEP: Energy-based charging on the ARCHER2 HPC service dataset

description: This package contains the data and tools used to calculate and analyse an approach to energy-based charging on the ARCHER2 UK HPC facility. This analysis was performed as part of the HPC-JEEP project. HPC-JEEP is funded by the UKRI DRI Net Zero Scoping project.
DOI: 10.17870/bathspa.12098400
title: Fiction Machines: Digital Ecologies Symposium

description: <b><i>Fiction Machines</i></b> is a multi-component output comprising a body of video art works, a journal article, a curated symposium and a journal special issue. The research considers how media art works can be developed that expose, rewrite and critique the mechanisms of contemporary control technologies from informational and affective perspectives.<br><br>This item contains documentation of the Digital Ecologies II: Fiction Machines symposium which I organised and curated. The symposium took place on: Tuesday 16 July, 2019 at Bath Spa University. The documentation includes the full programme, the conference summary and documentary images of the event.<br>The symposium consisted of four strands: design fictions, non human fictions, activist fictions and post-truth fictions. It included keynotes from Professor Simon O’Sullivan(Goldsmiths) and Dr Tony D Sampson (UEL).<br><br><b>Other confirmed participants included:<br><br></b>Ami Clarke, Jennet Thomas, Rod Dickinson, Charlie Tweed, Andy Weir, Harry Meadows, Ada Hao, Ramon Bloomberg, Bjørn erik Haugen, Hugh Frost, Garfield Benjamin, John Wild, Alberto Micali, Maud Craigie, Michelle Atherton, Rebecca Smith, Stephanie Moran and Alex Hogan and Teodora Fartan.<br><br><b>Photos: Charlie Tweed</b><b>Used with permission of the attendees. </b><b><br></b><b>Symposium catalogue designed by Charlie Tweed.</b><b>Used with permission. </b><br><br><b>Full details of the event are here:</b> https://www.bathspa.ac.uk/news-and-events/events/digital-ecologies-ii/<br><br><b>IJMR Fiction Machines: Special Issue (October 2020)<br></b><b><br></b>One key outcome from the conference was the development of a special issue of the International Journal of Creative Media Research which will be focused on Fiction Machines and co-edited with conference participants Dr Tony David Sampson (UEL) and Dr Andy Weir (Arts University Bournemouth). It will feature articles and practice based portfolio presentations from some of the participants in the symposium and others who responded to the further CFP. Publication date: September 2020.<br><br><b>FICTION MACHINES SPECIAL ISSUE: </b><br>https://www.creativemediaresearch.org/issue-5-october-2020 <br>
DOI: 10.17870/bathspa.12098400.v1
title: Fiction Machines: Digital Ecologies Symposium

description: <b><i>Fiction Machines</i></b> is a multi-component output comprising a body of video art works, a journal article, a curated symposium and a journal special issue. The research considers how media art works can be developed that expose, rewrite and critique the mechanisms of contemporary control technologies from informational and affective perspectives.<br><br>This item contains documentation of the Digital Ecologies II: Fiction Machines symposium which I organised and curated. The symposium took place on: Tuesday 16 July, 2019 at Bath Spa University. The documentation includes the full programme, the conference summary and documentary images of the event.<br>The symposium consisted of four strands: design fictions, non human fictions, activist fictions and post-truth fictions. It included keynotes from Professor Simon O’Sullivan(Goldsmiths) and Dr Tony D Sampson (UEL).<br><br><b>Other confirmed participants included:<br><br></b>Ami Clarke, Jennet Thomas, Rod Dickinson, Charlie Tweed, Andy Weir, Harry Meadows, Ada Hao, Ramon Bloomberg, Bjørn erik Haugen, Hugh Frost, Garfield Benjamin, John Wild, Alberto Micali, Maud Craigie, Michelle Atherton, Rebecca Smith, Stephanie Moran and Alex Hogan and Teodora Fartan.<br><br><b>Photos: Charlie Tweed</b><b>Used with permission of the attendees. </b><b><br></b><b>Symposium catalogue designed by Charlie Tweed.</b><b>Used with permission. </b><br><br><b>Full details of the event are here:</b> https://www.bathspa.ac.uk/news-and-events/events/digital-ecologies-ii/<br><br><b>IJMR Fiction Machines: Special Issue (October 2020)<br></b><b><br></b>One key outcome from the conference was the development of a special issue of the International Journal of Creative Media Research which will be focused on Fiction Machines and co-edited with conference participants Dr Tony David Sampson (UEL) and Dr Andy Weir (Arts University Bournemouth). It will feature articles and practice based portfolio presentations from some of the participants in the symposium and others who responded to the further CFP. Publication date: September 2020.<br><br><b>FICTION MACHINES SPECIAL ISSUE: </b><br>https://www.creativemediaresearch.org/issue-5-october-2020 <br>
DOI: 10.17870/bathspa.12286787
title: Fiction Machines: 300 word statement

description: <i><b>Fiction Machines </b></i>is a multi-component output comprising a body of video art works, a journal article, a curated symposium and a journal special issue.The research considers how media art works can be developed that expose, rewrite and critique the mechanisms of contemporary control technologies from informational and affective perspectives.<br>Secondly, how re-appropriation can be used to harness source material drawn from the operations of these technologies? Thirdly how can the works themselves become self-reflexive machines, performing affective control on the viewer, whilst also exposing their artifice? Fourthly, how can similar research approaches that harness fiction to rethink technologies can be interrogated and brought into view?<br>This item contains the 300 word statement.<br>
DOI: 10.17870/bathspa.12286787.v1
title: Fiction Machines: 300 word statement

description: <i><b>Fiction Machines </b></i>is a multi-component output comprising a body of video art works, a journal article, a curated symposium and a journal special issue.The research considers how media art works can be developed that expose, rewrite and critique the mechanisms of contemporary control technologies from informational and affective perspectives.<br>Secondly, how re-appropriation can be used to harness source material drawn from the operations of these technologies? Thirdly how can the works themselves become self-reflexive machines, performing affective control on the viewer, whilst also exposing their artifice? Fourthly, how can similar research approaches that harness fiction to rethink technologies can be interrogated and brought into view?<br>This item contains the 300 word statement.<br>
DOI: 10.17870/bathspa.14248211.v1
title: Fiction Machines: Further video words - Video stills

description: <i><b>Fiction Machines</b></i> is a multi-component output comprising a body of video art works, a journal article, a curated symposium and a journal special issue. The research considers how media art works can be developed that expose, rewrite and critique the mechanisms of contemporary control technologies from informational and affective perspectives.<br><br>This item contains video still images from the two video films, <i><b>We Must Capture</b></i> and <b><i>Implex</i></b>. <br>The full films are both documented in separate items.
DOI: 10.17870/bathspa.14248211
title: Fiction Machines: Further video words - Video stills

description: <i><b>Fiction Machines</b></i> is a multi-component output comprising a body of video art works, a journal article, a curated symposium and a journal special issue. The research considers how media art works can be developed that expose, rewrite and critique the mechanisms of contemporary control technologies from informational and affective perspectives.<br><br>This item contains video still images from the two video films, <i><b>We Must Capture</b></i> and <b><i>Implex</i></b>. <br>The full films are both documented in separate items.
DOI: 10.6084/m9.figshare.22232965
title: 22Rv1_ATAC_ENZ3w_0nM_rep1

description: 22Rv1_ATAC_ENZ3w_0nM_rep1
DOI: 10.6084/m9.figshare.22232965.v1
title: 22Rv1_ATAC_ENZ3w_0nM_rep1

description: 22Rv1_ATAC_ENZ3w_0nM_rep1
DOI: 10.6084/m9.figshare.22233019
title: 22Rv1_ATAC_ENZ3w_0nM_rep2

description: 22Rv1_ATAC_ENZ3w_0nM_rep2
DOI: 10.6084/m9.figshare.22233019.v1
title: 22Rv1_ATAC_ENZ3w_0nM_rep2

description: 22Rv1_ATAC_ENZ3w_0nM_rep2
DOI: 10.48366/r385010
title: A Catalog of Transformer Models

description: In the past few years we have seen the meteoric appearance of dozens of models of the Transformer family. This ORKG comparison contrasts models from different families including BERT, GPT, T5, etc. on some salient aspects around their innovation and difference. This comparison is inspired after the paper "Transformer models: an introduction and catalog" by Xavier Amatriain, while seeking to be an extendable list of new contributions in terms of transformer models as they continue to be introduced.
DOI: 10.5281/zenodo.7187358
title: Lost at C: Data from the Security-focused User Study

description: <strong>2022 Study on the security implications of Large Language Model Code Assistants</strong> This repository contains the results of the 2022 study described in the Paper: `Lost at C: A User Study on the security implications of Large Language Model Code Assistants` Link: https://arxiv.org/pdf/2208.09727.pdf Here, the overall goal is to determine if users with access to code suggestions via a Large Language Model (OpenAI code-cushman-001) in a GitHub Copilot-like arrangement produce code with a higher incidence rate of security-related bugs than those without any such access. In particular we concern ourselves with low-level memory-related bugs such as those often present in buggy C code. To answer this question, a User Study was conducted (N=58) which had users implement a shopping list in C as a singly-linked list. Half the users had access to a custom Copilot-like extension which generated suggestions according to code-cushman-001, and half had no access or coding hints other than provided by Visual Studio Code's default Intellisense.<br> The study was performed in a controlled environment (a virtualized cloud-based desktop). This task was made deliberately difficult than usual via the specifications: participants had to implement the shopping list according to an unusual API containing a number of pitfalls. They had to implement only the implementation of the specification (i.e. the `list.c` file). Users were provided `list.h` as well as a suite of automated (if basic) tests. For more details, you can see the associated paper. The repository contains the user study data as well as the scripts used for analysis and results reproduction.
DOI: 10.6084/m9.figshare.22232926
title: DATASET_Revised.xlsx

description: This dataset is for the manuscript named " Busulfan/ Cyclophosphamide Compared With Melphalan As Conditioning Regimen For Autologous Transplantation of Multiple Myeloma: A Long-Term Assessment "
DOI: 10.6084/m9.figshare.22233076
title: 22Rv1_ATAC_ENZ3w_1nM-DHT_rep1

description: 22Rv1_ATAC_ENZ3w_1nM-DHT_rep1
DOI: 10.6084/m9.figshare.22233076.v1
title: 22Rv1_ATAC_ENZ3w_1nM-DHT_rep1

description: 22Rv1_ATAC_ENZ3w_1nM-DHT_rep1
DOI: 10.6084/m9.figshare.22233118
title: 22Rv1_ATAC_ENZ3w_1nM-DHT_rep2

description: 22Rv1_ATAC_ENZ3w_1nM-DHT_rep2
DOI: 10.6084/m9.figshare.22233118.v1
title: 22Rv1_ATAC_ENZ3w_1nM-DHT_rep2

description: 22Rv1_ATAC_ENZ3w_1nM-DHT_rep2
DOI: 10.6084/m9.figshare.22147886.v1
title: Supplementary Material for: Multiple Small Bowel Gastrointestinal Stromal Tumors Associated with Neurofibromatosis Type 1 That Were Not Detected by Endoscopy: A Case Report

description: We treated a 39-year-old Japanese man who was admitted for an abdominal mass. He had had neurofibroma-like skin lesions since childhood. CT and endoscopic ultrasound results were consistent with a tumor in the small intestine. Although the tumor was undetectable by single-balloon endoscopy, the patient's background and imaging results led us to suspect a gastrointestinal stromal tumor (GIST). He also met the diagnostic criteria for neurofibroma type 1 (NF1). We performed a surgical removal of the tumor, and the biopsy results led to a definitive diagnosis of GIST. Small bowel GISTs should be considered in cases of NF1.