1/8/2024 0 Comments Alpha 1 antitrypsinThe ethical committee of Rafsanjan university of Medical Sciences has approved this study under Ref. This cross-sectional study was conducted on type 1 diabetes patients who referred to the Diabetes Clinic of Rafsanjan, Kerman, Iran. Materials and Methods MaterialsĪcetic acid, Tris, CaCl2, HCl and DMSO were prepared from Merck Company, while A-N-benzyl-DL-arginine-p-nitroaniline (BAPNA), trypsin and Bovine serum albumin (BSA) were purchased from Sigma. Consequently, we designed this examination to compare the AAT activity profile in T1DM patients to healthy individuals. In line with this assumption, it has been documented that the plasma levels of AAT is essentially lower in patients with Type 1 diabetes (T1DM) However, reported data about the relationship between the plasma levels of AAT and T1DM is insufficient. Given the ability of AAT in preventing both diabetes formation (in vivo) and β-cell apoptosis (in vitro), a logical assumption could be that AAT deficiency may be associated with a higher risk of developing diabetes. Although the underlying mechanism of AAT in producing these positive therapeutic outcomes is not fully understood, recent trials have shown that AAT treatment can inhibit caspase-3 activity and, as a result, protects pancreatic β-cell against apoptosis. Furthermore, studies have indicated prolongs pancreatic islet allograft survival by administration of pharmaceutical dosages of human AAT and shows islet-related cytoprotective impacts. Recent evidence have showed that over-expression of AAT by gene delivery reduced insulitis and inhibited the progression of overt hyperglycemia in non-obese diabetic (NOD) mice. The recent studies revealed some mechanisms of activity of AAT which are unrelated to serpin activity. Some studies have reported the anti-inflammatory impacts of AAT on expressing cathepsin G, proteinase 3 and neutrophil elastase (NE) by immune cells, and some others pointed to the suppressing effects of AAT on the producing some cytokines and chemokines, complement activation and infiltration of immune cells. Although AAT levels in patients with T1DM seems to be normal, its anti-protease function may reduce due to substantial non-enzymatic glycation and thereby, it might be inert.ĪAT level is genetically managed by alleles presented in various phenotypes, some of which are associated with protein deficit. Furthermore, AAT participates in a variety of procedures, including reactive oxygen species toxicity, endothelial function and apoptosis, cell-mediated immunity/tolerance, neutrophil and endotoxin mediated inflammation, and reproduction. As an acute phase protein, AAT released mainly by pancreatic islets and hepatocytes under inflammatory situations and functions as the leading serine protease inhibitor in blood. However, none of them have led to successful maintenance of residual β-cell function with minimal adverse effects. Accordingly, a number of interventions have recently been conducted aimed to slow this inflammatory process within β-cell. Improved function of residual β-cell reduces the rate of long-term complications and causes better glycemic control in patients. Type 1 diabetes mellitus (T1DM) is a disorder caused by chronic autoimmune destruction of pancreatic islet beta cells (β-cells). It was concluded that that the lack of AAT may be related to the increased risk of T1DM developing. The frequency of phenotype MM in healthy individual was 100% and in T1DM patients, the prevalence of phenotype MM, MS and MZ was 61.9%, 23.8% and 14.3%, respectively ( P < 0.001). The activity of plasma AAT and the serum TIC level of patients with T1DM (2.35 ± 0.34 μmol/min/ml) was significantly lower than healthy participants (3.36 ± 0.36 μmol/min/ml). Plasma samples were analyzed for phenotype, AAT concentration, blood glucose and lipid levels were measured. The serum trypsin inhibitory capacity (TIC) was assessed. The present study was conducted on 42 patients with T1DM who referred to the Diabetes Clinic of Rafsanjan, Kerman, Iran, and 42 healthy control individuals who were matched for age, sex and smoking habits. In the current examination, the AAT activity in T1DM and healthy individuals was measured using enzymatic assay. It has been thought that that AAT plays a role in prolonging islet allograft survival, preventing the development of type 1 diabetes mellitus (T1DM), and hindering β-cell apoptosis of pancreas. Alpha 1 antitrypsin (AAT) is an inhibitor of serine protease, which has shown anti-inflammatory reactions in a variety of diseases.
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1/7/2024 0 Comments Scorchers movie“Rather than make a $15 million movie out of something that should have been made for $3 million or $4 million, we went to the actors and said, ‘The only way this movie can hope to have any kind of financial success is if you’ll work for much less than your fees,” says Eisenman. We thought we’d get one or two stars, but we could actually have filled every part with a star. “The tear circuit is all you’re really needing to tune into. “If you get a script in the actor’s hand and it makes that actor cry, you’ve got ‘em,” he says. “In the same way that I had been starving to direct really good material, there were actors out there that were hungrier than I was,” he says. ![]() PRO was just coming off the critical success of “Bad Influence” which gave the company credibility in financial circles, but the trick that ensured success, according to Beaird, was bypassing the studio packaging mills by going directly to the actors. took on financing and worldwide distribution. That was last September.” Ultimately London’s Goldcrest Films and Television Ltd. As soon as David said OK, we struck a deal and proceeded forward with financing and packaging. “I wanted to do something with it right away. “It strikes a note of reality and fantasy that other screenplays just don’t strike,” Eisenman says. In early 1988, producer Morrie Eisenman of Producer Representative Organization (PRO) was given a copy of the script by his lawyer. In the parallel story, her best friend, a Cajun bride (Lloyd) who is terrified of consummating her marriage, learns with the help of her father (Crooke) that her fears stem from her mother’s death in childbirth.Īlthough various studios pursued Beaird after the financial success of “My Chauffeur,” which he wrote and directed for Crown International, there was little interest in “Scorchers.” “They’d go, ‘Oh it’s just a wonderful thing. One storyline follows a vengeful newlywed (Tilly) stalking the town prostitute (Dunaway) who has been sleeping with her husband. The adaptation, he says, took him about six hours. Having conceived of the plays from the beginning as potential movie material, Beaird telescoped the events of his stories into one night in the same Louisiana bayou town. I was amazed that they were so successful.” The plays ran for two years, receiving several Dramaogue awards in 1987. “It was just an antidote, a vaccine against all this crap I hated doing. “At night I’d come home and write one-acts and these just kind of popped out,” he recalls. And the rest of the cast, a panoply of respected actors-Lloyd, Faye Dunaway, Denholm Elliott, Anthony Geary, James Earl Jones, Jennifer Tilly and James Wilder-agreed to work for less than their usual salaries in order to keep the budget below $5 million.īeaird wrote the plays while working on a creatively unsatisfying project at a major studio. Leland Crooke, a relative unknown, reprises the role of Jumper that he originated on stage. “Scorchers” arrived at the shooting stage with Beaird’s offbeat script intact and his directorial commitment unopposed. It’s rare enough that a tiny regional play makes it on to the big screen, but the persistent author accomplished this unusual feat without compromising his original vision of the work. ![]() I love it.” A scorcher, Beaird pauses to explain, is a Southern term for a sexually passionate woman and Lloyd is doing her best to live up to it.įive years ago, “Scorchers” was the cover title of three one-act plays, (soon pared down to two, “Thais” and “Bayou La Teche”), written and directed by Beaird for his 60-seat Equity Waiver Whitefire Theatre in Sherman Oaks and cast largely with students from the associated acting school. ![]() “The script only calls for one wiggle and you put in about five. “That’s great,” shouts “Scorchers” director David Beaird as she sashays across the boardinghouse bedroom set. Clad only in a white slip, she shakes her finger in imitation of actor Leland Crooke, playing her father, before turning around to shake her bottom at him. Emily Lloyd is a “scorcher,” blazing with righteous anger. In this way demons ensure a never-ending supply of new demons to bolster their ever-growing ranks in the Abyss. ![]() Once formed, a demon’s driving goals are twofold-the amassing of personal power, and the corruption of mortal souls to cause them to become tainted by sin. Demons are living incarnations of sin-be they classic sins like wrath or gluttony, or more “specialized” depravities like an obsession with torture or the act of treason or treachery. When a sinful mortal soul is judged and sent on to the Abyss, it can become a deadly fiend-a demon. I have no idea how accurate those lyrics actually are, but I tried my best.A | B | C | D | E | F | G | H | I | J | K | L | M | N | O | P | Q | R | S | T | U | V | W | X | Y | Z The “eternal midnight” refers to fate of having your face taken away forever (if the Dark Lord is never stopped).Īnd finally, the previous two lines repeat themselves, probably to emphasise the extremity of what could happen to the player. The thing that threatens the “heart”/vitality/spirit of the citizens (of any of the areas in the game), is of course, the “eternal midnight” of the Dark Lord (who was called the “Akuma no Omo”, or “Demon Lord”, in Japanese). Then, there’s weird “lalala” part, which could be some sort of magic spell, similar to the nonsensical “Cure Up, Rapapa” from “Mahou Tsukai PreCure”. But, alternatively, Greenhorne was called “Saisho no Kuni” ( “First Land”) in Japanese, so maybe it’s a pun referring back to how you meet the Great Sage in Greenhorne? First, the Great Sage’s country comes “first”, because it’s the CURRENT country the Great Sage is in that he/she has to protect, so that’s why it comes first. It’s this “heart” that chooses the circle/path, which in the Great Sage’s case, is the “path” of good.Ī Sage, to be a mentor to you/the protagonist, has to have consistent discipline not only to be a good role model, but to have the “air” of wisdom. ![]() The “Dai-Kenja” in Japanese, which still means “Great Sage”.) Then, going along with the idea that a “Sage” is usually a wise, old person, the song goes on to mention the “Elder’s” heart (in the manner of “spirit”/“energy”/“determination”) in particular. The first line, which is half French, half English, can represent how the Great Sage was said to be a “traveling sage” (and in fact, I think the official name of the theme IS “Traveling Sage”, if I recall correctly). Now, here’s all my reasoning behind why I came to the above conclusions for the lyrics: Which, translated as much as this can be translated, the lyrics are: Here are the lyrics, as far as I can tell: I tried to decipher it based off of the claims that it was about the Great Sage and the Dark Lord, so… So, going off of that “theory” of it actually having a meaning, I tried to decipher as much of the song as I could, and…Īs far as I can decipher it, it’s based off of Japanese, but there’s no logical grammatical structure, and the words have to be taken in a non-directly-translated way (if that makes any sense). ![]() ![]() Others just said it was complete gibberish, or “Mii-ese”, and that it had no meaning. I’ve heard some Japanese fans claimed that the song was about how the Great Sage would defeat the Dark Lord, but as far as I can tell, that was never confirmed. And people swore up and down that the Great Sage’s Theme had actual lyrics, but nobody could ever make them out. 1/7/2024 0 Comments Color machine geary![]() Shortly after that visit, I put one large painting by Geary in a show with a single sculpture by May Wilson and called it “some other sense of time and space,” after a quote by Marcia Tucker that came from the book. On my first studio visit with Geary about five years ago or so, she lent me her copy of the book High Times, Hard Times about the experimental phase of abstract painting in the late 1960s and early 70s in New York. ![]() A few are humble and quiet, consisting of a simple shape and a single color, while others are multifaceted and composed of strong color contrasts. They might have been temporarily kicked out before finding their way home again. They feel like rebellious parts of the larger paintings broken free. ![]() But they are also autonomous, and sometimes playfully awkward. In a practical sense, they can be put into infinite arrangements and allow Geary to think through color and shape relationships that often find their way back into her larger works. And she has been producing shaped paintings-roughly cut, vibrantly painted wood panels. In other explorations, Geary has worked with cut paper, taping a mixture of shapes to the wall in a large grid, as if to deconstruct her paintings into all of their parts. The sewing brings another line quality that is not my hand.” As Geary explained, “I tried gluing them at first and they didn’t have any energy. They contained pieces of sheer and opaque paper, cut-up drawings, pieces of fabric that she had painted or block-printed, all sewn together on a sewing machine. On a recent studio visit, several lovely examples of these were framed and stacked up on a table, destined for the Berkeley Art Museum collection. For example, she has been making collage on a more intimate scale, a move that was inspired in part by her exposure to various textile traditions. Geary’s interest in relationships between shape and color on the two-dimensional surface has led her toward a variety of experimentations. It involves layering, scraping and reapplying color and shapes until a dynamic composition is achieved. They are characterized by vibrant color, intersecting shapes and Geary’s energetic engagement with the surface. Foremost are stacks of her large, vertically oriented oil paintings on canvas. Her two-level studio space is teeming with work. Her work has been defined by a constant process of reinvention, reaching a kind of crescendo of activity in recent years. The evolution of Linda Geary’s practice has been something like this. Within this variability, though, there is a natural flow that emerges in a particular direction. A river is constantly reinventing itself in relation to its environment and the materials it comes into contact with. When rivers flow, they pick up bits and pieces of debris, churn them over, drop things and accumulate new material as they go. |
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