Mouse embryo cells cultured in vitro in serum-supplemented media undergo growth crisis, resulting in the loss of genomically normal cells prior to the appearance of established, aneuploid cell lines. I used the technique of serum-free cell culture to develop a serum-free mouse embryo (SFME) cell line in which serum was replaced by a set of defined supplements. SFME cells, cultured in a nutrient medium supplemented with insulin, transferrin, epidermal growth factor (EGF), high-density lipoprotein (HDL), and fibronectin, have maintained a diploid karyotype with no detectable chromosomal abnormalities for more than 200 generations. The cells did not undergo growth crisis and remain in culture today. SFME cells were dependent on EGF for survival and were reversibly growth inhibited by serum or platelet-free plasma. Treatment of SFME cells with serum or transforming growth factor beta led to the appearance of glial fibrillary acid protein (GFAP), a specific marker for astrocytes, identifying SFME cells as proastroblasts. Following the derivation of SFME cells my research focussed on (1) defining more precisely the growth response of SFME cells to medium supplements, (2) investigating the relationship between the nonsenescent nature of SFME cells and their responses to serum and EG1., and (3) applying the serum-free cell culture methods to the multipassage culture of human embryonic astrocytes. SFME cells in serum-containing medium arrested in the G1 phase of the cell cycle with greatly reduced DNA replication activity. A portion of the inhibitory activity of serum was extracted by charcoal, a procedure that removed steroid and thyroid hormones. However, the effect of serum on untransformed SFME cells could not be prevented by addition of antiglucocorticoid, and ras-transformed clones of SFME cells, which are not growth inhibited by serum, retained inhibitory responses to glucocorticoid and thyroid hormone T3. These results suggest that glucocorticoid or thyroid hormones may contribute to the inhibitory activity of serum on SFME cells, but additional factors are involved. SFME cell death resulting from EGF deprivation exhibited characteristics associated with apoptosis or programmed cell death. Ultrastructural analysis showed cells became small and vacuolated, with pyknotic nuclei. The cultures contained almost exclusively G1- phase cells. Chromatin exhibited a pattern of degradation into oligonucleosome-length fragments generating a regularly spaced ladder. I applied the serum-free approach used to derive SFME cells to the multipassage culture of human embryonic astrocytes. Cells were cultured in nutrient medium supplemented with insulin, transferrin, EGF, HDL, fibronectin, basic fibroblast growth factor and heparin. Cultures were maintained for a maximum of 70 population doublings before proliferation ceased. The cells synthesized GFAP. / Graduation date: 1992

Thesis (Ph. D.)--University of Hawaii at Manoa, 1990. / Includes bibliographical references (leaves 68-76) / Microfiche. / xi, 76 leaves, bound ill. 29 cm

Serum-free mouse embryo (SFME) cells, which were derived from 16-day-old Balb/c mouse embryo brain, grow in absence of serum without losing genomic normality or proliferative potential, and require epidermal growth factor (EGF) for normal growth. EGF is a well studied mitogen that binds to a specific receptor on the cell surface membrane to activate the proliferative signal transduction pathways. The activated receptor is a tyrosine specific protein kinase, and tyrosine phosphorylation is one of the important mediators of EGF receptor (EGFR) signal transduction. Using anti-phosphotyrosine Western immunoblotting, we detected a 100 kDa protein which is tyrosine-phosphorylated in response to EGF in SFME cells. This protein is constitutively phosphorylated in an SFME cell line which expresses the neu oncogene. The neu oncogene encodes an analog protein of EGFR which does not require a ligand for activation, and neu-transformed SFME cells are tumorgenic in mice.This protein, p100 was not a fragment of EGFR, and was not antigenically related to other signal transduction phosphoproteins of about 100 kDa. We attempted to purify p100 from neu SFME tumor cells for amino acid sequencing. / Graduation date: 1997

Serum-free mouse embryo (SFME) cells are derived in medium in which serum is replaced with growth factors and other supplements. They display unusual properties. They do not lose proliferative potential or show gross chromosomal aberration upon extended culture, they depend on epidermal growth factor (EGF) for survival, and are reversibly growth inhibited by plasma and serum. In the presence of transforming growth factor beta (TGF-β) SFME cells express the astrocyte marker, glial fibrillary acidic protein (GFAP). The growth inhibitory activity of human plasma on serum-free mouse embryo cells was investigated. Human plasma did not inhibit SFME cells transformed with the human Ha-ras oncogene. The activity was present in delipidated plasma and was not dialyzable against 1 M acetic acid. The activity could be precipitated by methanol, bound to concanavalin Aagarose and was retarded by Sephadex G-50 in 200 mM acetic acid. A fifty to hundred fold purification was achieved, although the differential inhibition of untransformed versus transformed cells was lost in the course of the purification. Using the technique of differential screening of a cDNA library a calf serum- and TGF -β-regulated mRNA species was identified in SFME cells. This mRNA was approximately 8.5 kilobases in size and brain-specific. Picomolar quantities of TGF-β caused an increase of this message in SFME cells within four hours. This increase was reversed when TGF-β was removed from the culture medium. / Graduation date: 1993

Made available in DSpace on 2016-04-26T18:11:36Z (GMT). No. of bitstreams: 1 Luisa Marques Barreto.pdf: 548292 bytes, checksum: 2ff3b9f6414739ca61212e17d9bb8876 (MD5) Previous issue date: 2012-05-04 / This research is about the impact caused by the proximity between producers and receivers in the context of cyberspace cultural production. This phenomenon has directly affected author status and the way it is constructed in society. The digitalization of cultural products and the network sharing have destabilized three fundamental categories that holds the copyright: the author, the property and the labor. The purpose of this research is to introduce some changes regarding the epistemological notion of intellectual property as a remuneration copyright source. These changes affect significantly the ways in which the works communicate with public. This is a relevant thing why among other related factors, the control over the intangible works reproduction becomes increasingly more complex and inefficient. The problem of this research resides in the fact that both, the author-function as the user's role, has been radically altered impacting the way the discourses and the cultural production circulates. The theme will be studied from two angles of analysis: from the standpoint of the legal system and power structures related of cultural industry, and from culture. We will introduce debates regarding intellectual property (Virno 2003, Hardt & Negri 2005, Gorz 2005), free culture (Lessig 2004, 2009, 2005; and Lemos, 2005, 2010, 2011); author-function (Foucault, 1969) and the concept of immunization paradigm developed by Roberto Esposito (2005, 2010). The studies published during the period of open public consultation by the Culture Ministry in 2007 by the academic groups linked to the FGV, USP and UFSC still formed the basis for understanding in the legal field which are the proposed changes to the copyright Brazilian reform law, 9.610/98. The research result was an update of discussions that are not always correlated and when are systematically analyzed can show significant changes in the ways of thinking the new relationship between author, work and public in the cognitive networks of cyberspace / Esta pesquisa trata do impacto causado pela aproximação entre produtores e receptores na produção cultural no ciberespaço, que afetou diretamente o status do autor e o modo como ele se constrói na sociedade. A digitalização dos produtos culturais e o compartilhamento em rede desestabilizaram três categorias fundamentais que sustentam os direitos autorais: o autor, a propriedade e o trabalho. O objetivo desta pesquisa é apresentar algumas mudanças epistemológicas em relação a noção de propriedade intelectual enquanto fonte de remuneração autoral. Tais mudanças afetam de maneira significativa os modos como as obras se comunicam com o público. Isso porque, dentre outros fatores relacionados, o controle sobre a reprodução das obras imateriais torna-se cada vez mais complexo e ineficiente. O problema desta pesquisa reside no fato de que tanto a função-autor como o papel do usuário foram radicalmente alterados, impactando o modo como circulam os discursos e a produção cultural. O tema será estudado sob dois ângulos de análise: do ponto de vista do sistema jurídico e das estruturas de poder relacionadas a indústria cultural; e da cultura. Apresentamos debates sobre propriedade intelectual (Virno 2003, Hardt & Negri 2005 e Gorz 2005), cultura livre (Lessig 2004, 2009; e Lemos 2005, 2010, 2011); a função-autor (Foucault, 1969) e o conceito de paradigma da imunização desenvolvido por Roberto Esposito (2005, 2010). Os estudos divulgados durante o período da consulta pública aberta pelo Ministério da Cultura em 2007 pelos grupos acadêmicos ligados a FGV, USP e UFSC, constituíram ainda a base para compreendermos, no âmbito jurídico, quais são as alterações propostas para reforma da lei de direitos autorais brasileira, 9.610/98. O resultado da pesquisa foi uma atualização de discussões nem sempre correlacionadas e que, analisadas sistemicamente, apontam para mudanças significativas nos modos de se pensar as novas relações entre autoria, obra e público nas redes cognitivas do ciberespaço

Submitted by VANESSA PEREIRA DO NASCIMENTO (vanessapn@gmail.com) on 2018-08-22T23:52:32Z No. of bitstreams: 1 Mestrado_Vanessa Pereira.pdf: 2147127 bytes, checksum: e7ec86dca571dc9afdc02e5f37b46e7c (MD5) / Approved for entry into archive by Laura Mariane de Andrade null (laura.andrade@ia.unesp.br) on 2018-08-23T00:17:01Z (GMT) No. of bitstreams: 1 nascimento_vp_me_ia.pdf: 2147127 bytes, checksum: e7ec86dca571dc9afdc02e5f37b46e7c (MD5) / Made available in DSpace on 2018-08-23T00:17:01Z (GMT). No. of bitstreams: 1 nascimento_vp_me_ia.pdf: 2147127 bytes, checksum: e7ec86dca571dc9afdc02e5f37b46e7c (MD5) Previous issue date: 2018-06-26 / Nesta pesquisa são apresentadas relações entre arte/educação e tecnologias contemporâneas no contexto da educação não formal. A partir das ações culturais realizadas pelo projeto de cultura digital Laboratórios Interativos Nômades para Criatividade e Experimentação (LINCE), sobretudo na zona leste da cidade de São Paulo, o desenvolvimento de um posicionamento crítico frente as tecnologias contemporâneas é relacionado a sua desmistificação e a experiência estética. A necessidade de políticas públicas de inclusão que desenvolvam a postura crítica do indivíduo, não se limitando apenas a oferta de acesso à internet é relacionada a exclusão digital e a exclusão cultural. A desmistificação dos dispositivos tecnológicos e a aprendizagem dos meios de produção são relacionadas ao empoderamento digital, processo que inclui o desenvolvimento de uma relação sensível com as tecnologias contemporâneas por meio da experiência estética. / In this research, the relation between art education and contemporary technologies is presented in a non-formal education context. Based on the cultural actions carried out by the Nomadic Interactive Laboratories for Creativity and Experimentation (LINCE) digital culture project, especially in the eastern part of the city of São Paulo, the encouragement of critical thinking when exposed to contemporary technologies is related to its demystification and aesthetic experiences. The need for public inclusion policies that develop the individual's critical stance, not limited to the provision of Internet access, is related to digital exclusion and cultural exclusion. The demystification of technological devices and learning about the means of production are related to the digital empowerment, a process that includes the development of a sensitive relationship with contemporary technologies through aesthetic experience.

Made available in DSpace on 2015-05-07T14:46:44Z (GMT). No. of bitstreams: 1 arquivototal.pdf: 4250706 bytes, checksum: 1fdc1d82de1ffceb50f6fd7fd0eca157 (MD5) Previous issue date: 2014-02-28 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / This dissertation investigates the collaborative creation in cyberspace, exploring how new social practices and technological changes impact the production and consumption of documentaries. To understand these emerging creative processes, the study adopted a strategy of literature review; empirical observation and evaluation of case studies. Increasingly, the concept of crowdsourcing (Howe, 2008) is applied to cultural projects. The term characterizes the meeting of several individuals through public invitation to achieve a common goal. The Internet has become an aggregator space for filmmakers, audience, the corporate world, among others. The integration of multiple knowledge and resources is perceived in various stages of the creation cycle, encompassing financing, development of content and circulation. However, these relationships are not free of conflict because different agents may have different goals and interests. The inventive freedom usually follows guidelines that do not meet existing rules of copyright. This multiplicity of voices is employed in accomplishments that adopt the traditional audiovisual language, obeys the premise of linear narrative, conduces to the emergence of multimedia projects in a way that storytelling becomes as innovative as its production flow. These are initiatives of collective authorship, works constantly renewed through the ongoing contribution of social actors. / A presente dissertação investiga a criação colaborativa no ciberespaço, explorando como novas práticas sociais e transformações tecnológicas impactam a produção e consumo de documentários. Para compreender esses processos criativos emergentes, o trabalho adotou como estratégia a pesquisa bibliográfica; observação empírica e avaliação de estudos de caso. Cada vez mais, o conceito de crowdsourcing (HOWE, 2008) é aplicado em projetos culturais. O termo caracteriza a reunião de diversos indivíduos, por meio de convite público, para efetivar um objetivo comum. O ciberespaço se transformou em um ambiente agregador para cineastas, audiência, o mundo corporativo, dentre outros. A integração de múltiplos conhecimentos e recursos é percebida nas diversas etapas do ciclo de criação fílmico, englobando financiamento, elaboração de conteúdo e circulação. Entretanto, as relações não estão livres de conflito, pois os diversos agentes podem possuir metas e interesses distintos. A liberdade inventiva usualmente segue orientações que não atendem regras vigentes de direito autoral. Essa multiplicidade de vozes é empregada em realizações que adotam a linguagem audiovisual tradicional, obedecendo a premissa da progressão linear da narrativa, ou propicia o surgimento de projetos multimídia em que a maneira de contar histórias é tão inovadora quanto seu fluxo de produção. São iniciativas de autoria coletiva, obras renovadas constantemente através da contribuição contínua dos atores sociais.

O objetivo deste trabalho é discutir a questão da cultura livre a partir dos aspectos relativos ao domínio público. O método utilizado se baseia na observação, na análise e na síntese de dados relacionados aos temas propostos, viabilizando uma discussão baseada no estudo bibliográfico exploratório e explicativo das várias questões abordadas na pesquisa que culminam na problemática desta cultura livre e da noção e dos espaços de domínio público.Por sua vez, recorre-se ao estudo e análise de objetos que compõema pesquisa como, por exemplo, o papel da internet, da \"pirataria\", do direito autoral, da evolução dos meios de comunicação e disseminação do conhecimento, das atividades de cooperação e produção independente pelos usuários da grande rede e das políticas culturais no ambiente digital. Desse modo, são descritas e discutidas experiências de bibliotecas (Digital Public Library of America - DPLA), arquivos históricos (Europeana 1914-1918), música (Jamendo), quadrinhos e games.A partir da análise e estudo do conceito e das práticas de cultura livre estabelecidas principalmente sob o domínio público e da pirataria social, chega-se a conclusão que tais questões são fundamentais no incremento de atividades e relações estabelecidas no ambiente cooperativo da internet, que identificam os usuários como produtores e disseminadores de um ciclo cultural vivo entrelaçado pelas vias da grande rede. Com isso, reforça-se o potencial de políticas culturais a partir do ambiente digital que fortaleçam o ideal de cultura livre a partir de questões tais como a revisão das leis de direito autoral, do incentivo ao domínio público e até mesmo sobre novos entendimentos acerca do universo social-cooperativo da pirataria social em rede. / The mains objective of this paper is to discuss the issue of free culture relating it to the public domain questions. The method used is based on observation, analysis and synthesis of data related to the proposed themes, enabling a discussion based on exploratory and explanatory bibliographical study of the various issues addressed in the research culminating in the issue of this free culture and the notion of public domain.In turn, it is through the study and analysis of objects that make up the research as, for example, the role of the internet, \"piracy\", copyright law, the evolution of media and dissemination of knowledge, cooperative and independent cultural activitiesmade by the users and the large network of cultural policies in the digital environment. Some interesting activities in many cultural fields are discussed and described such as in libraries (Digital Public Library of America - DPLA), historic archives (Europeana 1914-1918), music devices and communities (Jamendo), comics and video gamesFrom the analysis and study of the concept and practice of free culture established primarily in the public domain and social piracy, we conclude that such questions are fundamental in development of activities and relationships established in the collaborative environment of the internet, which identify users as producers and disseminators of a living cultural cycle paths intertwined by the large network.Thus, it reinforces the potential of cultural policies from the digital environment that strengthen the ideal of free culture from issues such as the revision of copyright law, encouraging the public domain and even on new understandings of cooperative and social universe of social piracy.

Esta tesis propone modelos para cambios socio-culturales en Internet. Proyectos en red en colaboración fueran el objeto de este estudio. Fueran elegidos 100 proyectos para una base de datos donde se hizo un análisis detallado. Después de un estudio de los resultados de la base de datos, asimismo basándose en teorías de multitud, resistencia, tolerancia, controle y protocolo, cultura libre y realismo virtual, modelos emergieron. Los proyectos fueron divididos en 3 áreas: diseño, colaboración, y metas. Diseño como una manera de categorizar proyectos referente a su uso de elementos visuales. Luego, esbozase formatos de cómo las contribuciones son presentadas a los usuarios y cómo está estructurada la toma de decisión. Metas, como foco de esta investigación, apuntaron a cuatro modelos: discutir, reflexionar, expresar y actuar. Estos son útiles para la comprensión de cambios socio-culturales en Internet; además, plantean implicación en el espectro de relaciones y redes sociales. / This thesis proposes models for socio-cultural changes on the Internet. Network projects were the object of study, and through collaboration they achieve transformation. I selected 100 projects to be part of a database to a detailed examination. After an analysis of the results of this database, and based on theories of multitude resistance, tolerance, protocol and control, free culture, and virtual realism, models emerged. The projects were divided in 3 areas: design, collaboration, and goals. Design as a way to categorize projects in relation to their use of visual aesthetics elements. Shortly, it is outlined formats on how the contributions are displayed to users and how is decision-making structuralized. Goals, the focus of this investigation, suggested four models: discuss, reflect, express, and act. These models are helpful to the understanding of socio-cultural changes on the Internet; moreover, they have implication on the spectrum of social relations and networks.

Submitted by LUCAS FARINELLA PRETTI (lucaspretti@gmail.com) on 2017-08-21T12:34:05Z No. of bitstreams: 1 PRETTI-Lucas_Poeticas-do-comum_dissertacao_2017.pdf: 113580276 bytes, checksum: 24deea22c23370d4dbbc6c002a47181f (MD5) / Approved for entry into archive by Luiz Galeffi (luizgaleffi@gmail.com) on 2017-08-23T14:35:35Z (GMT) No. of bitstreams: 1 pretti_lf_me_ia.pdf: 113580276 bytes, checksum: 24deea22c23370d4dbbc6c002a47181f (MD5) / Made available in DSpace on 2017-08-23T14:35:35Z (GMT). No. of bitstreams: 1 pretti_lf_me_ia.pdf: 113580276 bytes, checksum: 24deea22c23370d4dbbc6c002a47181f (MD5) Previous issue date: 2017-06-29 / Este trabalho analisa o conceito de commons digital, originado no campo da cibercultura, no contexto de ações artísticas produzidas nos últimos anos na cidade de São Paulo. Valendome principalmente das teorias de Antonio Negri, Nicolas Bourriaud, Guy Debord e Gilles Lipovetsky, parto da retomada do “comum” como valor intrínseco à sociedade informacional, sigo com sua análise nos campos da arte pública e artemídia para, enfim, classificar cinco aspectos das poéticas do comum (p. 118), a partir de três modelos de casos: BaixoCentro (2012), Pimp My Carroça (2012) e Piscina no Minhocão (2014). Por fim, apresento os primeiros resultados da ação Terrenos Apaixonantemente Objetivos, que aplica a ideia do comum à deriva situacionista, e detalho a concepção e desenvolvimento do Derivoscópio, obra integrante da ação, um aparato vestível construído com hardware e software livres. / This work analyzes the concept of digital commons, originated in the field of cyberculture, in the context of artistic actions produced in the last years in the city of Sao Paulo, Brazil. Based primarily on the theories by Antonio Negri, Nicolas Bourriaud, Guy Debord and Gilles Lipovetsky, I start from the resumption of the “common” as an intrinsic value to the Information Society to proceed with its analysis in the fields of Public Art and New Media Art. Then, I classify five aspects of the poetics of the common (p. 118), based on three case models: BaixoCentro (2012), Pimp My Carroça (2012) and Piscina no Minhocão (2014). Lastly, I present the first results of the artwork Objective Passional Terrains, which applies the concept of the common to the situationist drift, detailing the design and development of the Driftscope, a wearable apparatus built with free hardware and software, as part of that artwork.