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Malaysia: Der Kunstkritiker Lee Weng-Choy führt ein Gespräch mit den Künstlern Liew Kung-Yu und Ray Langenbach über zeitgenössische Kunst in Malaysia. Im ersten Teil des geht es um Nationalismen und die Praxis kreativen Protests gegen Politiker*innen., südostasien – Zeitschrift für Politik • Kultur • Dialog, Bd. 38 Nr. 1 (2022): It´s the collective, stupid! – Zeitgenössische Kunst in Südostasien

Fragestellung: BMP-2 und BMP-7 werden zur Stimulation der Knochenheilung eingesetzt. Allerdings sind hohe BMP Konzentration nötig, um die gewünschten osteoinduktiven Effekte zu erzielen. Diese hohen Konzentrationen werden mit Nebenwirkungen wie Osteolysen und der Bildung von zystischen Knochenläsionen[zum vollständigen Text gelangen Sie über die oben angegebene URL], Deutscher Kongress für Orthopädie und Unfallchirurgie (DKOU 2016)

Fragestellung: β-Trikalziumphosphat ( β-TCP) Keramiken werden als Knochenersatzmaterialien eingesetzt. Obwohl diese Materialien als resorbierbar gelten werden sie in grossen Knochendefekten unzureichend durch neugebildeten Knochen ersetzt. Unsere Hypothese war, dass mit einer Beschichtung[for full text, please go to the a.m. URL], Deutscher Kongress für Orthopädie und Unfallchirurgie (DKOU 2012)

The purpose of this study was to evaluate the prevalence and clinical significance of incidental cardiac findings in non-ECG-gated chest CT.Non-ECG-gated chest CT examinations of 300 patients were retrospectively analyzed for incidental cardiac findings. Subsequently, these findings were evaluated for their clinical relevance by a cardiologist.A total of 107 out of 300 examined patients had 174 incidental cardiac findings including coronary calcification (90), aortic/mitral valve calcification (42), iatrogenic changes (23), pericardial effusion (6), dilatation of the heart (4), myocardial changes (3), thrombus in the left ventricle (2), constrictive pericarditis (2) and atrial myxoma (1). Of the cardiac findings 51% were described in the written report and in 53 out of the 107 patients the cardiac findings were unknown. Newly detected incidental findings from 8 patients were rated as clinically significant: pericardial effusion (4), constrictive pericarditis (1), thrombus in the left ventricle (1), atrial myxoma (1) and dilatation of the heart (1).Incidental cardiac findings are frequent in non-ECG-gated chest CT and may have a high clinical relevance.

Cardiac imaging using electrocardiogram-gated multi-detector computed tomography (MDCT) permits noninvasive diagnosis of congenital and acquired cardiac pathologies and has thus become increasingly important in the last years. Several studies investigated the incidence and relevance of incidental extracardiac structures within the lungs, mediastinum, chest wall, and abdomen with gated coronary CT. This resulted in the general acceptance of the review of extracardiac structures as a routine component of coronary CT interpretation. On the other hand radiologists tend to neglect pericardial and cardiac pathologies in non-gated chest CT, which is primarily performed for the evaluation of the respiratory system or for tumor staging. Since the introduction of multi-detector spiral CT technology, the incidental detection of cardiac and pericardial findings has become possible using non-gated chest CT. This article reviews the imaging appearances and differential diagnostic considerations of incidental cardiac entities that may be encountered in non-gated chest CT.

Meine Dissertation bezieht sich auf die Hauptfrage, wie der NS-Staat seine kulturelle Identität hergestellt hatte, um seine kulturelle Herrschaft zu rechtfertigen und damit sein Regime aufrechtzuhalten. Die Fabrikation seiner kulturellen Identität trat bei seiner Inszenierungsarbeit der nationalsozialistischen Kultur als einer völkischen Kultur hervor. Im Filmbereich war ein markantes Beispiel dafür „der Internationale Filmkongress Berlin 1935.“ Die Hauptteile meiner Dissertation handeln erstens von der filmkulturellen Gleichschaltung als Rahmenbedingung des Internationalen Filmkongresses Berlin 1935, zweitens von der konkreten Inszenierungsarbeit der Nazis bei dem Internationalen Filmkongress und drittens von seiner bedeutsamen Auswirkung auf die Konsolidierung der filmkulturellen Volksgemeinschaft auf der europäischen Ebene. Nach diesem Motto „die Ästhetisierung der Nazikultur“ unternahmen die Nationalsozialisten auch im Filmbereich durchaus, die filmkulturelle Volksgemeinschaft zu realisieren. Diese Tatsache läßt sich vor allem auf drei wichtige Aspekte bestätigen: Erstens, der kulturelle Antisemitismus basiert auf die Tatsache, dass die Nazis nicht nur die politische und die wirtschaftliche Entrechtung von dem deutschen Juden, sondern auch die kulturelle Entrechtung unternommen hatten. Ein markantes Beispiel ist die antisemitische Kinokultur. Die Nazis beraubten also dem jüdischen Publikum sogar die kulturelle Rechte, ins Kino zu gehen und Filme anzusehen. Zweitens, der Filmvolkstag, der als kostenlose Filmveranstaltung beim Internationalen Filmkongress Berlin 1935 begann, machte deutlich, wie völkisch die Nazis den Kinoalltag in der NS-Kulturherrschaft inszeneiren wollten. Die Nazis waren in der Tat davon überzeugt, daß der Filmvolkstag ihre kulturelle Vision von Volksgemeinschaft verwirklicht hatte. Drittens, die Nazis proklamierten, dass der Internationale Filmkongress Berlin 1935 mit der Neugründung der Internationalen Filmkammer einen Grundstein zum Aufbau der europäischen Filmgemeinschaft gelegt hatte, womit sie tatsächlch die kulturelle Hegemonie auf Film-Europa in Besitz nahmen, sogar in der kritischen Kriegszeit mit dem Zweck, die europäische Filmeinheitsfront unter deutschem Hegemonialanspruch gegen England, Frankreich und die USA wieder aufzubauen. This paper ist studying on the historical problem, how the Nazi dictatorship has made his cultural image in the public space, in oder to build up an cultural consensus which was absolutly necessary for confirming his political rule. The fabrication of his cultural identity can be found at the Nazis’ cultural projects of the remaking of the Nazi culture as the popular (oder voelkische) culture. In the area of the film culture is a good example ‚the international film congress Berlin 1935.’ This paper ist composed of three parts. Firstly, it probed into the historical meaning of the cultural Gleichschaltung as an important context of the international film congress Berlin 1935. Secondly, it portrayed the concrete procesedure of the Nazis’ image-making works at the popular representation of the international film congress and thirdly worked out the strong impact on the consolidation of the cultural Volksgemeinschaft in the european dimension. With the motto of ‚the aesthetics of the Nazi culture’ the Nazis should realize their cultural dream of the popular film culture and its Volksgemeinschaft in the area of the film culture. This important fact could be found at the three points as follows. First of all, the cultural antisemitism had an historiacl reality considering the new fact hat the Nazis had got rid of many cultural rights of the german Jews asides their political and economical rights. An good example is the antisemitic cinema culture in the Nazi dictatorship. The Nazis finally thieved the cultural rights of the jewisch cinemagoers to enter into the cinema and to see the films. Secondly, the Filmvolkstag as the special event of the free entrance into the cinema at the international film congress Berlin 1935 gave the most important example of the fact, how popular the Nazis built up the everyday life of the cinema unter the cultural rule of the Nazi dictatorship. The Nazi considered that the Filmvolkstag was the realization of their cultural vision of the Volksgemeinschaft. Thirdly, the Nazis said, that the International Film Congress Berlin 1935 had built up the international Film Chamber which should have an important role at the building-up of the european Filmgemeinschaft and should funtion as the main instrument giving the Nazi the chance of practising the cultural hegemony over the Film-Europa, especially during the Second World War.

Matrix metalloproteinases (MMP) and tissue inhibitors of metalloproteinases (TIMP) play a crucial role in physiological and pathological matrix turnover. This study aimed to determine the occurrence of MMP and TIMP in lung cancer patients with malignant pleural effusions (CA).MMP-1, MMP-2, MMP-3, MMP-8, MMP-9, TIMP-1, and IMP-2 oncentrations were determined by ELISA and zymography in pleural effusions and plasma of 31 CA and 14 congestive heart failure (CHF) patients and in plasma of 18 healthy controls (CON).MMP-2, TIMP-1, and TIMP-2 ELISA-concentrations were increased in CA pleural fluid vs. CA plasma (p0.005, p0.005, p0.05), in contrast to MMP-9 being higher in plasma (p0.005). Pleural fluid MMP-1 and MMP-8 were increased in CA vs. CHF (p0.05, p0.005). MMP and TIMP plasma concentrations were not different in CA vs. CHF, but MMP-9, TIMP-1, and TIMP-2 were increased vs. CON (p0.005, each). Gelatine zymography MMP-9/MMP-2 ratios were increased in CA plasma vs. effusion fluid (p0.005), in CA vs. CHF plasma, CA vs. CHF effusions (p0.005 each), and in CA vs. CON plasma (p0.05).MMP-2, TIMP-1, and TIMP-2 accumulate in the pleural compartment in CA and CHF, probably reflecting an unspecific pleural reaction. MMP-1 and MMP-8 are increased in cellular rich CA pleural effusions only. The determination of MMP-9/MMP-2 ratios in pleural fluid may contribute to differentiate CHF from CA effusions.

Argon laser irradiation via a transfemorally introduced catheter successfully vapourized both fresh thrombi and stenosing plaques in the carotid artery of seven cadavers and two patients. Fresh thrombi were recanalized throughout their length, while the arteriosclerotic plaques were partially reduced. No particles larger than 7 micron were demonstrated in the eluant flushing fluid, indicating that peripheral emboli need not be feared with this technique.