High-sensitivity analysis of clonal hematopoiesis reveals increased clonal complexity of potential-driver mutations in severe COVID-19 patients

Whether Clonal Hematopoiesis (CH) represents a risk factor for severity of the COVID-19 disease remains a controversial issue. We report the first high- sensitivity analysis of CH in COVID-19 patients (threshold of detection at 0.5% vs 1 or 2% in previous studies). We analyzed 24 patients admitted to ICU for COVID-19 (COV-ICU) and 19 controls, including healthy subjects and asymptomatic SARS-CoV2-positive individuals. Despite the significantly higher numbers of CH mutations identified (80% mutations with <2% variant allele frequency, VAF), we did not find significant differences between COV-ICU patients and controls in the prevalence of CH or in the numbers, VAF or functional categories of the mutated genes, suggesting that CH is not overrepresented in patients with COVID-19. However, when considering potential drivers CH mutations (CH-PD), COV-ICU patients showed higher clonal complexity, in terms of both mutation numbers and VAF, and enrichment of variants reported in myeloid neoplasms. However, we did not score an impact of increased CH-PD on patient survival or clinical parameters associated with inflammation. These data suggest that COVID-19 influence the clonal composition of the peripheral blood and call for further investigations addressing the potential long-term clinical impact of CH on people experiencing severe COVID-19. We acknowledge that it will indispensable to perform further studies on larger patient cohorts in order to validate and generalize our conclusions. Moreover, we performed CH analysis at a single time point. It will be necessary to consider longitudinal approaches with long periods of follow-up in order to assess if the COVID-19 disease could have an impact on the evolution of CH and long-term consequences in patients that experienced severe COVID-19

Constructing Memory through Television in Argentina

La televisión representa el pasado reciente de la Argentina a través de vínculos específicos con la memoria social: como un “emprendedor de la memoria” definiendo las agendas públicas, como un vehículo de transmisión intergeneracional sobre el pasado y como un creador de significados por medio de imágenes, sonidos y palabras, esto es, un “escenario para la memoria”. Un análisis de los vínculos entre televisión y memorias, construido alrededor de la desaparición forzada de personas durante la dictadura militar de 1976 a 1983, revela la manera compleja en la cual los obstáculos para relatar ese periodo trágico se combinan con el intento de vender un producto y entretener al espectador.Television represents Argentina’s recent past through three specific links with social memory: as an “entrepreneur of memory,” shaping public agendas, as a vehicle of intergenerational transmission of past events, and as a creator of meaning through images, sounds, and words, a “stage for memory”. An analysis in terms of the links between television and the memories constructed around the forced disappearance of persons during the 1976–1983 military dictatorship reveals the complex way in which the obstacles when narrating an extreme experience are combined with the attempt to sell a product and entertain the spectator.Fil: Feld, Claudia Viviana. Consejo Nacional de Investigaciones Científicas y Técnicas. Oficina de Coordinación Administrativa Parque Centenario. Centro de Investigaciones Sociales. Instituto de Desarrollo Económico y Social. Centro de Investigaciones Sociales; Argentin

Dietary intakes in infertile women a pilot study

This is an Open Access article distributed under the terms of the Creative Commons Attribution Licens

Pedagogía y entretención en la industria cultural italiana

La nueva mirada a la historia de los medios ha penetrado hasta las raíces de aquellas disciplinas que parecían haberla excluido. Éstas, por el contrario, le han ofrecido un fértil terreno de cultivo. Partiendo de esta premisa, Fausto Colombo aborda el panorama evolutivo de la industria cultural italiana y muestra una contraposición entre dos estrategias divergentes que por largo tiempo se han justificado recíprocamente, la educativa y la del entretenimiento. Ambas son constantes recurrentes y, en períodos determinados, se puede asistir al predominio de una o de la otra