Detection of Salivary miRNAs That Predict Chronic Periodontitis Progression: A Cohort Study

The aim of this two-year cohort study was to investigate salivary microRNAs (miRNAs) that predict periodontitis progression. A total of 120 patients who underwent supportive periodontal therapy were recruited. Unstimulated whole saliva was collected at baseline. Two years later, 44 patients were followed up (median age, 67.1 years) and divided into two groups: progression group (n = 22), with one or more sites with clinical attachment level (CAL) progression (>3 mm compared with baseline) or tooth extraction due to periodontitis progression; and the control group (n = 22), which did not exhibit CAL progression. In the microarray analysis of salivary miRNAs, hsa-miR-5571-5p, hsa-miR-17-3p, hsa-let-7f-5p, hsa-miR-4724-3p, hsa-miR-99a-5p, hsa-miR-200a-3p, hsa-miR-28-5p, hsa-miR-320d, and hsa-miR-31-5p showed fold change values = 2.0 in the progression group compared with the control group (p 0.7, indicating fair discrimination power. The expressions of salivary hsa-miR-5571-5p, hsa-let-7f-5p, hsa-miR-99a-5p, hsa-miR-28-5p, and hsa-miR-320d were associated with periodontitis progression in patients with chronic periodontitis. These salivary miRNAs may be new biomarkers for progression of periodontitis, and monitoring them may contribute to new diagnostics and precision medicine for periodontitis

Retrospective Study of Selective Submandibular Neck Dissection versus Radical Neck Dissection for N0 or N1 Necks in Level I Patients with Oral Squamous Cell Carcinoma

Objective. To evaluate the efficacy of selective submandibular neck dissection (SMND) in patients with oral squamous cell carcinoma (OSCC) with or without nodal metastasis. Patients. From a total of 384 patients with untreated OSCC who underwent radical excision, we identified 229 with clinically N0 necks and 68 with clinically N1 necks in level I. Main Outcome Measures. The Kaplan-Meier 5-year regional control and 5-year disease specific survival (DSS) were compared for SMND, radical neck dissection (RND), and modified radical neck dissection (MRND). Results. In clinically node-negative necks, the regional control rates were 85.2% with SMND and 83.3% with MRND (P = 0.89), and 5-year DSS rates were 86.5% and 87.0%, respectively, (P = 0.94). In clinically N1 necks, the regional control rates were 81.3% with SMND and 83.0% with RND (P = 0.72), and the DSS rates were 81.3% and 80.0%, respectively, (P = 0.94). Type of neck dissection was not significantly associated with regional control or DSS on either univariate or multivariate analysis using Cox's proportional hazard model. Conclusions. SMND can be effectively applied in elective and therapeutic management to patients with OSCC that are clinically assessed as N0 or N1 to level I of the neck

Clinical Study Retrospective Study of Selective Submandibular Neck Dissection versus Radical Neck Dissection for N0 or N1 Necks in Level I Patients with Oral Squamous Cell Carcinoma

Objective. To evaluate the efficacy of selective submandibular neck dissection (SMND) in patients with oral squamous cell carcinoma (OSCC) with or without nodal metastasis. Patients. From a total of 384 patients with untreated OSCC who underwent radical excision, we identified 229 with clinically N0 necks and 68 with clinically N1 necks in level I. Main Outcome Measures. The Kaplan-Meier 5-year regional control and 5-year disease specific survival (DSS) were compared for SMND, radical neck dissection (RND), and modified radical neck dissection (MRND). Results. In clinically node-negative necks, the regional control rates were 85.2% with SMND and 83.3% with MRND (P = 0.89), and 5-year DSS rates were 86.5% and 87.0%, respectively, (P = 0.94). In clinically N1 necks, the regional control rates were 81.3% with SMND and 83.0% with RND (P = 0.72), and the DSS rates were 81.3% and 80.0%, respectively, (P = 0.94). Type of neck dissection was not significantly associated with regional control or DSS on either univariate or multivariate analysis using Cox's proportional hazard model. Conclusions. SMND can be effectively applied in elective and therapeutic management to patients with OSCC that are clinically assessed as N0 or N1 to level I of the neck

「桜樹詠文字模様小袖」と18世紀インド生命樹更紗における立木模様/デザイン構成要素の比較を通じて

本報告は、江戸友禅小袖「桜樹詠文字模様小袖」と18世紀インド、コロマンデル地方のヨーロッパ向け生命樹更紗における立木模様の比較分析を通じて（1）両者における立木模様の構成要素（2）両者における立木模様の相関性と各々のデザイン原理を明らかにするものである。本報告書で使用する主な資料としては、現存する「桜樹詠文字模様小袖」、「梅樹扇模様帷子」、および18世紀インドコロマンデル地方でつくられた生命樹更紗（V&A所蔵）27点を使用する。V&A IM.49-1919（写真3）は、中でも幹・花・根の部分にインド生命樹更紗の特徴が顕著にみられることから、インド生命樹更紗の一典型として用いることとする。両者を比較するにあたって立木模様の構成要素を（1）幹－アジアの生命樹の4つの樹相、（2）インド生命樹の主要素である「百花繚乱」という表現形態、（3）大地の表現形態－樹と大地のつながり、（4）樹の空間性 に分けた。そして、これら4つの構成要素を用いて両者の相関性を示すと共に独自のデザイン原理を明らかにする。By comparing the tree pattern in Edo yuzen kosode `kosode with blooming cherry trees and Chinese characters’ with the tree of life pattern in 18th century Indian calico made in Coromandel coast, this report aims to clarify (1) elements that each of the tree patterns is composed of, (2) the similarities and differences between the two, and their own design principles. Research materials used in this report are; Edo yuzen kosode `kosode with blooming cherry trees and Chinese characters’; Edo yuzen katabira `’katabira with fans and Japanese plum trees’; 27 pieces of 18th century Indian calico made in Coromandel coast (V&A collection) including V&A IM.49-1919 which is used as a typical example of tree of life. In order to examine the above two kinds of tree patterns, the following four design elements have been considered (1) the expression of tree stem- four basic forms of Asian tree of life, (2) the expression of many flowers blooming in profusion which is a key element of Indian tree of life, (3) the expression of the notion of the mother earth, (4) the expression of the sense of space around each of the trees

杉浦康平のアジアンデザイン研究（ポスターと冊子を中心に）

　本研究は2012 年度共同研究から継続している、杉浦康平名誉教授のデザイン活動の包括的研究の一環である。これまでの活動として「ポスターアーカイブ」構築、ポスター展2 回、単行本出版などがある。それらの成果をふまえて2017 年度は「アジアンデザイン」の側面にフォーカスして、5 回の連続インタビューを企図した。　杉浦名誉教授は、今年3 月まで本学アジアンデザイン研究所において、所長として研究活動を主導してきた。その60 年以上におよぶデザイン活動の中で、多くの重要な業績を残してきたが、「アジアンデザイン」概念の確立は、本学との関係においても特に重要なものとして位置づけられる。ポスター・冊子類のデザインからはじまって、その活動は、さまざまなアジア文化紹介の構想・企画までを包含するものに拡張し、デザインの領域を超える幅広い業績を残した。一方、そうしたデザイン活動を通じて、独自のアジア図像研究の領域を切り拓き、図像的想像力に充ちた大胆な仮説の提唱により、独自の図像論を確立し、数多くの著書を発表している。モダンデザインの牙城であるドイツのウルム造形大学での教鞭体験から、アジアンデザインにいたる道程は限りない大遠征のようにすら見える。われわれ共同研究組織は、その間に何があったのか、本人の率直な言葉として記録することを目指した。This research program comprises an important part of the comprehensive study of Professor Emeritus Kohei Sugiura’ s design activities originated from the 2012 joint research project. The research activities undertaken so far include the establishment of the Poster Archive, two exhibitions of posters designed by Sugiura, and the publication of a book on his design. Based on these results, the 2017 program featured a series of five interviews with him focusing on “Asian design.” Professor Emeritus Kohei Sugiura led the activities of the Research Institute of Asian Design of our university as its director until March 2018. Sugiura has made many considerable achievements throughout his career that spans over sixty years. Among them, the development of the concept of “Asian design” is considered particularly important for our university. A wide range of activities based on this concept include the design of various posters and booklets, and a number of projects to present different Asian cultures. The diverse achievements of these activities have cut across the boundaries between design and other disciplines. At the same time, Sugiura has opened up his original research filed of Asian iconography, proposed an imaginative hypothesis, developed a unique iconographic theory, and produced a number of books. Considering his teaching experience at the Ulm School of Design in Germany, the stronghold of modern design in the sixties, it seems that he has made a great journey to come down to the idea of Asian design. This research program was designed to record what happened during this journey through a series of candid interviews with him

アジアにおける祭礼(祝祭)文化の総合的研究

本報告は、アジア各地の祭礼に曳きだされる山車の造形とその背後にある祭礼文化をアジア全体の歴史的、文化的流れのなかにとらえようとするものである。2010年4月に開設された神戸芸術工科大学アジアンデザイン研究所は、アジアの山車文化を大きな研究テーマとして取りあげている。6月には国際シンポジウム「動く山―この世とあの世を結ぶもの」を開催した。日本、中国、シンガポール、タイ、インド、イランから研究者を招き、アジアにおける山車の造形性、精神性、コスモロジーとの関係性などについて発表した。アジア各地の山車の多様な造形を再確認するとともに、その背後にある文化的な共通性、関連性についてのいくつかの重要な知見を得ることができた。また、インドネシアでの調査を6 月から9 月まで実施した。バリ島を中心に、寺院祭礼、火葬儀礼等について、その祭礼構造、儀礼の過程について記録した。さらに2011 年2 月には、中国寧波市前童鎮で元宵節を調査した。鼓亭などの種類、大きさ、運行経路、町の社会組織との関係などについて、情報を収集し、次年度以降の調査につなげた。これらの成果をもとに、さらに継続的な調査を続け、社会構造、空間構造とも関連づけて、総体的に祭礼と山車を把握していく予定である。This report deals with various festival cultures and variety of forms of floats called “dashi” in Japanese which means mountain-like float carried and shouldered on festival, in Asian historical and cultural context. Research Institute of Asian Design (RIAD) established by Kobe Design University at April 2010, took up the cultures of float in Asia as main research theme.International symposium “Mountain Floats: to Connect This World and Another” was held on June 2010, inviting researchers and designers from Japan, China (Taiwan), Singapore, Thai, India, and Iran. We discussed on cultural meaning of forms of mountain floats, mentalities and cosmology associated with mountain floats in Asia.In addition, we made researches on temple festivals and cremation ceremonies in Bali, Indonesia and New Year Festival in Ninhai, China.We continue to research other type of floats in Asia and Japan, make clear not only their symbolic meanings and design languages, but also the relationship of social structure and structure of settlement with ceremonial process

トンパ文字の構造原理とビジュアル･コミュニケーションデザインに関する研究

本研究は中国雲南省の麗江地区を基軸に、トンパ文字とその特異な造形、宗教的背景を明らかにし、トンパ文字の構造原理と新たなビジュアル･コミュニケーションツールを開発するための基盤研究を確立する。本研究はトンパ文字の造字原理の考察をはじめ、現地でのフィールドワーク調査、トンパ文字を再デザインする仕組み、また、先例の視覚言語の表現や漢字の構造をも分析の視野にいれ、トンパ文字の表現の可能性について研究を行った。その結果、以下の結論を得た。すなわち、トンパ文字は象形文字であるため判読がしやすく、時間軸、空間軸、動詞などの記号を組み合わせれば、トンパ文字としての視覚言語のシステムを構築する可能性が高いと示唆した。一方、文字としての記述、伝達の機能が欠け、覚えにくいということが最大の欠点であり、漢字の変遷原理を探究すれば、書きやすく、覚えやすいトンパ文字が作られると考えられる。With the focus on the Lijiang area of Yunnan Province, China, this research looks into Dongba characters, its unique shapes and religious background. This is in order to establish a basic research for Dongba characters and the development of new visual communication tools. This study involves the consideration of the principle of Dongba characters and the fieldwork regarding the surroundings where the characters are actually used and its mechanism of the characters in order to re-design the Dongba characters. By considering the representation of the visual language of precedent and the structure of Chinese characters, the research also attempts to explore the possibility of the Dongba characters as a form of expression. The research was concluded as follows. Because of its readability of Dongba characters, Dongba character as a system of visual language could be created by jointing spatial axis, verbs and other representatives of symbols accordingly. On the other hand, there are some drawbacks such as difficulties in writing, transmitting and memorizing the characters. These however could be solved by applying the principle of Chinese characters which are easy to write, to transmit and to remember

アジアのデザイン文化の比較研究/山車の造形と祭礼文化を中心にして(5)

　アジアンデザイン研究所は2010 年に開設以来、アジア各地域において多様な形と意味を展開する祭りの山車に焦点をあて、その造形の手法に主眼を置いて調査、研究を進めている。2015 年度は、海外研究者を招聘し、靈獣パワーをふんだんに盛り込んだバリ島と東北タイの装飾山車に関する研究成果を発表するシンポジウムを開催した。このシンポジウムでは、この世での生涯を終えた貴人・聖者たちの靈魂を天上世界(宇宙山の山頂にあるとされる) へと送る葬儀山車の造形に、神話的複合獣が登場する。その迫力ある姿・形と、熱気あふれる式典の次第を現地取材の映像を交えて、紹介した。また、「東南アジアの祭礼文化における冠物（かぶりもの/ 頭飾り）の比較研究」に関する研究会として、「バリ島のジャウク舞踊」の講演と実演を開催した。バリ人の舞踊家による「ジャウクの踊り」の実演を鑑賞するとともに、衣装･仮面・ジャウクの冠の解説等の研究会を行った。　さらに、バリ島の影絵人形芝居「ムナラ・ギリ（乳海攪拌）」についての公演会を開催し、アジア文化が包み込む豊かな造形の共通語法への探求も展開した。　これらの一連の活動により、アジアの山車デザインと関わるデザイン語法（聖山、生命樹、花、聖獣）の広がりを解明する手がかりを得ることができた。Since the establishment of Research Institute of Asian Design in 2010, we have been proceeding with the research on Asian mountain floats with the particular focus on its design principles. In 2015, the international symposium on decorative mountain floats of Bali and North Eastern Thailand was held at KDU. At this symposium, the design principles of the funeral mountain floats which are thought to be a means of sending departed souls of nobles and saints to the heaven (on the cosmic mountain top) were looked at using visual materials such as documentation video. A seminar as a part of“ Comparative study of headdress in the festival culture of Southeast Asia”, an event which is Jauk performance by a traditional Balinese dancer with the commentary on its costume, mask and Jauk headdress was held at KDU. Furthermore, Balinese Wayang Kulitevent under the theme of samudra manthan was also held in order for us to furtherly explore the basis of Asian Design principles. From all these, we have gained some ideas that lead us to the better understanding of Design principles (sacred mountain, tree of life, flower, sacred animal) of Asian mountain float