Spontaneous Carotid Artery Dissection Presenting as Trigeminal Neuralgia in the Emergency Department

Introduction: Carotid artery dissection (CAD) is a critical diagnosis in the emergency department (ED). Trigeminal neuralgia, while not uncommon, may cause the patient significant discomfort but generally is not attributed to severe morbidity and mortality.Case Report: We present a case of spontaneous CAD presenting with the classic intermittent “lightning-like” jaw and head pain suggestive of trigeminal neuralgia that was ultimately diagnosed utilizing computed tomography angiogram after multiple visits to the ED.Discussion: Coincidentally the patient had been started on anticoagulation a few days prior and no additional intervention was required.Conclusion: This case report discusses current recommendations for diagnosis, treatment, and long-term prognosis of CAD

The Black Screen

All films emerge from and return to the void of the black screen. Black is cinema’s ground, a blank canvas in negative. Yet when we see a black or near-black image within a film, it is never nothing. What does the black screen reveal to us... or conceal from us? In this film, an unseen editor explores the ambiguity and mystery of cinema’s primary colour by taking a mental journey through some of the most obscure moments in film history

Glycoproteomics-Based Identification of Cancer Biomarkers

Protein glycosylation is one of the most common posttranslational modifications in mammalian cells. It is involved in many biological pathways and molecular functions and is well suited for proteomics-based disease investigations. Aberrant protein glycosylation may be associated with disease processes. Specific glycoforms of glycoproteins may serve as potential biomarkers for the early detection of disease or as biomarkers for the evaluation of therapeutic efficacy for treatment of cancer, diabetes, and other diseases. Recent technological developments, including lectin affinity chromatography and mass spectrometry, have provided researchers the ability to obtain detailed information concerning protein glycosylation. These in-depth investigations, including profiling and quantifying glycoprotein expression, as well as comprehensive glycan structural analyses may provide important information leading to the development of disease-related biomarkers. This paper describes methodologies for the detection of cancer-related glycoprotein and glycan structural alterations and briefly summarizes several current cancer-related findings

Trespassing Hollywood: Property, Space, and the “Appropriation Film”

n the two decades since the first exhibition of Douglas Gordon's 24 Hour Psycho (1993), “appropriation”—a mainstay of visual art since the mid-twentieth century—has also become a mainstay of experimental filmmaking and artists' film and video. Montages, collages, found-footage documentaries, essay films, and diverse other works made from pre-existing moving images now feature regularly at film festivals, in museum cinematheques, and in art galleries. Yet beyond the protective walls of these cultural institutions, a global copyright war is raging. Over recent years, media owners have become ever more assertive of their intellectual property rights, while activists have become ever bolder in their demands for radical open access. How have film and video artists responded to these differing views about what constitutes our cultural commons? This article explores the question by focusing on two test cases: Thom Andersen's essay film Los Angeles Plays Itself (2003) and Christian Marclay's video collage The Clock (2011). Both involve unlicensed reuse of pre-existing film and television material. However, in their overall conception, methods of production, and distribution and exhibition, Andersen's and Marclay's works provide opposing models for how to engage with media property. The article concludes by suggesting that the two works' differences raise urgent ethical question about how (and where) contemporary artists' film and video is exhibited

A cor digital

A unidade básica de imagens digitais é o pixel. Um pixel pode ser definido como uma unidade de valor cromático atribuída a um local específico da tela. Em um nível tecnológico, todas as imagens digitais incluem por consequência cor digital. A maneira com que eu me refiro à cor digital neste capítulo, contudo, é mais específica. Refiro-me a ela como a cor que resulta quando os valores cromáticos de uma imagem são manipulados digitalmente. A cor digital se tornou proeminente nas mídias dominantes nos anos 1990. Em retrospecto, Thomas Elsaesser notou no final daquela década que os anos 1990 haviam trazido uma grande mudança na divisão do trabalho dentro da indústria cinematográfica, principalmente no que diz respeito à pós-produção. Desde então, a quantidade de dinheiro e tempo gastos na pós-produção cresceram tanto que a produção pode algumas vezes ser considerada pouco mais do que uma fase preparatória no processo de conclusão de um filme