Hepatic autophagy contributes to the metabolic response to dietary protein restriction

© 2016 Elsevier Inc. All rights reserved. Autophagy is an essential cellular response which acts to release stored cellular substrates during nutrient restriction, and particularly plays a key role in the cellular response to amino acid restriction. However, there has been limited work testing whether the induction of autophagy is required for adaptive metabolic responses to dietary protein restriction in the whole animal. Here, we found that moderate dietary protein restriction led to a series of metabolic changes in rats, including increases in food intake and energy expenditure, the downregulation of hepatic fatty acid synthesis gene expression and reduced markers of hepatic mitochondrial number. Importantly, these effects were also associated with an induction of hepatic autophagy. To determine if the induction of autophagy contributes to these metabolic effects, we tested the metabolic response to dietary protein restriction in BCL2-AAA mice, which bear a genetic mutation that impairs autophagy induction. Interestingly, BCL2-AAA mice exhibit exaggerated responses in terms of both food intake and energy expenditure, whereas the effects of protein restriction on hepatic metabolism were significantly blunted. These data demonstrate that restriction of dietary protein is sufficient to trigger hepatic autophagy, and that disruption of autophagy significantly alters both hepatic and whole animal metabolic response to dietary protein restriction

Carnal encounters and producing socialist Yugoslavia: voluntary youth labour actions on the newsreel screen

This article explores the role that the newsreel genre played in the production of socialist Yugoslav territory, understood as reshaping the body of the socius. We analyse news reports concerning voluntary youth labour actions, which were one of the most important features of Yugoslav socialist society and which featured heavily in Yugoslav official newsreels. We argue that the newsreel provided a specific liminal space in between the ‘real’/non-cinematic and ‘screened’/cinematic experience, where we locate occurrences of carnal encounters between the body on the cinematic screen and the body of the audience. In this regard, we discuss two characteristic types of frame which were present in the newsreel reports on labour actions: the somatic frame and the machinic-labour frame

Energy Geared to an Intensity High Enough to Melt Steel: Merce Cunningham, Movement, and Motion Capture

The paper is concerned with the relation between everyday human social conditioning and the specialized skills demanded by choreography. Exploring the choreographic methods of Merce Cunningham, the author shows how choreography requires an entrainment of the body that mirrors modes of corporeal socialization while deviating in significant ways from the conditioning normally received. Cunningham works with constraints that have little to do with social convention, but that remain historical insofar as they reflect the technological conditions of a particular era. In the paper, his methods are traced from the inception of chance operations to the employment of Life Forms and the software-aided creative process

Ethics, Staged

This article stages a dialogue between Giorgio Agamben’s theory of gesture and the 2016 reconstruction of Merce Cunningham’s 1964 choreography, Winterbranch. This juxtaposition encourages a comparison between Agamben's and Cunningham's respective approaches to the semiotics of dance, the way that dance can generate meaning but also evade meaning in a way that Agamben deems "proper" to the "ethical sphere." For Agamben, dance is composed of what he calls "gestures" that have "nothing to express" other than expressivity itself as a "power" unique to humans who have language. For Cunningham, dance is composed of what he calls "actions," or at other times "facts"—discrete and repeatable movements sketched in the air that reveal the "passion," the raw or naked "energy" of human expressivity before that energy has been directed toward a specific expressive project. I will look more closely at what Cunningham means by "actions," and to what extent they can be considered "gestures" in Agamben's terms; I will also explore the "ethical sphere" opened by the display of mediality, the "being-in-a-medium" of human beings. What, then, do dance gestures expose that ordinary gestures do not? Why would such an exposure be “ethical” in Agamben’s terms? And why would (his notion of) the ethical rely on a stage

Coping and Choreography

In this paper, I study the choreographic process of Merce Cunningham in order to understand better how refined kinesthetic and proprioceptive responses come to constitute the expressive matter of dance. Employing first chance operations then a software program to generate unexpected sequences of movement, Cunningham strains the coping mechanisms of his dancers to the limit. His choreography requires dancers to become experts at adapting their own sensorimotor instrument to the situation at hand. When dancers are asked to imitate the movement sequences of a computer-generated avatar, their bodies can truly be said to be “co-constructed”; they evolve muscle memories and skills that correspond to the technology with which they interact