Genotypic and antimicrobial characterisation of Propionibacterium acnes isolates from surgically excised lumbar disc herniations

The anaerobic skin commensal Propionibacterium acnes is an underestimated cause of human infections and clinical conditions. Previous studies have suggested a role for the bacterium in lumbar disc herniation and infection. To further investigate this, five biopsy samples were surgically excised from each of 64 patients with lumbar disc herniation. P. acnes and other bacteria were detected by anaerobic culture, followed by biochemical and PCR-based identification. In total, 24/64 (38%) patients had evidence of P. acnes in their excised herniated disc tissue. Using recA and mAb typing methods, 52% of the isolates were type II (50% of culture-positive patients), while type IA strains accounted for 28% of isolates (42% patients). Type III (11% isolates; 21% patients) and type IB strains (9% isolates; 17% patients) were detected less frequently. The MIC values for all isolates were lowest for amoxicillin, ciprofloxacin, erythromycin, rifampicin, tetracycline, and vancomycin (≤1mg/L). The MIC for fusidic acid was 1-2 mg/L. The MIC for trimethoprim and gentamicin was 2 to ≥4 mg/L. The demonstration that type II and III strains, which are not frequently recovered from skin, predominated within our isolate collection (63%) suggests that the role of P. acnes in lumbar disc herniation should not be readily dismissed. © 2013 Jess Rollason et al

Come to Daddy? Claiming Chris Cunningham for British Art Cinema

Twenty years after he came to prominence via a series of provocative, ground-breaking music videos, Chris Cunningham remains a troubling, elusive figure within British visual culture. His output – which includes short films, advertisements, art gallery commissions, installations, music production and a touring multi-screen live performance – is relatively slim, and his seemingly slow work rate (and tendency to leave projects uncompleted or unreleased) has been a frustration for fans and commentators, particularly those who hoped he would channel his interests and talents into a full-length ‘feature’ film project. There has been a diverse critical response to his musical sensitivity, his associations with UK electronica culture – and the Warp label in particular – his working relationship with Aphex Twin, his importance within the history of the pop video and his deployment of transgressive, suggestive imagery involving mutated, traumatised or robotic bodies. However, this article makes a claim for placing Cunningham within discourses of British art cinema. It proposes that the many contradictions that define and animate Cunningham's work – narrative versus abstraction, political engagement versus surrealism, sincerity versus provocation, commerce versus experimentation, art versus craft, a ‘British’ sensibility versus a transnational one – are also those that typify a particular terrain of British film culture that falls awkwardly between populism and experimentalism

Choreography, controversy and child sex abuse: Theoretical reflections on a cultural criminological analysis of dance in a pop music video

This article was inspired by the controversy over claims of ‘pedophilia!!!!’ undertones and the ‘triggering’ of memories of childhood sexual abuse in some viewers by the dance performance featured in the music video for Sia’s ‘Elastic Heart’ (2015). The case is presented for acknowledging the hidden and/or overlooked presence of dance in social scientific theory and cultural studies and how these can enhance and advance cultural criminological research. Examples of how these insights have been used within other disciplinary frameworks to analyse and address child sex crime and sexual trauma are provided, and the argument is made that popular cultural texts such as dance in pop music videos should be regarded as significant in analysing and tracing public perceptions and epistemologies of crimes such as child sex abuse

Polarized secretion of Leukemia Inhibitory Factor

<p>Abstract</p> <p>Background</p> <p>The direction of cytokine secretion from polarized cells determines the cytokine's cellular targets. Leukemia inhibitory factor (LIF) belongs to the interleukin-6 (IL-6) family of cytokines and signals through LIFR/gp130. Three factors which may regulate the direction of LIF secretion were studied: the site of stimulation, signal peptides, and expression levels. Stimulation with IL-1β is known to promote IL-6 secretion from the stimulated membrane (apical or basolateral) in the human intestinal epithelial cell line Caco-2. Since LIF is related to IL-6, LIF secretion was also tested in Caco-2 following IL-1β stimulation. Signal peptides may influence the trafficking of LIF. Two isoforms of murine LIF, LIF-M and LIF-D, encode different signal peptides which have been associated with different locations of the mature protein in fibroblasts. To determine the effect of the signal peptides on LIF secretion, secretion levels were compared in Madin-Darby canine kidney (MDCK) clones which expressed murine LIF-M or LIF-D or human LIF under the control of an inducible promoter. Low and high levels of LIF expression were also compared since saturation of the apical or basolateral route would reveal specific transporters for LIF.</p> <p>Results</p> <p>When Caco-2 was grown on permeable supports, LIF was secreted constitutively with around 40% secreted into the apical chamber. Stimulation with IL-1β increased LIF production. After treating the apical surface with IL-1β, the percentage secreted apically remained similar to the untreated, whereas, when the cells were stimulated at the basolateral surface only 20% was secreted apically. In MDCK cells, an endogenous LIF-like protein was detected entirely in the apical compartment. The two mLIF isoforms showed no difference in their secretion patterns in MDCK. Interestingly, about 70% of murine and human LIF was secreted apically from MDCK over a 400-fold range of expression levels within clones and a 200,000-fold range across clones.</p> <p>Conclusion</p> <p>The site of stimulation affected the polarity of LIF secretion, while, signal peptides and expression levels did not. Exogenous LIF is transported in MDCK without readily saturated steps.</p

A Soundtrack for Reimagining Pakistan? Coke Studio, memory, and the music video

Since 2007, Coke Studio has rapidly become one of the most influential platforms in televisual, digital and musical media, and has assumed a significant role in generating new narratives about Pakistani modernity. The musical pieces in Coke Studio’s videos re-work a range of genres and performing arts, encompassing popular and familiar songs, as well as resuscitating classical poetry and the musical traditions of marginalised communities. This re-working of the creative arts of South Asia represents an innovative approach to sound, language, and form, but also poses larger questions about how cultural memory and national narratives can be reimagined through musical media, and then further reworked by media consumers and digital audiences. This article considers how Coke Studio’s music videos have been both celebrated and criticised, and explores the online conversations that compared new covers to the originals, be they much loved or long forgotten. The ways in which the videos are viewed, shared, and dissected online sheds light on new modes of media consumption and self-reflection. Following specific examples, we examine the larger implications of the hybrid text–video–audio object in the digital age, and how the consumers of Coke Studio actively participate in developing new narratives about South Asian history and Pakistani modernity

'Out of Time: Anohni and transgendered/trans age transgression'

The 82-year-old Black Avant-garde artist Lorraine O’Grady stares out of a black screen, she is unclothed bar a pair of silver earrings and choker; her mouth is painted a bright vermilion red. She lip-synchs to Anohni’s single ‘Marrow’ taken from the 2016 album Hopelessness. This ageing Black female artist is Anohni’s avatar, the image that represents her within a popular audio-visual culture, circulating on YouTube. Anohni is a transgender musician whose recent 2016 and 2017 musical work and artistic collaborations emphasise intersectionality and feminism’s relationship with ecology. This chapter uses the music videos for Hopelessness and Paradise as a springboard from which to argue the complexity of transgressive potential in relation to ageing and ‘othered’ femininities. All except one of the videos use a similar method of inserting Anohni’s transgendered voice into the mouths of Black, ageing, non-normative women in what I argue is a strategy of displacement that doubles up the transgressive potential of Anohni’s work. She upsets a singular subjectivity through this process and also, if we think of her voice and its vocalisation as being some how out of sync, in so far as it is displaced, then her work also prioritises a sense of being ‘out of time’. The chapter works primarily with two of Judith Halberstam’s concepts from her 2005 writing on ‘Queer temporality’ where she argues for the concept of a ‘queer time’ that lies beyond the logics of heteronormative and capitalist temporal certitude and trajectory and for the ‘patina of transgression’ (p.19) that transgendered bodies suggest. It formulates how the audio-visual contributions of one transgendered artist ushers into popular culture versions of liminal and flexible subjectivities in relation to gender and age that also encompass race and sexuality. This is a lot to deal with but it uses O’Grady’s work on miscegenation ‘When Margins become Centers’ (CCVA exhibition, 10/2015 – 01/2016) and work on TimeSpace and ageing (May and Thrift, 2001; Moglen, 2008; Baars, 2012; Hawkins, 2016) to ask questions about the transgressive potential of both transgendered voices and of ageing bodies, whose presence is emblematic of a ‘queer time’ (p.4), a kind of temporality that is ‘wilfully eccentric’ (p.1) and subject to a non normative life-course