Transformacije vsakdanjosti: družbena estetika otroštva

In this article I approach everyday aesthetics through play, especially but not exclusively the play of children. Play constitutes a bridge between the everyday and art, and I argue that it is existentially and ontologically important as a field for the articulation, negotiation, and transformation of the social world, and a construction of the life-world in its complexity. Play also gives opportunities for the sharing of intimate feelings. As a thoroughly social phenomenon, play can contribute to a more nuanced and deeper understanding of the social constitution of aesthetic phenomena in general. In play the participants perform together and for each other, sometimes creating performances that can be repeated (with or without variations), sometimes creating complex fictional worlds. A significant characteristic of play is its interactive character: the participants transform structures and themes from their life-world, mostly through improvising with other people. The empirical examples come from my own family. This is methodologically motivated since play, like art, is best understood contextually. An even stronger reason, however, is that the core meaning of play is created within the play. The materials represent two kinds of play. “Scripted performance” play has a limited number of roles or participants and a limited theme. It can be similar to jokes or action songs in having a rather definite structure, but it can also allow for more improvisation. Structure and form, however, make such play analogous to performance arts, and allow the participants to remember and reflect on the play. The other kind of play that I discuss builds on the creation of parallel, fictional worlds. The creation and presentation of such worlds can be used in negotiations about the everyday, for example where a child’s social status or competence would not be given enough weight as such.V pričujočem članku vstopim v estetiko vsakdanjosti skozi igro, še posebej (a ne zgolj) skozi otroško igro. Igra gradi most med vsakdanjostjo in umetnostjo; trdim, da je eksistencialno in ontološko pomembna kot polje za artikulacijo, pogajanje in transformacijo družbenega sveta, pa tudi kot konstrukcija življenjskega sveta in njegove kompleksnosti. Igra daje tudi priložnosti za medsebojno izmenjavo intimnih občutkov. Kot temeljno družbeni pojav lahko prispeva h globljemu in bolj kompleksnemu razumevanju družbene konstitucije estetskih fenomenov na splošno. V njej se udeleženci igrajo skupaj in drug za drugega, včasih ustvarjajo performanse, ki jih je mogoče ponoviti (z variacijami ali brez njih), včasih pa gradijo kompleksne fiktivne svetove. Pomembna značilnost igre je njen interaktivni značaj: udeleženci transformirajo strukture in teme iz svojega življenjskega sveta, večinoma skozi improviziranje z drugimi ljudmi. Empirični primeri iger prihajajo iz moje lastne družine. To je metodološko utemeljeno, kajti igro je podobno kot umetnost mogoče najbolje razumeti v kontekstih. Še močnejši razlog za to pa tiči v tem, da se glavni pomen igre ustvarja skozi sámo igro. Materiali predstavljajo dve vrsti igre. »Performans s scenarijem« je igra, ki ima omejeno število vlog ali udeležencev in omejeno temo. Podobna je šalam ali t. i. action songs (otroške pesmi, ki vključujejo mimično in gibalno ponazarjanje pétih besed) v tem, da ima dokaj določeno strukturo, čeprav dopušča tudi improvizacijo. Struktura in forma pa takšno igro približata umetnosti performansa, udeleženci si jo lahko tudi zapomnijo in jo reflektirajo. Druga vrsta igre, o kateri razpravljam, gradi na ustvarjanju vzporednih, fiktivnih svetov. Ustvarjanje in predstavitev takšnih svetov se lahko uporabljata v pogajanjih o vsakdanjosti, na primer tam, kjer otrokovemu družbenemu statusu ali kompetenci ni podeljeno dovolj teže

Molecular profiling of a lethal tumor microenvironment, as defined by stromal caveolin-1 status in breast cancers

Breast cancer progression and metastasis are driven by complex and reciprocal interactions, between epithelial cancer cells and their surrounding stromal microenvironment. We have previously shown that a loss of stromal Cav-1 expression is associated with an increased risk of early tumor recurrence, metastasis and decreased overall survival. To identify and characterize the signaling pathways that are activated in Cav-1 negative tumor stroma, we performed gene expression profiling using laser microdissected breast cancer-associated stroma. Tumor stroma was laser capture microdissected from 4 cases showing high stromal Cav-1 expression and 7 cases with loss of stromal Cav-1. Briefly, we identified 238 gene transcripts that were upregulated and 232 gene transcripts that were downregulated in the stroma of tumors showing a loss of Cav-1 expression (p ≤ 0.01 and fold-change ≥1.5). Gene set enrichment analysis (GSEA) revealed “stemness,” inflammation, DNA damage, aging, oxidative stress, hypoxia, autophagy and mitochondrial dysfunction in the tumor stroma of patients lacking stromal Cav-1. Our findings are consistent with the recently proposed “Reverse Warburg Effect” and the “Autophagic Tumor Stroma Model of Cancer Metabolism.” In these two complementary models, cancer cells induce oxidative stress in adjacent stromal cells, which then forces these stromal fibroblasts to undergo autophagy/mitophagy and aerobic glycolysis. This, in turn, produces recycled nutrients (lactate, ketones and glutamine) to feed anabolic cancer cells, which are undergoing oxidative mitochondrial metabolism. Our results are also consistent with previous biomarker studies showing that the increased expression of known autophagy markers (such as ATG16L and the cathepsins) in the tumor stroma is specifically associated with metastatic tumor progression and/or poor clinical outcome