Folate transport by prawn hepatopancreas brush-border membrane vesicles.

The transport system of folic acid (Pte-Glu) b y brush-borde r membrane vesicles (BBMV ) isolated from prawn (Penaeus japonicm) hepatopancreas , was studied by measuring the uptake of Pte-Glu . This uptake was found to have two components , intravesicular transport and membrane binding . Membrane binding was not affected by the presence of a trans - membrane pH-gradient at a short incubation period . However , a transmembrane pH - gradient increased membrane binding at 6 0 min. The transpor to f Pte-Glu appeared to be carrier-mediated , was stimulated by an inwardly proton gradient (p H 5. 5 outside , 7. 4 inside ) and was unaffected by a sodium-gradient . The relationship between pH gradient-driven Pte-Glu uptake and medium Pte-Glu concentration followed saturating Michaelis-Menten kinetics . Eadie-Hofste e representation of the pH gradient-driven Pte-Glu uptake indicated a single transport system with a Km of 0.3 7 ^ Man d Vmax of 1.06pmol/mg protein/15s . These findings indicate that BBM V isolated from prawn hepatopancreas possesses a Pte - Glu transport system similar to that described in mammalian intestine

Desmontando mi colección. Exergos sobre la exposición

Los distintos miembros del Grupo de Investigación FIDEX (Figuras del exceso. Políticas del cuerpo) de la Universidad Miguel Hernández, explican a los alumnos de la Facultad de Bellas Artes y público en general los distintos parámetros discursivos y de producción de sus respectivas obras expuestas en la exhibición "The Collector", que tuvo lugar en la Sala de Exposiciones de la Facultad de Bellas Artes de la Universidad de Málaga desde el 3 al 31 de octubre de 2019.Universidad de Málaga. Campus de Excelencia Internacional Andalucía Tech

Oleic acid—the main component of olive oil on postprandial metabolic processes

2 Tablas.-- 6 FigurasWhile virtually all-clinical studies for the evaluation of health status are conducted in individuals at fasting, the postprandium, that is, “the period that comprises and follows a meal,” remains as an interval of the day characterized by significant but silent metabolic disturbances that, although they are considered physiological, they may cease to be due to high amounts or quality of nutrients, and/or intrinsic factors that influence the metabolic response to such nutrients. In those cases, if repetitive, disproportionate, and long lasting, the postprandial metabolism can become a pathological condition involved in the genesis of multiple disorders, some of which may be potentially life threatening in the long term. After meals rich in fats and carbohydrates the postprandial increased levels of triglycerides and glucose can be accompanied by oxidative stress and, less well known, activation of blood clotting cascade, peripheral insulin resistance, and inflammation. The goal of this chapter is to provide an update of the information on the relevance of monounsaturated fatty acids (MUFA), notably oleic acid, in olive oil regarding saturated fatty acids (SFA) in dietary fats to influence postprandial metabolic processes related to blood coagulation, β-cell function, insulin sensitivity, and inflammation. Data are consistent with the view that the oleic-to-palmitic-acid ratio (MUFA/SFA) in olive oil may have a beneficial impact on postprandial levels of tissue factor and plasminogen activator inhibitor-1, with a restraint of postprandial hyperactivity of β-cells, insulin resistance, and proinflammatory response. We suggest that the Mediterranean diet can reduce cardiovascular events and disease in part due to the high oleic acid content in olive oil and its impact on postprandial hemostatic system and glucose and tissue homeostasis.This study was supported by grants from the MCYT and MEC (AGL2001-0584, AGL2004–04958, AGL2011–29008, and AGL2016–80852-R) and by a grant from the Fundación CEAS (Centro de Excelencia en Investigación sobre Aceite de Oliva y Salud). MAR acknowledges financial support from the Spanish Research Council (CSIC)/Juan de la Cierva (FJCI-2017–33132).Peer reviewe

CD4+ and CD8+ T-cell responses in bone marrow to fatty acids in high-fat diets

13 Páginas.-- 5 Figuras.--3 TablasObesity is associated with disruptions in the adaptive immune system; however, dietary fatty acids in high-fat diets (HFDs) that induce obesity have consequences that are currently unclear regarding T-cell maintenance in bone marrow (BM). C57BL/6J mice were randomly assigned to isocaloric HFDs formulated with dietary fats rich in saturated fatty acids (SFAs), monounsaturated fatty acids (MUFAs), or MUFAs supplemented with eicosapentaenoic and docosahexaenoic acids for 20 weeks, followed by an analysis of the immunophenotypic feature of lymphocytes (CD3+) T and their subsets CD4+ and CD8+ T cells in spleen and BM, identification of fatty acids in BM extracellular fluid and analysis of the correspondence between fatty acids with the frequency of T-cell subsets in BM. Splenic CD3+ T cells were reduced irrespective of HFDs. In BM, CD3+ T cells were reduced after HFD-SFAs, while CD4+ T cells were increased after HFDs enriched in MUFAs and CD8+ T cells were reduced irrespective of HFDs. In BM extracellular fluid, the content of palmitic and myristic acids increased after HFD-SFAs and that of oleic acid increased after HFDs enriched in MUFAs. There was a statistical correspondence between HFD-induced changes in fatty acids in BM extracellular fluid and HFD-induced changes in the frequency of CD3+ and CD4+ T cells in BM. These findings reveal an undervalued critical role for dietary fatty acids in the selective acquisition of T-cell subsets in BM, highlighting that oleic acid existing in the surroundings of T-cell niches during HFD-induced obesity could be instrumental in the maintenance of CD4+ T cells.This work was supported by a grant AGL2016-80852-R funded by MCIN/AEI/10.13039/501100011033 and by “ERDF A way of making Europe.”Peer reviewe

Apocalypse-Calipso

This visual essay is a mash-up of illustrations, a cultural criticism made up of a non-narrative concatenation of music discs, magazine cover, press photos, postcards, advertisements and movie posters remakes, all from the decades of the 60s, 70s and 80s, that takes Benidorm as a paradigm of massive construction and of cultural and visual transformation from late Francoism until the s. XXI. The graphic tour conceptualizes an extractivist imaginary that analyzes the changes between image, culture and petromodernity derived from tourism, globalization, mass consumption and the rise of disposable goods, the empire of souvenir and kitsch, or pop and theme park aesthetics, in an increasingly artificial and less sustainable environment.The etymological game between apocalypse and Calypso (Caribbean musical genre and nymph daughter of the titan Atlas who reigned on the island of Ogigia, and therefore sister of the Hesperides, the Hyades and the Pleiades), fosters, in crescendo, a reflection between the veiled and the revealed, the bikini and the topless, the idyllic and the contaminated, through the retro-futuristic prophecy of a natural pop aquatic catastrophe. This project is a derivation, in COVID-19 times, of our series Fucking the City vol III: We love Benidorm

Apocalypse-Calipso

This visual essay is a mash-up of illustrations, a cultural criticism made up of a non-narrative concatenation of music discs, magazine cover, press photos, postcards, advertisements and movie posters remakes, all from the decades of the 60s, 70s and 80s, that takes Benidorm as a paradigm of massive construction and of cultural and visual transformation from late Francoism until the s. XXI. The graphic tour conceptualizes an extractivist imaginary that analyzes the changes between image, culture and petromodernity derived from tourism, globalization, mass consumption and the rise of disposable goods, the empire of souvenir and kitsch, or pop and theme park aesthetics, in an increasingly artificial and less sustainable environment.The etymological game between apocalypse and Calypso (Caribbean musical genre and nymph daughter of the titan Atlas who reigned on the island of Ogigia, and therefore sister of the Hesperides, the Hyades and the Pleiades), fosters, in crescendo, a reflection between the veiled and the revealed, the bikini and the topless, the idyllic and the contaminated, through the retro-futuristic prophecy of a natural pop aquatic catastrophe. This project is a derivation, in COVID-19 times, of our series Fucking the City vol III: We love Benidorm

Apocalypse-Calipso

This visual essay is a mash-up of illustrations, a cultural criticism made up of a non-narrative concatenation of music discs, magazine cover, press photos, postcards, advertisements and movie posters remakes, all from the decades of the 60s, 70s and 80s, that takes Benidorm as a paradigm of massive construction and of cultural and visual transformation from late Francoism until the s. XXI. The graphic tour conceptualizes an extractivist imaginary that analyzes the changes between image, culture and petromodernity derived from tourism, globalization, mass consumption and the rise of disposable goods, the empire of souvenir and kitsch, or pop and theme park aesthetics, in an increasingly artificial and less sustainable environment.The etymological game between apocalypse and Calypso (Caribbean musical genre and nymph daughter of the titan Atlas who reigned on the island of Ogigia, and therefore sister of the Hesperides, the Hyades and the Pleiades), fosters, in crescendo, a reflection between the veiled and the revealed, the bikini and the topless, the idyllic and the contaminated, through the retro-futuristic prophecy of a natural pop aquatic catastrophe. This project is a derivation, in COVID-19 times, of our series Fucking the City vol III: We love Benidorm

Apocalypse-Calipso

This visual essay is a mash-up of illustrations, a cultural criticism made up of a non-narrative concatenation of music discs, magazine cover, press photos, postcards, advertisements and movie posters remakes, all from the decades of the 60s, 70s and 80s, that takes Benidorm as a paradigm of massive construction and of cultural and visual transformation from late Francoism until the s. XXI. The graphic tour conceptualizes an extractivist imaginary that analyzes the changes between image, culture and petromodernity derived from tourism, globalization, mass consumption and the rise of disposable goods, the empire of souvenir and kitsch, or pop and theme park aesthetics, in an increasingly artificial and less sustainable environment.The etymological game between apocalypse and Calypso (Caribbean musical genre and nymph daughter of the titan Atlas who reigned on the island of Ogigia, and therefore sister of the Hesperides, the Hyades and the Pleiades), fosters, in crescendo, a reflection between the veiled and the revealed, the bikini and the topless, the idyllic and the contaminated, through the retro-futuristic prophecy of a natural pop aquatic catastrophe. This project is a derivation, in COVID-19 times, of our series Fucking the City vol III: We love Benidorm

Apocalypse-Calipso

Este ensayo visual es un mash-up de ilustraciones, una crítica cultural compuesta por una concatenación no narrativa de remakes a rotulador de portadas de discos y revistas, fotos de prensa, postales, anuncios y carteles de cine, todos ellos provenientes de las décadas de los 60, 70 y 80, que toma Benidorm como paradigma de la construcción masiva y de la transformación cultural y visual desde el tardofranquismo hasta el s. XXI. El recorrido gráfico conceptualiza un imaginario extractivista que analiza los cambios entre imagen, cultura y petromodernidad derivados del turismo, la globalización, el consumo masivo y el auge lo desechable, el imperio del souvenir y de lo kitsch, o la estética pop y del parque temático, en un entorno cada vez más artificial y menos sostenible.El juego etimológico entre apocalipsis y Calipso (género musical caribeño y ninfahija del titán Atlas que reinaba en la isla de Ogigia, y hermana por tanto de las Hespérides, las Híades y las Pléyades), propicia, in crescendo, una reflexión entre lo velado y lo revelado, el bikini y el topless, lo idílico y lo contaminado, a través dela profecía retro-futurista de una catástrofe natural acuática pop.Este proyecto es una deriva, en tiempos del COVID-19, de nuestra serie Follarse la Ciudad vol III: We love Benidorm