The Orchestra of Myocardial Regeneration

Abstract

A glimpse on previous and current literature ignites the recognition of the luxurious era that cardiac science has reached. In particular, the past fifteen years have provided tremendous advancements in the field of myocardial biology with the characterization of cardiac stem cells, reprogramming of somatic cells, microRNA discovery, exosome-protocols and imaging modalities. In addition, conventional and outdated biological processes such as myocyte metabolism, cell cycle, and senescence are revisited with fresh perspectives. This phylogeny represents a foundation that provides a broad range of possibilities and directions that can be pursued. While preceding science evolved around characterization of peculiar topics, perhaps contemporary science postulates an orchestrated approach where molecular biological conglomerates are deciphered and connections are made in a panoramic manner. Similar to a musical composition; molecular biological systems demand comprehensive knowledge of distinct notes or molecules that are then orchestrated in a timely and harmonious fashion. This composition-based demeanor, as symbolized by a portrait of the legendary composer Ludwig van Beethoven, concurrently calls for contemplation of the frame-works and restrictions that are imposed by innate properties of a system. The current thesis is a compilation of assorted topics that may appear heterogeneous at first but are related in the harmony of ‘myocardial regeneration composition’. The perspective of myocardial regeneration consists of two main branches: Myocyte-mediated regeneration and Stem Cell mediated regeneration. Overall, the current work may represent certain controversies and even attempts to challenge particular common beliefs. However, in this era of accelerated phylogeny and the extent of knowledge generated on a daily basis, perhaps new scientists ought to question certain existing criteria and definitions from time to time. After all, a common criteria for a successful composer might be ‘a crystal clear sense of hearing’ and yet, while composing some of his legendary compositions, Ludwig van Beethoven was deaf