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Selected AbstractsIndividual differences in allocation of funds in the dictator game associated with length of the arginine vasopressin 1a receptor RS3 promoter region and correlation between RS3 length and hippocampal mRNAGENES, BRAIN AND BEHAVIOR, Issue 3 2008A. Knafo Human altruism is a widespread phenomenon that puzzled evolutionary biologists since Darwin. Economic games illustrate human altruism by showing that behavior deviates from economic predictions of profit maximization. A game that most plainly shows this altruistic tendency is the Dictator Game. We hypothesized that human altruistic behavior is to some extent hardwired and that a likely candidate that may contribute to individual differences in altruistic behavior is the arginine vasopressin 1a (AVPR1a) receptor that in some mammals such as the vole has a profound impact on affiliative behaviors. In the current investigation, 203 male and female university students played an online version of the Dictator Game, for real money payoffs. All subjects and their parents were genotyped for AVPR1a RS1 and RS3 promoter-region repeat polymorphisms. Parents did not participate in online game playing. As variation in the length of a repetitive element in the vole AVPR1a promoter region is associated with differences in social behavior, we examined the relationship between RS1 and RS3 repeat length (base pairs) and allocation sums. Participants with short versions (308,325 bp) of the AVPR1a RS3 repeat allocated significantly (likelihood ratio = 14.75, P = 0.001, df = 2) fewer shekels to the ,other' than participants with long versions (327,343 bp). We also implemented a family-based association test, UNPHASED, to confirm and validate the correlation between the AVPR1a RS3 repeat and monetary allocations in the dictator game. Dictator game allocations were significantly associated with the RS3 repeat (global P value: likelihood ratio ,2 = 11.73, df = 4, P = 0.019). The association between the AVPR1a RS3 repeat and altruism was also confirmed using two self-report scales (the Bardi,Schwartz Universalism and Benevolence Value-expressive Behavior scales). RS3 long alleles were associated with higher scores on both measures. Finally, long AVPR1a RS3 repeats were associated with higher AVPR1a human post-mortem hippocampal messenger RNA levels than short RS3 repeats (one-way analysis of variance (ANOVA): F = 15.04, P = 0.001, df = 14) suggesting a functional molecular genetic basis for the observation that participants with the long RS3 repeats allocate more money than participants with the short repeats. This is the first investigation showing that a common human polymorphism, with antecedents in lower mammals, contributes to decision making in an economic game. The finding that the same gene contributing to social bonding in lower animals also appears to operate similarly in human behavior suggests a common evolutionary mechanism. [source] Teaching and Learning Guide for: Memoryscape: How Audio Walks Can Deepen Our Sense of Place by Integrating Art, Oral History and Cultural GeographyGEOGRAPHY COMPASS (ELECTRONIC), Issue 5 2008Toby Butler Author's Introduction This article is concerned with the history and practice of creating sound walks or ,memoryscapes': outdoor trails that use recorded sound and spoken memory played on a personal stereo or mobile media to experience places in new ways. It is now possible to cheaply and easily create this and other kinds of located media experience. The development of multi-sensory-located media (,locedia') presents some exciting opportunities for those concerned with place, local history, cultural geography and oral history. This article uses work from several different disciplines (music, sound art, oral history and cultural geography) as a starting point to exploring some early and recent examples of locedia practice. It also suggests how it might give us a more sophisticated, real, embodied and nuanced experience of places that the written word just can not deliver. Yet, there are considerable challenges in producing and experiencing such work. Academics used to writing must learn to work in sound and view or image; they must navigate difficult issues of privacy, consider the power relations of the outsider's ,gaze' and make decisions about the representation of places in work that local people may try and have strong feelings about. Creating such work is an active, multi-sensory and profoundly challenging experience that can offer students the chance to master multi-media skills as well as apply theoretical understandings of the histories and geographies of place. Author Recommends 1.,Perks, R., and Thomson, A. (2006). The oral history reader, 2nd ed. London: Routledge. This is a wonderful collection of significant writing concerned with oral history. Part IV, Making Histories features much of interest, including a thought-provoking paper on the challenges of authoring in sound rather than print by Charles Hardy III, and a moving interview with Graeme Miller, the artist who created the Linked walk mentioned in the memoryscape article. These only feature in the second edition. 2.,Cresswell, T. (2004). Place: a short introduction. Oxford, UK: Blackwell. A refreshingly clear and well-written guide to the different theoretical takes on what makes places , a good starting point for further reading. 3.,Carlyle, A. (ed.). (2008). Autumn leaves: sound and the environment in artistic practice. Paris, France: Double Entendre. This is a collection of short essays and examples of located sonic media art; it includes interviews with practitioners and includes Hildegard Westekamp's Soundwalking, a practical guide to leading students on a mute walk. Lots of thought provoking, applied reading material for students here. 4.,Blunt, A., et al. (eds) (2003). Cultural geography in practice. London: Arnold. A great book for undergraduate and postgraduate students , concepts explained and lots of examples of actually doing cultural geography. The chapter on mapping worlds by David Pinder is particularly useful in this context. 5.,Pinder, D. (2001). Ghostly footsteps: voices, memories and walks in the city. Ecumene 8 (1), pp. 1,19. This article is a thoughtful analysis of a Janet Cardiff sound walk in Whitechapel, East London. Online Materials http://www.memoryscape.org.uk This is my project website, which features two online trails, Dockers which explores Greenwich and the memories of the London Docks that are archived in the Museum of London, and Drifting which is a rather strange experiment-combining physical geography and oral history along the Thames at Hampton Court, but still makes for an interesting trail. Audio, maps and trails can be downloaded for free, so students with phones or iPods can try the trails if you are within reach of Surrey or London. The site features an online version, with sound-accompanying photographs of the location. http://www.portsofcall.org.uk This website has three more trails here, this time of the communities surrounding the Royal Docks in East London. The scenery here is very dramatic and anyone interested in the regeneration of East London and its impact on local communities will find these trails interesting. Like Dockers, the walks feature a lot of rare archive interviews. This project involved a great deal of community interaction and participation as I experimented with trying to get people involved with the trail-making process. The site uses Google maps for online delivery. http://www.soundwalk.com This New York-based firm creates exceptionally high-quality soundwalks, and they are well worth the money. They started by producing trails for different districts of New York (I recommend the Bronx Graffiti trail) and have recently made trails for other cities, like Paris and Varanassi in India. http://www.mscapers.com This website is run by Hewlett Packard, which has a long history of research and development in located media applications. They currently give free licence to use their mscape software which is a relatively easy to learn way of creating global positioning system-triggered content. The big problem is that you have to have a pricey phone or personal digital assistant to run the software, which makes group work prohibitively expensive. But equipment prices are coming down and with the new generations of mobile phones developers believe that the time when the player technology is ubiquitous might be near. And if you ask nicely HP will lend out sets of equipment for teaching or events , fantastic if you are working within reach of Bristol. See also http://www.createascape.org.uk/ which has advice and examples of how mscape software has been used for teaching children. Sample Syllabus public geography: making memoryscapes This course unit could be adapted to different disciplines, or offered as a multidisciplinary unit to students from different disciplines. It gives students a grounding in several multi-media techniques and may require support/tuition from technical staff. 1.,Introduction What is a located mediascape, now and in the future? Use examples from resources above. 2.,Cultural geographies of site-specific art and sound Theories of place; experiments in mapping and site-specific performance. 3.,Walk activity: Westergard Hildekamp , sound walk, or one of the trails mentioned above The best way , and perhaps the only way , to really appreciate located media is to try one in the location they have been designed to be experienced. I would strongly advise any teaching in this field to include outdoor, on-site experiences. Even if you are out of reach of a mediascape experience, taking students on a sound walk can happen anywhere. See Autumn Leaves reference above. 4.,Researching local history An introduction to discovering historical information about places could be held at a local archive and a talk given by the archivist. 5.,Creating located multimedia using Google maps/Google earth A practical exercise-based session going through the basics of navigating Google maps, creating points and routes, and how to link pictures and sound files. 6.,Recording sound and oral history interviews A practical introduction to the techniques of qualitative interviewing and sound recording. There are lots of useful online guides to oral history recording, for example, an online oral history primer http://www.nebraskahistory.org/lib-arch/research/audiovis/oral_history/index.htm; a more in depth guide to various aspects of oral history http://www.baylor.edu/oral%5fhistory/index.php?id=23566 or this simple oral history toolkit, with useful links to project in the North of England http://www.oralhistorynortheast.info/toolkit/chapter1.htm 7.,Sound editing skills Practical editing techniques including working with clips, editing sound and creating multi-track recordings. The freeware software Audacity is simple to use and there are a lot of online tutorials that cover the basics, for example, http://www.wikieducator.org/user:brentsimpson/collections/audacity_workshop 8.,Web page design and Google maps How to create a basic web page (placing pictures, text, hyperlinks, buttons) using design software (e.g. Dreamweaver). How to embed a Google map and add information points and routes. There is a great deal of online tutorials for web design, specific to the software you wish to use and Google maps can be used and embedded on websites free for non-profit use. http://maps.google.com/ 9,and 10. Individual or group project work (staff available for technical support) 11.,Presentations/reflection on practice Focus Questions 1What can sound tell us about the geographies of places? 2When you walk through a landscape, what traces of the past can be sensed? Now think about which elements of the past have been obliterated? Whose past has been silenced? Why? How could it be put back? 3Think of a personal or family story that is significant to you. In your imagination, locate the memory at a specific place. Tell a fellow student that story, and describe that place. Does it matter where it happened? How has thinking about that place made you feel? 4What happens when you present a memory of the past or a located vision of the future in a present landscape? How is this different to, say, writing about it in a book? 5Consider the area of this campus, or the streets immediately surrounding this building. Imagine this place in one of the following periods (each group picks one): ,,10,000 years ago ,,500 years ago ,,100 years ago ,,40 years ago ,,last Thursday ,,50 years time What sounds, voices, stories or images could help convey your interpretation of this place at that time? What would the visitor hear or see today at different points on a trail? Sketch out an outline map of a located media trail, and annotate with what you hear/see/sense at different places. Project Idea small group project: creating a located mediascape Each small group must create a located media experience, reflecting an aspect of the history/geography/culture of an area of their choosing, using the knowledge that they have acquired over the course of the semester. The experience may be as creative and imaginative as you wish, and may explore the past, present or future , or elements of each. Each group must: ,,identify an area of interest ,,research an aspect of the area of the groups choosing; this may involve visiting local archives, libraries, discussing the idea with local people, physically exploring the area ,,take photographs, video or decide on imagery (if necessary) ,,record sound, conduct interviews or script and record narration ,,design a route or matrix of media points The final project must be presented on a website, may embed Google maps, and a presentation created to allow the class to experience the mediascape (either in the classroom or on location, if convenient). The website should include a brief theoretical and methodological explanation of the basis of their interpretation. If the group cannot be supported with tuition and support in basic website design or using Google mapping with sound and imagery, a paper map with locations and a CD containing sound files/images might be submitted instead. For examples of web projects created by masters degree students of cultural geography at Royal Holloway (not all sound based) see http://www.gg.rhul.ac.uk/MA/web-projects.html [source] Evolutionary plasticity and cancer breakpoints in human chromosome 3BIOESSAYS, Issue 11-12 2008Aurora Ruiz-Herrera In this review, we focus on the evolutionary and biomedical aspects of the architecture of human chromosome 3 (HSA3) by analyzing chromosomal regions that have been conserved during the evolutionary process, compared to those that have been involved in the genomic restructuring of different placental lineages. Given that the organization of human chromosome 3 is derived when compared to the ancestral primate karyotype, and is an autosome that is commonly implicated in human tumour formation, we examined the patterns of change and the genomic consequences that have resulted from its complex evolutionary history. The data show four discrete chromosomal regions that are frequently implicated in chromosomal rearrangements (3p25, 3p22, 3p12 and 3q21). These are rich in repetitive elements and are commonly implicated in structural rearrangements that underpin human genomic disorders and neoplasias. Additional Supporting Information may be found in the online version of this article. BioEssays 30:1126,1137, 2008. © 2008 Wiley Periodicals, Inc. [source] Lowering of blood pressure during chronic suppression of central sympathetic outflow: Insight from computer simulationsCLINICAL AND EXPERIMENTAL PHARMACOLOGY AND PHYSIOLOGY, Issue 2 2010Radu Iliescu Summary 1. Chronic electrical stimulation of the carotid sinuses has provided unique insight into the mechanisms that cause sustained reductions in blood pressure during chronic suppression of central sympathetic outflow. 2. Because renal denervation does not abolish the sustained fall in arterial pressure in response to baroreflex activation, this observation has seemingly challenged the concept that the kidneys play a critical role in the long-term control of arterial pressure during chronic changes in sympathetic activity. The aim of the present study was to use computer simulations to provide a more comprehensive understanding of physiological mechanisms that mediate sustained reductions in arterial pressure during prolonged baroreflex-mediated suppression of central sympathetic outflow. 3. Physiological responses to baroreflex activation under different conditions were simulated by an established mathematical model of human physiology (QHP2008; see Supporting Information (Appendix S1) provided in the online version of this article and/or http://groups.google.com/group/modelingworkshop). The model closely reproduced empirical data, providing important validation of its accuracy. 4. The simulations indicated that baroreflex-mediated suppression of renal sympathetic nerve activity does chronically increase renal excretory function but that, in addition, hormonal and haemodynamic mechanisms also contribute to this natriuretic response. The contribution of these redundant natriuretic mechanisms to the chronic lowering of blood pressure is of increased importance when suppression of renal adrenergic activity is prevented, such as after renal denervation. Activation of these redundant natriuretic mechanisms occurs at the expense of excessive fluid retention. 5. More broadly, the present study illustrates the value of numerical simulations in elucidating physiological mechanisms that are not obvious intuitively and, in some cases, not readily testable in experimental studies. [source] | ||||||||||