The Mutation of Cancer Cells Essay - 1766 Words

My sister, Kathy, was diagnosed with cancer in 2013. I was shocked because my sister was always the healthy one among all us girls, the type of cancer, Kathy called colon cancer, Cancer that forms in the tissues of the colon. Most oncogene mutations of indisputable normal genes designate proto-oncogenes. Proto-oncogenes determine the â€Å"excellent† genes that usually rule what cell do and the way typically it distribute. Once a factor mutates (changes) into cell, it come back a hurtful factor that may become usefulness on or activated once its not believe to be. Once this occurs, the cell becomes out of management, which might pass to cancer. As scientists learn additional throughout oncogenes, they will be powerful to develop a medication†¦show more content†¦It commonly keeps the bodily cavity from dividing too apace, evenhanded as a brake withhold an automobile from going too quick. Once one thing goes twisted with the factor, like a mutation, biological process will get out of the restraint. Inherited abnormalities of tumor suppressor genes (cancer.org, 2014) are found in some patronymic cancer syndromes. They supply sure kinds of cancer to unfold in families. As an example, a defective APC factor causes familial adenomatous polyposis (FAP) (cancer.org, 2014), a mode during which community promotes lots of or maybe thousands of colon polyps (cancer.org, 2014). Often, a minimum of one in all the polyps becomes cancer, chief to carcinoma. There measure several warnings of familial tumor suppressor gene mutations, and (cancer.org, 2014)additional measure being discovered each year For example, abnormalities of the TP53 gene (which codes for the p53 protein) have been found in more than half of human cancers. Acquired mutations of this gene appear in a wide (cancer.org, 2014) frequency of cancers, contain archaic, colorectal, and heart cancer. The p53 protein is involved in the pathway (cancer.org, 2014)of apoptosis. This pathway is metamorphose on when an amoeba has DNA damage that cant be repaired. If the gene for p53 is not (cancer.org, 2014)operating properly, cells withShow MoreRelatedThe Theory Of Cancer Stem Cell Theory991 Words   |  4 Pageshas two main theories about how cancer grows to form tumors. The cancer stem cell theory states that tumors are like normal cells because stem cells control their growth (Blanpain, 2015). However the contradicting theory is the stochastic model in which all cells have the ability to grow and divide, so the cells that make up a tumor are not organized in any sort of system. I take the stance that tumors are grown through an organized system and that cancer stem cells are at the center of the growthRead MoreGenetic Information And Its Effects On Our Lives836 Words   |  4 Pagesaround us there are mutations; harmful, beneficial and neutral. 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The Is Representative Of A. Y Gasset s The Dehumanization...

1) Oliverio Girondo’s poetry is representative of a â€Å"new style† of art encompassed in Josà © Ortega y Gasset’s The Dehumanization of Art. Aesthetics no longer conform to the traditional classical style but instead, champions a futurist type meant to bypass the limitations of rationale in a trivial and playful nature likened to sport. Girondo clearly breaks from the platonic ideals of beauty and delves into the aesthetics of the grotesque by using antipoetic language, which sublimes the abject. This is made obvious early in Scarecrow other anomalies as he writes that he â€Å"couldn’t care less if women have breasts like fresh magnolias or withered figs, skin smooth as a peach or rough as sand paper. [†¦] breath of an aphrodisiac or the breath of an insecticide.†(Girondo 7). Girondo often uses ludic and vulgar language and has a clear objective of relegating humans to beasts or objects, for example, he describes â€Å"May a spiderâ€℠¢s foot sprout from each of your pores, [†¦] may all the inhabitants of the city mistake you for a urinal. [†¦] May your family amuse itself deforming your bone structure, so that mirrors, looking at you, commit suicide out of sheer repugnance† (Girondo 75). Girondo’s scarecrow calligram illustrates the â€Å"new style† of art masterfully as he creates an extended metaphor to ridicule bourgeois ideals, literarily from head to toe intended to scare bourgeois aesthetics, instead of accustomed crows. Girondo ultimately describes that â€Å"a book should be put together like a

Denver International Airport Uncovered Essay Sample free essay sample

When asked about your experience at the airdrome most would answer by stating â€Å"It is dull and boring† or â€Å"a Byzantine big sum of clip spent waiting† . However. words used to depict the Denver International Airport are much different. As you drive up to the expansive entryway of the 4. 8 billion dollar Denver International Airport you are hauntingly greeted by â€Å"the Mustang† . Created by Luis Jimenez from New Mexico. the Mustang was the first piece of public art to be created for the Denver International Airport in 1993. During the twenty-four hours the elephantine bluish entire would look to look like a immense plaything Equus caballus nevertheless when dark work stoppages at the Denver International Airport the Mustang is referred to as the â€Å"Blucifer† or â€Å"Satan’s Stallion† . You look upon what would look to be a cryptic piece of art to now a ramping entire with radiance ruddy eyes for everyone to see. We will write a custom essay sample on Denver International Airport: Uncovered Essay Sample or any similar topic specifically for you Do Not WasteYour Time HIRE WRITER Only 13.90 / page Upon building of the Mustang. the creative person. Jimenez was reportedly killed by his ain creative activity. During building of the animal Jimenez’s leg arteria was badly punctured by the caput of the Mustang go forthing Jimenez shed blooding to decease. After the eccentric decease of the creative person many have said that the Mustang is a expletive ; the controversial piece of art has besides been said to be a modern representation of the â€Å"Pale Equus caballus of the Apocalypse† which is the 4th Equus caballus in the book of Revelations in the Bible. and is more suitably called: decease. And possibly this signal of fiery ruddy and deep blue is the get downing point for the confederacy that consumes the Denver International Airport. For many a trip through the airdrome is rushed and normally does non dwell of clip to take in 1s milieus. but the milieus in DIA have a deathlike manner of catching you in. Many wall paintings around spaced through out the chief floors of DIA. these wall paintings created by celebrated creative person Leo Tanguma were reportedly bing over 100. 000 dollars and the images were supposed to portray the thought of peace and harmoniousness. nevertheless upon farther scrutiny many come to happen that the political orientation on how to obtain peace and harmoniousness was based off Nazis. One of the several wall paintings hung around DIA is called â€Å"Peace and Harmony with Nature† The back land of the mural depicts a metropolis smothered in some kind of haze which implies that the metropolis was contaminated by gas like substances. Not so far off in the distance of the wall painting there is a forest combustion and as your eyes draw closer to the centre of the mural you can picture different races of people keeping glass containers of what looks like kiping animate beings. And as you draw your eyes to the underside of the mural you can see three sets of coffins. one incorporating an black adult females. one keeping a Native American adult females. and one incorporating a immature Judaic miss. Possibly the most startling mural posted in the Denver International Airport shows a hauntingly big Nazis type figure. This figure clothed in a green clock and protected by a gas mask is keeping an AK-47 in one manus and in the other manus is keeping a big knife in which he is piercing the dove of piece. Surrounding this chilling animal are kids and mother’s keeping their babes. these people look as if they had died and woke up once more in Satan’s snake pit hole. Besides. down in the bottom corner. Tanguma the creative person. painted an existent missive that was written by Hama Herchenberg. a four-teen twelvemonth old who died in 1943 due to the Holocaust. This missive has been painted over. These two wall paintings are merely two illustrations of the several distressing wall paintings hung in the Denver International Airport. It is said that these wall paintings put together state a narrative of a new universe order. While many confederacies can be considered to be brainsick or insane. it is apparent that these wall paintings are upseting and the ideals that are depicted in these wall paintings are non ideals that the authorities should non be publicsing to riders due to the insensitiveness shown in these rough images. So. one does hold to inquire why these wall paintings where placed here. Beside the obvious horrors hung on the walls in this airdrome interesting facts to the being of the construction of the airdrome its ego leads to intere sting decisions. for illustration strange and wide engravings are scattered among the chief station of the anteroom.

Language of Performing Arts Essay Example Essay Example

Language of Performing Arts Essay Example Paper Language of Performing Arts Essay Introduction Performing Arts is a way of expressing ideas, emotions and thoughts to all areas of society using any capability of the body as a tool. In this essay I am going to discuss they ways in which I achieved this idea through the practical work produced in music, dance and drama modules. For each module a stimulus was given which led to the devise-rehearse-performance process. A final performance was then created integrating all three arts using another given stimulus.During the Drama module we were given a poem called ‘Seven Poems’ written by Antonin Artaud. We were to devise a piece of drama not only stimulated by this poem but also in the style of the writer. We made our own notes on the language of the poem and interpreted it in our own way; this meant no two pieces of drama would be the same as we all have individual ideas and opinions. However when we came together in our groups we discussed our notes and points and came to a group decision about what we thought the poem meant and what it represented before beginning to develop thoughts, actions and finally a narrative.The piece was to be in the style of Artaud. This meant a very surrealistic piece with little dialogue, used just as a mode of communication. Instead we would use our bodies and physicality to communicate our message to audience; this places emphasis on a variety of language sorts – physical, verbal and visual. His work was very much based on ritual primitivism and releasing the dark forces of the soul and seeing the dark side of human nature. We needed to create a piece exploring all these points and more.My group began by creating a physical motif as our starting point; we incorporated the idea of ritualism by having someone acting as a cross and another person acting as a crucified person being attached to this cross. I sat in the middle of the acting space rocking back and forth giving rhythm to the scene. The distant proxemics between the ‘cross’ and me showed the distant relationship between the characters we were beginning to create, at that time. This was successful as it gave us an idea of where to go next without tying us down to a script so early in the devising process.We introduced music to the first motif by use of our own voices, we felt this would give a more surreal effect and we had more freedom to create the appropriate sounds. Here we introduced a few lines of stylised dialogue, we scripted these so we had direction and to help us remember it in the future. We extracted these lines from the poem showing our knowledge and interpretation.The crucified member of the group became a temptress and danced her way around the cross with very strong physicality, we wanted to give the impression of sexuality as we saw it in an extract from † Strange Fish† by DV8, a play by Artaud himself, where a lot of dance is used. We wanted to show a big contrast in proxemics here to show how two seemingly unrelated characters have su ddenly become involved with each other. A few lines of dialogue were used only to communicate to the audience.The final scene shows us all crawling to the very front of the stage and banging our hands, on either side, on the floor. This again builds up tension, but the audience are shocked when all that happens is that we show a gesture that has been repeated throughout the piece and shows good physicality.We spent 25% of each lesson talking and the rest practical, this was to make suggestions of new ideas and talk about any research we had done since the last lesson regarding our drama piece and to discuss costume and props or any problems we had.We individually worked on our characterisation and experimented with any effects that we might want to use. We wrote our own script for our own dialogue so these could be developed in more detail individually.Basically we just ran through it over and over again. The significance of this repetition was to familiarise ourselves with the mate rial and running order, and to check whether it all ran smoothly. I found this helpful and after a rigorous rehearsal session there was an obvious difference in quality and the timing was much better.Our final performance went to plan and we received extremely good feedback from the audience. They commented on the temptress’s strong physicality on the cross, how fantastic the dialogue was, how the physical theatre convention really worked especially when eating the â€Å"being† from inside me and how at this point all of my group’s performances were very strong. They talked of how our characterisation was very strong and how the costume assisted the overall performance.We were given a stimulus of a painting called â€Å"King of the Castle† by Reuben Mednikoff for the dance module. In groups we brainstormed notes, ideas and first impressions made about the image, before beginning to develop thoughts and movements.We wanted to create a dance with a variety of different styles to show our knowledge and appreciation of dance. Christopher Bruce had influenced us, as we had studied a dance choreographed by him called â€Å"Swansong†. We had also studied â€Å"Strong Language† by Richard Alston and so took influence of relationships conveyed in dance from him also. We wanted to show the idea of a child’s hesitation between leaving the mother’s womb, entering life and staying inside it. We raised the questions â€Å"shall I stay in or go out†, and â€Å"where does my real power lie†. As we felt that is what the picture represented.We introduced a hypnotic music, called â€Å"Queen Adreena† this gave the impression of innocence and had no regular beat so was easy to improvise a dance project to. We started to devise a motif that would be the main dance idea, the â€Å"child† and the â€Å"mother/womb† danced in unison with very close proxemics to show harmony, the dynamics were e xtremely light and gentle; again to show innocence. The two people who represented â€Å"life† or the â€Å"outer world† created a different motif, again in unison and also mirroring one another, to show that they are also harmonised, the dynamics here were slightly sharper as it symbolizes a new, almost â€Å"scary† concept. Finally â€Å"temptation† created a motif simply with gestures with heavy, sharp and strong dynamics to suggest weight and anger. Dynamics were used throughout to distinguish difference between characters. The juxtaposition on stage created chaos and confusion on stage linking to the questions raised by the picture.A crawling action was used for the temptation to travel across stage to the child and mother/womb this suggested a being possibly not human. He breaks the child and the mother/womb apart with use of falling and turning to show a definite separation and immediate confusion of where the child belongs. Temptation leads the ch ild to life/the outer world character where the motif created is repeated, however we developed it by adding an extra character, who moves in canon to show a clear leader (life) and a follower (child), the levels are changed as the child sinks to ground level to show how little it is compared to the outer world and the movements to get out of the motif were changed as the child breaks free, ruining the bond of life and heads back to the womb with circular pathways to again suggest confusion.The womb/mother and child repeated their motif again with developed ideas; the placement on stage was changed, as was the direction and the movements to get in and out of motif. Suddenly there is break in the balance held at the end of the motif as the inevitable has come, the child is ready to leave the womb. Circular pathways and perplexing directions are used, filling the whole of the dancing space signifying confusion from the child’s perspective.We held a still for a few seconds, wher e the whole group was very close and orderly showing the power of the child, as it grows. One by one we moved away and stood in a linear position and danced a short sequence in very linear pathways, moving forwards to again show power. The dynamics are strong, sharp and heavy to show strength. The final still was used to show unity, as we all link into one and show all the things that make the child, with very close contact to show a final intimate relationship. It gives the audience the impression of power and security.We individually, or in small groups worked on our motifs, dynamics, actions and relationships and experimented with any effects that we might want to use. We did this so that each section of dance could be developed and perfected individually.Our main rehearsal technique was repetition. The significance of this was to familiarise ourselves with the material and running order, and to check whether it all ran smoothly. If there was a problem with a specific area we dis cussed it and focused on it so we could perfect that area. We also had the opportunity to gain feedback from one member of the group who was unable to dance due to injury. We listened to her constructive criticism and worked on the areas she suggested.Our final performance in the dance module was successful, however there was room for improvement our motifs could have been developed and varied in more original ways, audience feedback show they thought there was limited dynamic range which was possibly limited by the music choice, showing the importance of music within a dance piece. I felt we could have experimented more with extremities of dynamics. The audience however felt the placement on stage for each group was carefully considered and there was a varied use of direction. There were varied groupings on stage, which created a visual impact for the audience, and there was a good use of contact and support.We had a very open stimulus for our final module of music. We looked at a performance by â€Å"Stomp† by Luke Cresswell. Stomp is a rhythm-based group that combine simple rhythms with everyday objects used as instruments. We were instructed to create a piece in their style; this meant a very rhythmic piece with possibly some sort of theme and links with dance movements to add interest to the audience.In our group we each started to improvise and develop rhythms using everyday objects such as classroom chairs and dustbin lids to create unusual timbres. A strong accent was kept on the first beat to keep the rest of the beats in time. The rest of the group used variations around this steady pulse to create a melody that was repeated throughout the piece. We wanted to show a big contrast in texture to create tension and so took the pace and the volume very low with two members of the group hitting the legs of a chair with a beater alone so very little was heard, then there was an explosion where the texture became very different with many layers of sou nd.We introduced dance movements very late in the devising process, we wanted to add interest for the audience to the performance rather than them just watching us hit things. We included simple turns and jump and enhanced the texture and timbre by adding voice sound effects also, with simple shouts at important points in the piece.As we devised the piece early we had plenty of time to rehearse and perfect areas, we used repetition as our main technique as in the past it has obviously been the most successful, and trial and error where we felt appropriate, which worked well.I felt our music performance was successful because we thought long and hard about specific decisions relating to melody, harmony, texture, timbre and rhythm knowing that these would make the music interesting for an audience. Our whole piece had been strongly influenced by a piece of rhythm music we looked at as a class, called â€Å"Clapping Music† by Steve Reich, it used a technique called phasing and b elow is the rhythm pattern used. Language of Performing Arts Essay Thank you for reading this Sample!