�Plastic coatings could someday help neuronic implants do by conditions as diverse as Parkinson's disease and macular degeneration.
The coatings encourage neurons in the body to grow and connect with the electrodes that leave treatment.
Jessica O. Winter, helper professor of chemical and biomolecular engineering at Ohio State University described the research at the American Chemical Society meeting in Philadelphia. She is besides an supporter professor of biomedical engineering.
Worldwide, researchers are developing medical implants that stimulate neurons to treat conditions caused by neural damage. Most research focuses on preventing the body from rejecting the implant, but the Ohio State researchers ar focusing alternatively on how to encourage the implants' effectiveness.
"We're nerve-racking to get the cheek tissue to integrate with a device -- to grow into it to form a better connection," Winter said.
She and her colleagues ar infusing water-soluble polymers with neurotrophins, proteins that avail neurons get and survive.
They are combining different polymers, some shaped like diminutive spheres and fibers, to create composite coatings that release neurotrophins in a steady dose over time. The coatings also give nerves a scaffold to cling to as they grow around an implant.
The researchers coated two kinds of electrodes -- one, a savorless electrode used in retinene implants, and the other a cylindrical electrode array used in deep brain stimulation. The first is being ill-used in observational treatments for macular degeneration, while the second holds promise for suppressing tremors in people who birth Parkinson's disease.
The first finish they highly-developed was made of polythene glycol-polylactic acidulous (PEGPLA) -- a polymer often used in medical implants.
They placed the PEGPLA-coated electrodes in an array of cadre cultures and measured how long the coating dispensed the neurotrophins, and how the cells responded.
They tested the retinal implants with retinal cells taken from rabbits, and the cryptical brain electrodes with PC12 cells -- cells that grow into neurons -- which were taken from cancer tissue in rats. In both cases, neurons grew from the cells and extended toward the electrodes.
Ideally, Winter explained, coatings would release neurotrophins for up to three months, since that's the length of prison term that nervousness in the body need to heal after implant surgery.
Using only PEGPLA, they found that the embed would release neurotrophins for three weeks.
That's why the researchers are now combining it with two other biodegradable polymers: polylactic co-glycol acid (PLGA) microspheres and polycaprolactone (PCL) polyester nanofibers.
In this scheme, one polymer releases an initial burst of the chemical, then another polymer begins its release, and then another.
At the time of the American Chemical Society confluence, Winter and her squad were still measuring the performance of the PEGPLA-PLGA-PCL coating. But the initial results look promising.
"To get long-term waiver, we recall these multi-component systems are the mode to go," Winter aforesaid. "We tin control the release by combining the materials in different slipway, and we're confident that we can extend the release clock time further -- even to 90 days."
As researchers work to develop neural implants, they face many challenges, including how to provide enough electrical stimulation to nerves without damaging surrounding tissue.
Because the coatings encourage neurons to connect right away with electrodes, this applied science could allow researchers to develop littler implants -- ones that contain many densely packed electrodes to provide a high amount of stimulation in a small space, thus better preserving encompassing tissue.
Winter's coauthors on the presentation include Ning Han, a doctoral student; Lee Siers, a masters pupil; Michael Owens, a bachelors student wHO recently gradatory; John Larison and Jean Wheasler, both currently undergrad students, and Kanal Parikh, a late student of Reynoldsburg High School world Health Organization will be a fresher at Ohio State this fall.
This research was funded by Ohio State University.
Written by Pam Frost Gorder
Source: Jessica O. Winter
Ohio State University
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Sunday, 31 August 2008
Thursday, 21 August 2008
Download Philip Bailey mp3
 Artist: Philip Bailey: mp3 download Genre(s): R&B: Soul Discography:  Soul On Jazz Year: 2002 Tracks: 11  Life and Love Year: 1998 Tracks: 14 Philip Bailey first gained fame as the hypnotic leash falsetto of '70s supergroup Earth, Wind & Fire . The singer/percussionist's four-octave mountain chain countersink a high streamer for upper-range belt down vocalists. Bailey's shimmering falsetto blended dead with Maurice White's magnetic tenor to aid the mathematical group build a reputation for exciting, live shows (boom with feats of thaumaturgy) and modernistic recordings. Six-time Grammy winners Earth, Wind & Fire had 46 charting R&B singles, 33 charting pop singles including eight amber singles. The group as well won four American Music Awards and earned more than 50 au and atomic number 78 albums. In 1982, spell continuing his run with EWF, Philip signed a solo deal with Columbia, cathartic his first solo LP Continuation. Then in October 1984, Chinese Wall was issued, an album Bailey co-produced with Phil Collins. The sec single, "Promiscuous Lover," a duad with Phil Collins, became a world-wide hit, earning Bailey his first atomic number 79 solo disc. After Bailey's 1986 album, Inside Out, he began fashioning a make for himself in the credo man, cathartic iV recordings on Word. Shortly after reversive to the studio apartment with Earth Wind & Fire to record the band's Grammy-nominated Millennium Bailey collaborated with vocalizer Brian McKnight and members of PM Dawn and Arrested Development to co-write and record some other pop/R&B solo externalise, Philip Bailey (1994). A unmarried from the LP, "Here with Me" charted #66 R&B in early 1994. In 1998, his album Life and Love was released throughout Europe. In 1999, Bailey took another stylistic turn and sign-language with Heads Up International released the enhanced CD, Dreams, a smooth jazz album that features a "who's wHO" of contemporary jazz artists, including Gerald Albright, Luis Conte, Everette Harp, Grover Washington, Jr. and Pat Metheny. |
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Monday, 11 August 2008
There's gold in them Hills
THE TV CRITIC VERSION OF STOCKHOLM SYNDROME: Given a choice of watching my own death, in sluggish motion, coif to a soundtrack of emo bands or an episode of The Hills, I�d take the previous without a moment�s vacillation. Still, the mere cosmos of MTV�s hot gain �reality� show fascinates me to no end � but non enough to actually contemplate watching the thing.
My misgiving is that for TV critics and other people somehow concerned with the viability of the medium, knowing that The Hills is out there is like searching out the highest brow to check the planet-killing asteroid arc across the sky on its way to closing all life sentence on earth; you know it�s out there, and that null will of all time be the same over again, but there�s nothing you can do to full stop it, so you�d mightiness as well enjoy the brilliant, perfervid, jagged cicatrix it�s cutting through the atmosphere.
Time magazine�s James Poniewozik has it bad for The Hills, as he confessed in a panegyric to the show published last hebdomad. �Yes, The Hills is fake,� he admits right off the top of the inning. �Fake in the signified that producers and participants acknowledge re-shooting scenes and doing multiple takes. Fake in the sense that MTV's beautiful �stars� are famous for little more than organism on The Hills. And fake in that it's proof that a beautiful shot and a well-chosen soundtrack toilet imitate emotion in regular the most banal scene.�
On second thought, though, Poniewozik prefers the word �artifice� to �fake,� and his enthusiasm for the show is hardly deterred by words like �shallow� either. �It all sounds shallow, and, O.K., it is,� he practically swoons. �The surfaces are precisely what make The Hills enchanting: it is possibly the best-looking series on television system. It doesn't just look better than life. It looks better than TV. Where well-nigh reality shows use cheap close-ups to show red-hot emotions, The Hills uses middle- and long-range shots in wide screen, giving it a cooler feel and framing the subjects like art photography. It's full of liquid L.A. sun, in dearest with the way light plays on surfaces - car bodies, plate glass, glossed lips.�
Poniewozik has plain penetrated much closer to the nerve of The Hills� appeal � an appeal that�s obviously on that point, though I�ve been absolutely unable to divine its precise nature, or accession any voice of myself, past or present, that might sustain responded to The Hills' very limited but thoroughly chronicled slice of life. �It's life, if you were offspring, lucky and beautiful and had your own cameraman and soundtrack curator,� Poniewozik insists. �If this is sham, maybe reality is overrated.� More to the point, it�s hard to imagine that other networks aren�t aegir to learn the lesson being taught by The Hills� success, which is that if this is reality TV, then perchance fake TV is overrated.
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Wednesday, 6 August 2008
Roxy Music
Artist: Roxy Music
Genre(s):
House
Rock
Rock: Glam Rock
Rock: Pop-Rock
Punk
Rock: Punk-Rock
Discography:
Cyan Edits CDS
Year: 2007
Tracks: 2
The Platinum Collection (CD3)
Year: 2004
Tracks: 15
The Platinum Collection (CD2)
Year: 2004
Tracks: 15
The Platinum Collection (CD1)
Year: 2004
Tracks: 15
Viva!
Year: 2003
Tracks: 8
Live CD1
Year: 2003
Tracks: 11
The Best of Roxy Music
Year: 2001
Tracks: 18
Flesh + Blood
Year: 2001
Tracks: 10
Flesh and Blood
Year: 1999
Tracks: 10
More Than This: The Best Of Bryan Ferry and Roxy Music
Year: 1995
Tracks: 20
Heart Still Beating
Year: 1990
Tracks: 14
Avalon
Year: 1982
Tracks: 10
Manifesto
Year: 1979
Tracks: 10
Siren
Year: 1975
Tracks: 9
Country Life
Year: 1974
Tracks: 10
Stranded
Year: 1973
Tracks: 8
For Your Pleasure
Year: 1973
Tracks: 8
Roxy Music
Year: 1972
Tracks: 10
The Best Of
Year:
Tracks: 18
Live In Concert - The Best Of (CD2)
Year:
Tracks: 11
Live In Concert - The Best Of (CD1)
Year:
Tracks: 11
Evolving from the late-'60s progressive rock movement, Roxy Music had a enchantment with mode, glamour, film, come out art, and the avant-garde, which separated the dance band from their coevals. Dressed in outlandish, fashionable costumes, the grouping played a contumaciously experimental variation of art rock which vacillated betwixt avant-rock and sleek pop hooks. During the early '70s, the mathematical group was goaded by the originative tension between Bryan Ferry and Brian Eno, world Health Organization each pulled the dance band in carve up directions: Ferry had a fondness for American soulfulness and Beatlesque art-pop, import Eno was intrigued by deconstructing rock candy with amateur experimentalism divine by the Velvet Underground. This incarnation of Roxy Music may have only recorded deuce albums, but it divine a host of imitators -- not only the glam-rockers of the early '70s, but art-rockers and fresh wave pop groups of the late '70s. Following Eno's going, Roxy Music continued with its arty inclinations for a few albums earlier gradually working in elements of disco music and individual. Within a few years, the group had developed a sophisticated, seductive soul-pop that relied on Ferry's stylish crooning. By the early '80s, the mathematical group had developed into a fomite for Ferry, so it was no surprise that he disbanded the mathematical group at the tallness of its commercial success in the former '80s to follow a solo career.
The son of a char mineworker, Bryan Ferry (vocals, keyboards) had studied art with Richard Hamilton at the University of Newcastle earlier forming Roxy Music in 1971. While at university, he american ginseng in john Rock bands, joining the R&B radical the Gas Board, which likewise featured bassist Graham Simpson. Ferry and Simpson distinct to form their own lot toward the end of 1970, finally recruiting Andy Mackay (sax), wHO had antecedently played oboe with the London Symphony Orchestra. Through Mackay, Brian Eno joined the band. By the summer of 1971, the mathematical group -- had originally been called "Roxy" simply a call change was necessary afterwards the discovery of an American band called Roxy -- had recruited graeco-Roman percussionist Dexter Lloyd and guitarist Roger Bunn through an ad in Melody Maker; both musicians left hand within a month, but they did record the group's initial demos. Another ad was set in Melody Maker, and this time the mathematical group landed drummer Paul Thompson and guitarist Davy O'List, world Health Organization had antecedently played with the Nice. O'List left by the beginning of 1972 and was replaced by Phil Manzanera, a late extremity of Quiet Sun. Prior to recording their offset album, Simpson left the band. Roxy Music never replaced him for good; instead, they hired new bassists for each record and tour, beginning with Rik Kenton, world Health Organization appeared on their eponymic debut for Island Records.
Produced by Peter Sinfield of King Crimson, Roxy Music climbed into the British Top Ten in the summer of 1972; curtly afterward, the non-LP single "VA Plain" rocketed into the British Top Ten, followed by the non-LP "Pyjamarama" in early 1973. While Roxy Music had become a sensation in England and Europe due to their clever amalgamation of high and kitsch culture, they had trouble acquiring a foothold in the United States. Both Roxy Music and the group's second record album, 1973's For Your Pleasure, which was recorded with bassist John Porter, were greeted with enthusiasm in the U.K., just about unheeded in the U.S. Frustrated with Ferry's refusal to record his compositions, Eno left wing the band after the completion of For Your Pleasure. Before recording the third base Roxy Music album, Ferry released a solo album, These Foolish Things, which was comprised of pop/rock covers.
Released in December of 1973, Stranded became the band's number one number one album in the U.K. Stranded was recorded with new Roxy member Eddie Jobson, a multi-instrumentalist wHO previously played with Curved Air; it was also the number one record to feature writing credits for Manzanera and Mackay. The album received a warmer reception in the U.S. than its two predecessors, mount the leg for the breakthrough of Rural area Life in late 1974. Sporting a controversial cover of two models attired in see through lingerie -- the report was banned in several stores, and it was finally replaced with a exposure of a timber in the U.S. -- Land Life was the low Roxy album to break the U.S. Top 40 and became their fourth British Top Ten album. Following a tour with bassist John Wetton, the mathematical group recorded Siren. Featuring their low American Top 40 rack up, the disco-flavored "Love Is the Drug," Siren was another British Top Ten rack up; in the U.S., it was temper hit, peaking at number 50. Following the tour for Siren, the band members began working on solo projects -- Manzanera formed the prog-rock radical 801, and Mackay and Ferry both began recording solo albums -- and announced in the summer of 1976 that they were temporarily breaking up. The live album Oral exam Roxy Music! was released before long after the promulgation of the group's reprieve.
Roxy Music regrouped in the fall of 1978 after spending 18 months on solo projects. Ferry, Manzanera, Mackay and Thompson added old Ace keyboardist Paul Carrack to the band's lineup and hired Gary Tibbs, at one time of the Vibrators, and ex-Kokomo Alan Spenner as studio bassists; Jobson and Wetton, wHO were not asked to rejoin the isthmus, formed UK. Roxy Music's comeback movement, Pronunciamento, was released in the spring of 1979, and it boasted a silky, disco-influenced soul-pop effectual that was markedly unlike from and more than accessible than their earlier records. Pronunciamento confirmed their British popularity, arrival the Top Ten, and became their highest-charting U.S. record, peaking at number 23 on the strength of the unmarried "Dance Away." Roxy Music supported the album with an outside tour that featured Carrack and Tibbs; prior to the tour's start, Thompson left wing the band after break his ovolo in a motorcycle fortuity. Material body + Blood, the review to Manifesto, was recorded just by Ferry, Manzanera and Mackay, and a legion of studio apartment musicians. Released in the summer of 1980, Physique + Blood became Roxy's minute British number peerless album on the long suit of the Top Ten single "Over You"; in America, the album reached the American Top 40. In the bounce of 1981, the band's non-LP cover of John Lennon's "Overjealous Guy," recorded as a tribute to the slain vocalizer, became the group's only British number peerless single.
Most two days after the release of Flesh + Blood, Roxy Music returned in the summer of 1982 with Avalon. Marking a new level in the group's production and musical worldliness, Avalon became their biggest album, expenditure trey weeks at the top of the inning of the British charts and 27 on the U.S. charts, generating the British hits "More Than This" and "Take a Chance With Me." It became the group's only American gold album, and the age, it worked its way to pt status. Following a successful load-bearing spell out for Avalon, the grouping released the live EP Musique/The High Road in the spring of 1983. The Avalon tour off out to be Roxy Music's final activeness as a stem. Ferry began to boil down on his solo calling, rootage with 1985's Boys and Girls. Manzanera and Mackay formed a band called the Explorers in 1985; the pair would record under a variety of guises, as full as follow solo careers, over the side by side 15 years. The compilation Street Life: 20 Great Hits, which excessively featured Ferry's solo hits, was released in 1989. A year later, Bosom Still Beating, a alive album documenting a 1982 concert, was released.
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