• Applied Microscopy
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• 제51권
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• pp.4.1-4.12
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• 2021

Fluorescence in situ hybridization (FISH) is a technique to visualize specific DNA/RNA sequences within the cell nuclei and provide the presence, location and structural integrity of genes on chromosomes. A confocal Whole Slide Imaging (WSI) scanner technology has superior depth resolution compared to wide-field fluorescence imaging. Confocal WSI has the ability to perform serial optical sections with specimen imaging, which is critical for 3D tissue reconstruction for volumetric spatial analysis. The standard clinical manual scoring for FISH is labor-intensive, time-consuming and subjective. Application of multi-gene FISH analysis alongside 3D imaging, significantly increase the level of complexity required for an accurate 3D analysis. Therefore, the purpose of this study is to establish automated 3D FISH scoring for z-stack images from confocal WSI scanner. The algorithm and the application we developed, SHIMARIS PAFQ, successfully employs 3D calculations for clear individual cell nuclei segmentation, gene signals detection and distribution of break-apart probes signal patterns, including standard break-apart, and variant patterns due to truncation, and deletion, etc. The analysis was accurate and precise when compared with ground truth clinical manual counting and scoring reported in ten lymphoma and solid tumors cases. The algorithm and the application we developed, SHIMARIS PAFQ, is objective and more efficient than the conventional procedure. It enables the automated counting of more nuclei, precisely detecting additional abnormal signal variations in nuclei patterns and analyzes gigabyte multi-layer stacking imaging data of tissue samples from patients. Currently, we are developing a deep learning algorithm for automated tumor area detection to be integrated with SHIMARIS PAFQ.

• 한국연극학
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• 제40호
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• pp.207-237
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• 2010

Concentrating on the birth, life, and death of the Living Theatre, almost half a century avant-garde group, the primary purpose of this study at large is to explore its counter-cultural philosophy. While taking a chronological form adapting the biological order, the paper focuses on the troupe's productions: , , , , and . Through out these productions the philosophy of the Living Theatre seemed to included communal, anti-intellectual, politically radical, generally Utopian, and proselytizers for sexual freedom. The history of the Living Theatre interestingly parallels the history of the Beck's theatre in occupation and shut down. The first New York theatre was closed by fire inspectors for instance. The second theatre was declared unsafe, and locked up by the Building Department. The third theatre was seized by the IRS, consequently shut down. In 1984, after more than 25years from the third building, the Living Theatre settled once again on East Third Street in Manhattan. The theatre was however evacuated by the New York City Fire Department in 1993 and once more took to the road. With these struggles, the Becks' profound aspiration of the counter-cultural insurgency came to harden as strong as 'iron' in some ways. With the outstanding components of counter-cultural philosophy and style, the Living Theatre, in the course of the transformation, absorbed and then reflected virtually every phase for the Living Theatre were vehicles for more than just aesthetics. The group seemed to propagandize its beliefs rather performing productions. Accordingly, both on and off-stage action of the Living Theatre caused great controversy either through political activism of individual members or through the unconventional collective life style. No avant-garde theatre company was more emblematic of the rebellious spirit of the sixties than the Living Theatre. Like the first great transformation, the Becks' encounter, their personal values and the form of theatre they created had blended 'so inextricably that the vitality of each was dependent on the other.' The Becks always urged unity and harmony at all levels of human life, but not at any price. The anticapitalist ideal inspired the Becks to promote a politically motivated campaign throughout their productions. They believed the revolution is desirable but in the state of non-violence and the expansion of human consciousness. Julian Beck's gravestone identifies his as pet, painter, actor, and anarchist. The Living Theatre was a 'small umbrella' under which the Becks and its members could breath and unfold their dream on stage or in the street.