Literatura académica sobre el tema "Wilfrid R.C"

Ceratocystis paradoxa (Dade) C. Moreau is a polyphagous wound parasite causing black rot post-harvest disease in pineapple. This fungus is responsible for high losses of fruit destined for the fresh market and is a common problem in many countries (2). C. paradoxa is officially listed as a quarantine pathogen for French Guiana. In November 2013, the Plant Protection Service of French Guiana observed damage in crops of Ananas comosus var. perolera located in Corossony (4°19′10.8″ N, 52°10′17.1″ W) and Wayabo (5°01′02.3″ N, 52°36′18.7″ W) (eastern and middle part of the country). The three plants collected at each location showed a soft base rot of the stem and of young leaves, and developed a foul smell. Plant tissues were collected from the edge of the lesions, chopped in small pieces, and plated on malt extract agar supplemented with 100 ppm chloramphenicol. The plates were incubated at 25°C with a 12-h photoperiod. After 5 days, a fungal colony, first white and downy, then becoming black and velvety after 10 days, was transferred on potato dextrose agar (PDA) and incubated in the same conditions. After 7 days, the colonies produced phialides releasing cylindrical or doliform conidia that were unicellular, colorless to pale brown, in long chains (3.09 to 20.17 × 3.1 to 5.57 μm, n = 20) and oval, pyriform, brown chlamydospores (8.02 to 21.32 × 4.20 to 9.76 μm, n = 20), occurring in long chains or singly with a vertical slit, usually not very visible. Furthermore, the colonies emitted a fruity odor. On the basis of these morphological characteristics, the fungus was identified as the anamorph of C. paradoxa (Thielaviopsis paradoxa (De Seynes) Höhn.) (1). The species designation was confirmed by sequencing the ITS region of the rDNA followed by comparison with reference sequences available in GenBank. Fungal material was collected from PDA culture by scraping the mycelium with a sterile needle and transferring into 2-ml microtubes. Fungal total DNA was then extracted and the ITS region was amplified by PCR using the ITS1-ITS4 primer pair. Nucleotide sequence was determined and deposited in GenBank (KJ667047). BLAST analysis showed 100% identity with C. paradoxa. The pathogenicity of the fungus was confirmed by inoculating two pineapples with mycelium from the C. paradoxa isolate grown on PDA. The peel of fruits and the base of the crowns were wounded with a sterile scalpel blade, each at five locations. Mycelial plugs (avg. 4 mm diameter) were placed on the wounds. Inoculation sites were wrapped with Parafilm to prevent dehydration and to hold the mycelial plugs in position. Negative controls received five sterile PDA plugs. The samples were incubated at 25°C in a moist chamber with a 12-h photoperiod. Eight days after inoculation, negative controls remained symptomless, whereas characteristic soft, watery, and black rot lesions developed on the base of all the crowns that were inoculated with C. paradoxa. The pathogen was successfully re-isolated from symptomatic tissues, fulfilling Koch's postulate. To our knowledge, this is the first report of C. paradoxa on A. comosus in French Guiana, and quarantine measures have been enforced to prevent the spread of this pathogen that might also cause severe losses on other susceptible plant species that are important for the local market (e.g., banana, coconut, sugar cane). Pineapple has become a major crop in French Guiana, and is now subjected to a more intensive monitoring, which may explains why this disease was discovered recently. References: (1) T. R. Nag Raj and W. B. Kendrick. A Monograph of Chalara and Allied Genera. Wilfrid Laurier University Press, Waterloo, Ontario, 1975. (2) R. C. Ploetz et al., eds. Compendium of Tropical Fruit Diseases. American Phytopathological Society, St. Paul, MN, 1994.

Background:Psoriatic arthritis (PsA) is a chronic inflammatory joint disease which develops in patients with psoriasis. Mortality among patients with PsA is 1.28 times higher than population levels and in most cases it is caused by cardio-vascular diseases (CVD). Those patients have increased risk of clinical and subclinical CVD, mostly due to endothelial dysfunction (ED) and accelerated atherosclerosis. Elevated levels of circulating endothelial cells (CEC) have been described in different cardiovascular pathologies, suggesting their potential use as diagnostic biomarkers for dysfunction of endothelium.Objectives:To identify the potential role of circulating endothelial cells as a marker of cardiovascular diseases in patients with psoriatic arthritis.Methods:In total, ninety-four patients with PsA, who fulfilled the disease criteria (CASPAR) were examined using standard diagnostic methods (including C-reactive protein (CRP), lipid profile) and evaluation endothelium-dependent vasodilation in response to reactive hyperemia (EDVD). Circulating endothelial cells were determined in the peripheral venous blood samples by flow cytometry and counted according to a standardized protocol using a fluorescence microscope after acridine orange labeling. The control group, which were consisted from thirty healthy adults were also examined.Results:CEC were quantified in patients with PsA (7,15 ± 0,19 cells mL−1) and in the control group (4,05 ± 0,11 cells mL−1). Comparing two groups of patients, endothelial circulating cell level was significantly different (p = 0.0001). Finally, we analyzed the relationship between CEC count, comorbidities, cardiovascular risk factors and EDVD in patients with PsA. Increased CEC levels were associated with obesity (r=0,62), duration of disease (r=0,65), age (r=0,67), increased CRP (r=0,76), high blood pressure (r=0,87) and decreased EDVD (r=–0,91).Conclusion:CEC counts were significantly higher in patients with PsA, positively correlated with the main factors of CVD, and another specific marker of ED - EDVD. Elevated CEC levels were also associated with high concentrations of CRP, which plays a direct role in promoting vascular inflammation, vessel damage and clinical CVD events. In conclusion, increased CEC counts provide a direct proof of endothelial damage in patient with PsA and a clinically informative diagnostic tool for endothelial damage in pre-symptomatic CVD. As CEC are one of the most sensitive biomarker for ED, further efforts should concentrate on improving the sensitivity of its detection in order to increase diagnostic sensitivity.References:[1]Maura Farinacci, Thomas Krahn, Wilfried Dinh, et al. Circulating endothelial cells as biomarker for cardiovascular diseases. Res Pract Thromb Haemost, Vol. 3, Issue, 2019, P.49-58;[2]C. Horreau, C. Pouplard, E. Brenautet, et al. Cardiovascular morbidity and mortality in psoriasis and psoriatic arthritis: a systematic literature review. J Eur Acad Dermatol Venereol, Vol. 27, Issue 3, 2013, P.12-19;[3]Frank Verhoeven, Clément Prati, Céline Demougeot, Daniel Wendling. Cardiovascular risk in psoriatic arthritis, a narrative review. Joint Bone Spine, Vol. 87, Issue 5, 2020, P.413-418;Disclosure of Interests:None declared.

Se describen las excavaciones y asociaciones estratigráficas en los sectores I y II. El material cerámico obtenido es presentado en términos clasificatorios de tres categorías interrelacionadas: morfológicas (4 grupos), tecno-alfareras (10 alfares) y decorativas o accesorias (58 rasgos). Del conjunto de testimonios analizados y estratigráficamente correlacionados se desprenden 6 fases: AB, C, D, E, F y GH. La nominación dual de la primera y última plantea el manejo de mayores evidencias estratigráficas asociadas, las que permitirán precisar el proceso sociocultural inicial y postrero del sitio. La aparición en la fase C de manifestaciones foráneas dentro de la continuidad de la tradición alfarera local, nos lleva a argumentar la vinculación de dicha presencia con una expansión territorial temprana hacia el interior, pacífica, del sistema político-religioso “Chavín”, durante el cual empezaría a emerger el centro ceremonial de Pacopampa en donde ya existía, inferimos, un poblado importante (fase AB). Este desarrollo organizado de anexiones espaciales hundiría sus raíces culturales en el proceso civilizador, que en la zona central costeña particularmente se define en los últimos tiempos del Precerámico. La aplicación de la “Teoría Económica Espacial” de Losch en estudios futuros, se sugiere, podría ayudarnos a esclarecer el funcionamiento de la distribución geográfica de estos centros ceremoniales, como Pacopampa, históricamente conectados. La fase D registra crecimiento, innovaciones arquitectónicas y auge del centro ceremonial. La amplitud de su prestigio se constata en la comparecencia de rasgos cerámicos de diferentes tradiciones al lado de los propios, característicos del complejo “Chavín” tardío. Los estudios de polen realizados por Kautz revelan ciertos aspectos de la vegetación y de la actividad agrícola. El cese del funcionamiento del centro ceremonial habría ocurrido en la fase F, precedida de una etapa existencial (fase E) de declinación e influencias culturales extrañas. Entre ellas destaca la prominencia de restos óseos de animales asociados a desechos de talla de piedra. La fase GH corresponde a las ocupaciones del sitio después de su abandono. Proponemos explicaciones causales de la disolución del sistema político-religioso del que formaba parte el centro ceremonial de Pacopampa. Reconocimientos. Al auxiliar de campo: Jorge Elías Tercero Silva, a la auxiliar de gabinete, Lucy Salazar Rodríguez, y a los participantes en las excavaciones: Nélida Gamero Requena, Ernesto Nakandakari, Tomás Pérez (guardián), Hermilia Ramos Arana y Lucy Salazar Rodríguez. Además de las personas mencionadas, agradecemos al Dr. Carlos F. Cenzano por el estudio de las rocas de los artefactos líticos; al Dr. Robert R. Kautz por el análisis de polen; a la arqueóloga Danièle Lavallée por habernos ayudado a fotografiar la mayoría de los tiestos; al sr. Wilfredo Loayza por las fotos proporcionadas y al Sr. Atilio Corzo Stagnaro por leer el manuscrito, en especial el capítulo de la “Discusión”.

Introduction: Curriculum integration is critical to medical education. It represents a constant challenge for teachers since there is no shared concept about what it means, what is to be included, and the dynamics of operationalization. Objectives: To promote and implement the integration of a human semiology curriculum module (medical clinic, pediatrics, diagnostic imaging, psychology and health informatics) through interactive methodologies; to evaluate the students perception of the module. Methods: Action research involved 76 teachers and 125 third-year medical students. Monthly meetings were held between the coordinators. Discussions focused on monitoring and following-up on implementation of interactive methodologies and reviewing integration of theory and practice. Also included were the implementation of a joint discussion of clinical cases, a holistic view of the patient and presenting problems. Collaboration and communication between teachers, joint classes, integrated evaluation of the process of learning and teaching in small groups. In addition, training workshops were held for the use of a Moodle platform by teachers for page construction of Curriculum Module. The evaluation of students' perceptions was performed through a voluntary and anonymous questionnaire with open questions (qualitative). All 125 students answered the questionnaire. A five-point Likert scale was used with a midpoint indicating intermediate or nullity, domain of discordance (values 1 and 2) and domain of cordance (4 and 5). The analysis of the data was made comparing their results with those obtained in the tests of the previous year. The Statistical Package for the Social Sciences (version 17.0, SPSS®, Chicago, IL, USA). Results: Data analysis showed that there was a positive impact after the integration between the subjects and the introduction of interactive methodologies in the course. Give the data for this statement here. There was a significant improvement in performance, both theoretical and practical, as measured by the scores obtained by the students, when compared to the students of the previous year (p <0.001). On the other hand, in open questions, students still mentioned heterogeneity among teachers and in the evaluation. They students also commented on, the need for a continuous effort to improve and maintain the integration and adjust their workload. Conclusion: The evaluation analysis supported the need to continue to implement teacher development, joint planning and the continuity of the articulation process. The integration of interactive methodologies was shown to improve student performance compared to the previous class in a Semiology Curricular Module.ResumoIntrodução: A integração do currículo é fundamental para a formação médica. Representa, todavia, um constante desafio para os professores envolvidos, visto que não há uniformidade sobre o conceito, sobre a necessidade de inclusão de atividades integradas, e mesmo sobre sua operacionalização. Objetivos: Promover a integração da unidade curricular (UC) de semiologia humana (clínica médica, pediatria, diagnóstico por imagem, psicologia e informática em saúde) através da implantação de metodologias interativas, e avaliar a percepção dos estudantes do módulo de semiologia humana, após a implementação destas metodologias. Métodos: Utilizou-se pesquisa-ação, envolvendo 76 professores e 125 estudantes da 3ª série do curso médico. Para a integração da UC foram realizadas: reuniões mensais entre os coordenadores para implementação e acompanhamento das metodologias interativas, que consistiram de integração da teoria com a prática, implantação de discussão conjunta de casos clínicos, visão holística do paciente e de seus problemas, colaboração e comunicação entre os professores, aulas conjuntas, avaliação integrada com o processo de aprendizagem e ensino em pequenos grupos. Além disso, foram realizadas oficinas de capacitação para uso da plataforma Moodle pelos professores e construção de página com as atividades da UC. A avaliação da percepção dos estudantes sobre a UC foi realizada através de questionário voluntário e anônimo e de questões abertas (qualitativa). Todos os estudantes responderam ao questionário. Foi utilizada a escala de Likert de cinco pontos com um ponto médio manifestando situação intermediária ou de nulidade, domínio de discordância (valores 1 e 2) e domínio de concordância (4 e 5). A análise do desempenho destes alunos da 3ª série do curso de medicina foi feita comparando-se os seus resultados com os obtidos nas provas do ano anterior. Na análise estatística foi utilizado o Statistical Package for the Social Sciences (versão 17.0, SPSS®, Chicago, IL, EUA). Resultados: A análise conjunta das categorias do questionário demonstrou que houve impacto positivo após a integração entre as disciplinas e a introdução de metodologias interativas no curso. Houve melhora significante do desempenho, tanto teórico quanto prático, avaliado pelas notas obtidas pelos alunos, quando comparado aos alunos do ano anterior (p<0,001). Por outro lado, nas questões abertas, os alunos ainda referiram heterogeneidade entre os professores e na avaliação, necessidade de um esforço contínuo para melhorar e manter a integração, bem como adequar a carga horária, considerada insuficiente. Conclusão: A análise da avaliação evidenciou a necessidade de implementar o desenvolvimento docente, o planejamento conjunto e a continuidade do processo de articulação. A utilização das metodologias interativas contribuiu para a integração da Unidade Curricular de semiologia.ResumenIntroducción: La integración del currículo es fundamental para la formación médica. Sin embargo, representa un constante desafío para los profesores involucrados, ya que no hay uniformidad sobre el concepto, sobre la necesidad de inclusión de actividades integradas, y incluso sobre su operacionalización. Objetivos: Promover la integración de la unidad curricular (UC) de semiología humana (clínica médica, pediatría, diagnóstico por imagen, psicología e informática en salud) a través de la implantación de metodologías interactivas, y evaluar la percepción de los estudiantes del módulo de semiología humana, después de la aplicación de estas metodologías. Métodos: Se utilizó investigación-acción, involucrando a 76 profesores y 125 estudiantes de la 3ª serie del curso médico. Para la integración de la UC se realizaron: reuniones mensuales entre los coordinadores para implementación y seguimiento de las metodologías interactivas, que consistieron en la integración de la teoría con la práctica, implantación de discusión conjunta de casos clínicos, visión holística del paciente y de sus problemas, colaboración y comunicación entre los profesores, clases conjuntas, evaluación integrada con el proceso de aprendizaje y enseñanza en pequeños grupos. Además se realizaron talleres de capacitación para uso de la plataforma Moodle por los profesores y construcción de página con las actividades de la UC. La evaluación de la percepción de los estudiantes sobre la UC se realizó a través de un cuestionario voluntario y anónimo y de cuestiones abiertas (cualitativa). Todos los estudiantes respondieron al cuestionario. Se utilizó la escala de Likert de cinco puntos con un punto medio manifestando situación intermedia o de nulidad, dominio de discordancia (valores 1 y 2) y dominio de concordancia (4 y 5). El análisis del desempeño de estos alumnos de la 3ª serie del curso de medicina se hizo comparando sus resultados con los obtenidos en las pruebas del año anterior. En el análisis estadístico se utilizó el Statistical Package for the Social Sciences (versión 17.0, SPSS®, Chicago, IL, EE.UU.). Resultados: El análisis conjunto de las categorías del cuestionario demostró que hubo impacto positivo tras la integración entre las disciplinas y la introducción de metodologías interactivas en el curso. Se observó una mejora significativa del rendimiento, tanto teórico como práctico, evaluado por las notas obtenidas por los alumnos, en comparación con los alumnos del año anterior (p <0,001). Por otro lado, en las cuestiones abiertas, los alumnos todavía refirieron heterogeneidad entre los profesores y en la evaluación, necesidad de un esfuerzo continuo para mejorar y mantener la integración, así como adecuar la carga horaria, considerada insuficiente. Conclusión: El análisis de la evaluación evidenció la necesidad de implementar el desarrollo docente, la planificación conjunta y la continuidad del proceso de articulación. La utilización de las metodologías interactivas contribuyó a la integración de la Unidad Curricular de semiología.Keywords: Semiology, Medical education, Student, Methodology.Palavras-chave: Semiologia, Educação médica, Estudante, Metodologia.Palabras clave: Semiología, Educación médica, Estudiante, Metodología.ReferencesALMEIDA, Maria José de. Gestão da escola médica: crítica e autocrítica. Rev Bras Educ Med, 32 (2):202-9, março, 2008.BATALDEN, Paul; DAVIDOFF, Frank. Teaching quality improvement: the devil is in the details. 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Acad Med, 77(9): 930, September, 2002.JANSSEN-NOORDMAN, Ameike M.B.; MERRIËNBOER, Jeroen J.G.; VAN DER VLEUTEN, Cees P.M.; SCHERPBIER Albert J.A. Design of integrated practice for professional learning competences, Medical Teacher, 28(5): 447-452, August, 2006.MALIK, Alam Sher; MALIK Rukhsana Hussain. Twelve tips for developing an integrated curriculum. Med Teach, 33 (2): 99-104, 2011.MENNIN, Stewart P.; KRACKOV, Sharon K. Reflections on relevance, resistance, and reform in medical education. Academic Medicine. 73(9): S 60-64, September, 1998.MINISTÉRIO DA EDUCAÇÃO E CULTURA. Conselho Nacional de Educação. Câmara de Educação Superior. Parecer CNE/CES de 2014. Institui as Diretrizes Curriculares Nacionais do Curso de Graduação em Medicina. Brasília (DF). Conteúdo online disponível em: http://portal. mec.gov.br/cne/arquivos/pdf/CES1133.pdf, acesso em 2006.MIRANDA, Marilia Gouvea de; RESENDE Anita C. Azevedo. Sobre a pesquisa-ação na educação e as armadilhas do praticismo - Revista Brasileira de Educação, v. 11, n. 33, set./dez, 2006.MULLER, Jessica H.; JAIN, Sharad; LOESER, Helen; IRBY, David M. Lessons learned about integrating a medical school curriculum: perceptions of students, faculty and curriculum leaders. Med Educ, 42(8), p.778-85, agosto, 2008.PERERA, Jennifer; LEE, Nagarajah; WIN, Khin; PERERA, Joachim; WIJESURIYA, Lionel. Formative feedback to students: the mismatch between faculty perceptions and student expectations, Medical Teacher, 30 (4): 395-399, 2008.PRIDEAUX, David; ASH, Julie K. Integrated learning. In: DENT, John A.; HARDEN, Ronald M. A practical guide for medical teachers. 4. ed. London: Elsevier, p.183-189, 2013.PUCCINI, Rosana Fiorini; SAMPAIO, Lucia de Oliveira; BATISTA, Nildo Alves. A Formação médica na Unifesp – excelência e compromisso social. São Paulo: Editora Unifesp, 2008, 312p.STEINERT Yvonne; MANN, Karen; CENTENO, Angel; DOLMANS, Diana; SPENCER, John; GELULA, Mark; DAVID, Prideaux. A systematic review of faculty development initiatives designed to improve teaching effectiveness in medical education: BEME Guide No. 8. Med Teach, 28(6): 497-526, September, 2006.TINTO, Vincent. Stages of student departure. Reflections on the longitudinal character of student leaving. Journal of Higher Education, 59(4): 438-455, Jul-Aug, 1998. Conteúdo online disponível em: http://www.edu.plymouth.ac.uk/resined/actionresearch/arhome.htm, acesso em 2006. WATER-ADAMS. Action research in education - Conteúdo online disponível em: http://www.edu.plymouth.ac.uk/resined/actionresearch/arhome.htm, acesso em 2006.

03–386 Anquetil, Mathilde (U. of Macerata, Italy). Apprendre à être un médiateur culturel en situation d'échange scolaire. [Learning to be a cultural mediator on a school exchange.] Le français dans le monde (Recherches et applications), Special issue Jan 2003, 121–135.03–387 Arbiol, Serge (UFR de Langues – Université Toulouse III, France; Email: arbiol@cict.fr). Multimodalité et enseignement multimédia. [Multimodality and multimedia teaching.] Stratégies d'apprentissage (Toulouse, France), 12 (2003), 51–66.03–388 Aronin, Larissa and Toubkin, Lynne (U. of Haifa Israel; Email: larisa@research.haifa.ac.il). Code-switching and learning in the classroom. International Journal of Bilingual Educationand Bilingualism (Clevedon, UK), 5, 5 (2002), 267–78.03–389 Arteaga, Deborah, Herschensohn, Julia and Gess, Randall (U. of Nevada, USA; Email: darteaga@unlv.edu). Focusing on phonology to teach morphological form in French. The Modern Language Journal (Malden, MA, USA), 87, 1 (2003), 58–70.03–390 Bax, Stephen (Canterbury Christ Church UC, UK; Email: s.bax@cant.ac.uk). CALL – past, present, and future. System (Oxford, UK), 31, 1 (2003), 13–28.03–391 Black, Catherine (Wilfrid Laurier University; Email: cblack@wlu.ca). Internet et travail coopératif: Impact sur l'attitude envers la langue et la culture-cible. [Internet and cooperative work: Impact on the students' attitude towards the target language and its culture.] The Canadian Journal of Applied Linguistics (Canada), 6, 1 (2003), 5–23.03–392 Breen, Michael P. (U. of Stirling, Scotland; Email: m.p.breen@stir.ac.uk). From a Language Policy to Classroom Practice: The intervention of identity and relationships. Language and Education (Clevedon, UK), 16, 4 (2002), 260–282.03–393 Brown, David (ESSTIN, Université Henri Poincaré, Nancy). Mediated learning and foreign language acquisition. Anglais de Spécialité (Bordeaux, France), 35–36 (2000), 167–182.03–394 Charnock, Ross (Université Paris 9, France). L'argumentation rhétorique et l'enseignement de la langue de spécialité: l'exemple du discours juridique. [Rhetorical argumentation and the teaching of language for special purposes: the example of legal discourse.] Anglais de Spécialité (Bordeaux, France), 35–36 (2002), 121–136.03–395 Coffin, C. (The Centre for Language and Communications at the Open University, UK; Email: c.coffin@open.ac.uk). Exploring different dimensions of language use. ELT Journal (Oxford, UK), 57, 1 (2003), 11–18.03–396 Crosnier, Elizabeth (Université Paul Valéry de Montpellier, France; Email: elizabeth.crosnier@univ.montp3.fr). De la contradiction dans la formation en anglais Langue Etrangère Appliquée (LEA). [Some contradictions in the teaching of English as an Applied Foreign Language (LEA) at French universities.] Anglais de Spécialité (Bordeaux, France), 35–36 (2002), 157–166.03–397 De la Fuente, María J. (Vanderbilt U., USA). Is SLA interactionist theory relevant to CALL? A study on the effects of computer-mediated interaction in L2 vocabulary acquisition. Computer Assisted Language Learning (Lisse, NE), 16, 1 (2003), 47–81.03–398 Dhier-Henia, Nebila (Inst. Sup. des Langues, Tunisia; Email: nebila.dhieb@fsb.mu.tn). “Explication de texte” revisited in an ESP context. ITL Review of Applied Linguistics (Leuven, Belgium), 137–138 (2002), 233–251.03–399 Eken, A. N. (Sabanci University, Turkey; Email: eken@sabanciuniv.edu). ‘You've got mail’: a film workshop. ELT Journal, 57, 1 (2003), 51–59.03–400 Fernández-García, Marisol (Northeastern University, Boston, USA) and Martínez-Arbelaiz, Asunción. Learners' interactions: A comparison of oral and computer-assisted written conversations. ReCALL, 15, 1 (2003), 113–136.03–401 Gánem Gutiérrez, Gabriela Adela (University of Southampton, UK; Email: Adela@robcham.freeserve.co.uk). Beyond interaction: The study of collaborative activity in computer-mediated tasks. ReCALL, 15, 1 (2003), 94–112.03–402 Gibbons, Pauline. Mediating language learning: teacher interactions with ESL students in a content-based classroom. TESOL Quarterly, 37, 2 (2003), 213–245.03–403 Gwyn-Paquette, Caroline (U. of Sherbrooke, Canada; Email: cgwyn@interlinx.qc.ca) and Tochon, François Victor. The role of reflective conversations and feedback in helping preservice teachers learn to use cooperative activities in their second language classrooms. The Canadian Modern Language Review/La Revue Canadienne des Langues Vivantes, 59, 4 (2003), 503–545.03–404 Hincks, Rebecca (Centre for Speech Technology, Kungliga Tekniska Högskolan, Sweden; Email: hinks@speech.kth.se). Speech technologies for pronunciation feedback and evaluation. 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TESL Canada Journal (BC, Canada), 20, 2 (2003), 52–64.03–410 Ko, Jungmin, Schallert Diane L., Walters, Keith (University of Texas). Rethinking scaffolding: examining negotiation of meaning in an ESL storytelling task. TESOL Quarterly, 37, 2 (2003), 303–336.03–411 Lazaraton, Anne (University of Minnesota, USA). Incidental displays of cultural knowledge in Nonnative-English-Speaking Teachers. TESOL Quarterly, 37, 2 (2003), 213–245.03–412 Lehtonen, Tuija (University of Jyväskylä, Finland; Email: tuijunt@cc.jyu.fi) and Tuomainen, Sirpa. CSCL – A Tool to Motivate Foreign Language Learners: The Finnish Application. ReCALL, 15, 1 (2003), 51–67.03–413 Lycakis, Françoise (Lycée Galilée, Cergy, France). Les TPE et l'enseignement de l'anglais. [Supervised individual projects and English teaching.] Les langues modernes, 97, 2 (2003), 20–26.03–414 Lyster, Roy and Rebuffot, Jacques (McGill University, Montreal, Canada; Email: roy.lister@mcgill.ca). 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Introduction This article is concerned with the recent rise in popularity of crypto art, the term given to digital artworks whose ownership and provenance are confirmed with a non-fungible token (NFT), making it possible to sell these works within decentralised cryptocurrency art markets. The goal of this analysis is to trace a genealogy of crypto art to Dada, an avant-garde movement that originated in the early twentieth century. My claim is that Dadaism in crypto art appears in its exhausted form that is a result of its revival in the 1950s and 1960s by the Neo Dada that reached the current age through Pop Art. Dada’s anti-art project of rejecting beauty and aesthetics has transformed into commercial success in the Neo Dada Pop Art movement. In turn, Pop Art produced its crypto version that explores not only the question of what art is and is not, but also when art becomes money. In what follows, I will provide a brief overview of NFT art and its three categories that could generally be found within crypto marketplaces: native crypto art, non-digital art, and digital distributed-creativity art. Throughout, I will foreground the presence of Dadaism in these artworks and provide art historical context. NFTs: Brief Overview A major technological component that made NFTs possible was developed in 1991, when cryptographers Stuart Haber and W. Scott Stornetta proposed a method for time-stamping data contained in digital documents shared within a distributed network of users (99). This work laid the foundation for what became known as blockchain and was further implemented in the development of Bitcoin, a digital currency invented by Satoshi Nakamoto in 2008. The original non-fungible tokens, Coloured Coins, were created in 2012. By “colouring” or differentiating bitcoins, Coloured Coins were assigned special properties and had a value independent of the underlying Bitcoin, allowing their use as commodity certificates, alternative currencies, and other financial instruments (Assia et al.). In 2014, fuelled by a motivation to protect digital artists from unsanctioned distribution of their work while also enabling digital art sales, media artist Kevin McCoy and tech entrepreneur Anil Dash saw the potential of blockchain to satisfy their goals and developed what became to be known as NFTs. This overnight invention was a result of McCoy and Dash’s participation in the Seven on Seven annual New York City event, a one-day creative collaboration that challenged seven pairs of artists and engineers to “make something” (Rhizome). McCoy and Dash did not patent their invention, nor were they able to popularise it, mentally archiving it as a “footnote in internet history”. Ironically, just a couple of years later NFTs exploded into a billion-dollar market, living up to an ironic name of “monetized graphics” that the pair gave to their invention. Crypto art became an international sensation in March 2021, when a digital artist Mike Winklemann, known as Beeple, sold his digital collage titled Everydays: The First 5000 Days for US$69.3 million, prompting Noah Davis, a curator who assisted with the sale at the Christie’s auction house, to proclaim: “he showed us this collage, and that was my eureka moment when I knew this was going to be extremely important. It was just so monumental and so indicative of what NFTs can do” (Kastrenakes). As a technology, a non-fungible token can create digital scarcity in an otherwise infinitely replicable digital space. Contrary to fungible tokens, which are easily interchangeable due to having an equal value, non-fungible tokens represent unique items for which one cannot find an equivalent. That is why we rely on the fungibility of money to exchange non-fungible unique goods, such as art. Employing non-fungible tokens allows owning and exchanging digital items outside of the context in which they originated. Now, one can prove one’s possession of a digital skin from a videogame, for example, and sell it on digital markets using crypto currency (“Bible”). Behind the technology of NFTs lies the use of a cryptographic hash function, which converts a digital artwork of any file size into a fixed-length hash, called message digest (Dooley 179). It is impossible to revert the process and arrive at the original image, a quality of non-reversibility that makes the hash function a perfect tool for creating a digital representation of an artwork proofed from data tampering. The issued or minted NFT enters a blockchain, a distributed database that too relies on cryptographic properties to guarantee fidelity and security of data stored. Once the NFT becomes a part of the blockchain, its transaction history is permanently recorded and publicly available. Thus, the NFT simultaneously serves as a unique representation of the artwork and a digital proof of ownership. NFTs are traded in digital marketplaces, such as SuperRare, KnownOrigin, OpenSea, and Rarible, which rely on a blockchain to sustain their operations. An analysis of these markets’ inventory can be summarised by the following list of roughly grouped types of artistic works available for purchase: native crypto art, non-digital art, distributed creativity art. Native Crypto Art In this category, I include projects that motivated the creation of NFT protocols. Among these projects are the aforementioned Colored Coins, created in 2012. These were followed by issuing other visual creations native to the crypto-world, such as LarvaLabs’s CryptoPunks, a series of 10,000 algorithmically generated 8-bit-style pixelated digital avatars originally available for free to anyone with an Ethereum blockchain account, gaining a cult status among the collectors when they became rare sought-after items. On 13 February 2022, CryptoPunk #5822 was sold for roughly $24 million in Ethereum, beating the previous record for such an NFT, CryptoPunk #3100, sold for $7.58 million. CryptoPunks laid the foundation for other collectible personal profile projects, such Bored Ape Yacht Club and Cool Cats. One of the ultimate collections of crypto art that demonstrates the exhaustion of original Dada motivations is titled Monas, an NFT project made up of 5,000 programmatically generated versions of a pixelated Mona Lisa by Leonardo da Vinci (c. 1503-1506). Each Monas, according to the creators, is “a mix of Art, history, and references from iconic NFTs” (“Monas”). Monas are a potpourri of meme and pop culture, infused with inside jokes and utmost silliness. Monas invariably bring to mind the historic Dadaist gesture of challenging bourgeois tastes through defacing iconic art historical works, such as Marcel Duchamp’s treatment of Mona Lisa in L.H.O.O.Q. In 1919, Duchamp drew a moustache and a goatee on a reproduction of La Joconde, as the French called the painting, and inscribed “L.H.O.O.Q.” that when pronounced sounds like “Elle a chaud au cul”, a vulgar expression indicating sexual arousal of the subject. At the time of its creation, this Dada act was met with the utmost public contempt, as Mona Lisa was considered a sacred work of art and a patron of the arts, an almost religious symbol (Elger and Grosenick 82). Needless to say, the effect of Monas on public consciousness is far from causing disgust and, on the contrary, brings childish joy and giggles. As an NFT artist, Mankind, explains in his YouTube video on personal profile projects: “PFPs are built around what people enjoy. People enjoy memes, people enjoy status, people enjoy being a part of something bigger than themselves, the basic primary desire to mix digital with social and belong to a community”. Somehow, “being bigger than themselves” has come to involve collecting defaced images of Mona Lisa. Turning our attention to historical analysis will help trace this transformation of the Dada insult into a collectible NFT object. Dada and Its Legacy in Crypto Art Dada was founded in 1916 in Zurich, by Hugo Ball, Tristan Tzara, Hans Richter, and other artists who fled their homelands during the First World War (Hapgood and Rittner 63). One of Dada’s primary aspirations was to challenge the dominance of reason that brought about the tragedy of the First World War through attacking the postulates of culture this form of reason produced. Already in 1921, such artists as André Breton, Louis Aragon, and Max Ernst were becoming exhausted by Dada’s nihilist tendencies and rejection of all programmes for the arts, except for the one that called for the total freedom of expression. The movement was pronounced dead about May 1921, leaving no sense of regret since, in the words of Breton, “its omnipotence and its tyranny had made it intolerable” (205). An important event associated with Dada’s revival and the birth of the Neo Dada movement was the publication of The Dada Painters and Poets in 1951. This volume, the first collection of Dada writings in English and the most comprehensive anthology in any language, was introduced to the young artists at the New School by John Cage, who revived Tristan Tzara’s concept that “life is far more interesting” than art (Hapgood and Rittner 64). The 1950s were marked by a renewed interest in Dadaism that can also be evidenced in galleries and museums organising numerous exhibitions on the movement, such as Dada 1916 –1923 curated by Marcel Duchamp at the Sidney Janis Gallery in 1953. By the end of the decade, such artists as Jasper Johns and Robert Rauschenberg began exploring materials and techniques that can be attributed to Dadaism, which prompted the title of Neo Dada to describe this thematic return (Hapgood and Rittner 64). Among the artistic approaches that Neo Dada borrowed from Dada are Duchampian readymades that question the status of the art object, Kurt Schwitters’s collage technique of incorporating often banal scraps and pieces of the everyday, and the use of chance operations as a compositional device (Hapgood and Rittner 63–64). These approaches comprise the toolbox of crypto artists as well. Monas, CryptoPunks, and Bored Ape Yacht Club are digital collages made of scraps of pop culture and the everyday Internet life assembled into compositional configurations through chance operation made possible by the application of algorithmic generation of the images in each series. Art historian Helen Molesworth sees the strategies of montage, the readymade, and chance not only as “mechanisms for making art objects” but also as “abdications of traditional forms of artistic labor” (178). Molesworth argues that Duchamp’s invention of the readymade “substituted the act of (artistic) production with consumption” and “profoundly questioned the role, stability, nature, and necessity of the artist’s labor” (179). Together with questioning the need for artistic labour, Neo Dadaists inherited what an American art historian Jack D. Flam terms the “anything goes” attitude: Dada’s liberating destruction of rules and derision of art historical canon allowed anything and everything to be considered art (xii). The “anything goes” approach can also be traced to the contemporary crypto artists, such as Beeple, whose Everydays: The First 5000 Days was a result of assembling into a collage the first 5,000 of his daily training sketches created while teaching himself new digital tools (Kastrenakes). When asked whether he genuinely liked any of his images, Beeple explained that most digital art was created by teams of people working over the course of days or even weeks. When he “is pooping something out in 45 minutes”, it “is probably not gonna look that great comparatively” (Cieplak-Mayr von Baldegg). At the core of Dada was a spirit of absurdism that drove an attack on the social, political, artistic, and philosophical norms, constituting a radical movement against the Establishment (Flam xii). In Dada Art and Anti-Art, Hans Richter’s personal historical account of the Dada movement, the artist describes the basic principle of Dada as guided by a motivation “to outrage public opinion” (66). Richter’s writings also point out a desensitisation towards Dada provocations that the public experienced as a result of Dada’s repetitive assaults, demanding an invention of new methods to disgrace the public taste. Richter recounts: our exhibitions were not enough. Not everyone in Zurich came to look at our pictures, attending our meetings, read our poems and manifestos. The devising and raising of public hell was an essential function of any Dada movement, whether its goal was pro-art, non-art or anti-art. And the public (like insects or bacteria) had developed immunity to one of kind poison, we had to think of another. (66) Richter’s account paints a cultural environment in which new artistic provocations mutate into accepted norms in a quick succession, forming a public body that is immune to anti-art “poisons”. In the foreword to Dada Painters and Poets, Flam outlines a trajectory of acceptance and subjugation of the Dadaist spirit by the subsequent revival of the movement’s core values in the Neo Dada of the 1950s and 1960s. When Dadaism was rediscovered by the writers and artists in the 1950s, the Dada spirit characterised by absurdist irony, self-parody, and deadpan realism was becoming a part of everyday life, as if art entered life and transformed it in its own image. The Neo Dada artists, such as Jasper Johns, Robert Rauschenberg, Claes Oldenburg, Roy Lichtenstein, and Andy Warhol, existed in a culturally pluralistic space where the project of a rejection of the Establishment was quickly absorbed into the mainstream, mutating into the high culture it was supposedly criticising and bringing commercial success of which the original Dada artists would have been deeply ashamed (Flam xiii). Raoul Hausmann states: “Dada fell like a raindrop from heaven. The Neo-Dadaists have learnt to imitate the fall, but not the raindrop” (as quoted in Craft 129). With a similar sentiment, Richard Huelsenbeck writes: “Neo-Dada has turned the weapons used by Dada, and later by Surrealism, into popular ploughshares with which to till the fertile soil of sensation-hungry galleries eager for business” (as quoted in Craft 130). Marcel Duchamp, the forefather of the avant-garde, comments on the loss of Dada’s original intent: this Neo-Dada, which they call New Realism, Pop Art, Assemblage, etc., is an easy way out, and lives on what Dada did. When I discovered ready-mades I thought to discourage aesthetics. In Neo-Dada they have taken my ready-mades and found aesthetic beauty in them. I threw the bottle-rack and the urinal into their faces as a challenge and now they admire them for their aesthetic beauty. (Flam xiii) In Neo Dada, the original anti-art impulse of Dadaism was converted into its opposite, becoming an artistic stance and a form of aesthetics. Flam notes that these gradual transformations resulted in the shifts in public consciousness, which it was becoming more difficult to insult. Artists, among them Roy Lichtenstein, complained that it was becoming impossible to make anything despicable: even a dirty rug could be admired (Flam xiii). The audience lost their ability to understand when they were being mocked, attacked, or challenged. Writing in 1981, Flam proclaimed that “Dada spirit has become an inescapable condition of modern life” (xiv). I contend that the current crypto art thrives on the Dada spirit of absurdism, irony, and self-parody and continues to question the border between art and non-art, while fully subscribing to the “anything goes” approach. In the current iteration of Dada in the crypto world, the original subversive narrative can be mostly found in the liberating rhetoric promoted by the proponents of the decentralised economic system. While Neo Dada understood the futility of shocking the public and questioning their tastes, crypto art is ignorant of the original Dada as a form of outrage, a revolutionary movement ignited by a social passion. In crypto art, the ambiguous relationship that Pop Art, one of the Neo Dada movements, had with commercial success is transformed into the content of the artworks. As Tristan Tzara laconically explained, the Dada project was to “assassinate beauty” and with it all the infrastructure of the art market (as quoted in Danto 39). Ironically, crypto artists, the descendants of Dada, erected the monument to Value artificially created through scarcity made possible by blockchain technology in place of the denigrated Venus demolished by the Dadaists. After all, it is the astronomical prices for crypto art that are lauded the most. If in the pre-NFT age, artistic works were evaluated based on their creative merit that included considering the prominence of the artist within art historical canon, current crypto art is evaluated based on its rareness, to which the titles of the crypto art markets SuperRare and Rarible unambiguously refer (Finucane 28–29). In crypto art, the anti-art and anti-commercialism of Dada has fully transformed into its opposite. Another evidence for considering crypto art to be a descendant of Dada is the NFT artists’ concern for the question of what art is and is not, brought to the table by the original Dada artists. This concern is expressed in the manifesto-like mission statement of the first Museum of Crypto Art: at its core, the Museum of Crypto Art (M○C△) challenges, creates conflict, provokes. M○C△ puts forward a broad representation of perspectives meant to upend our sense of who we are. It poses two questions: “what is art?” and “who decides?” We aim to resolve these questions through a multi-stakeholder decentralized platform of art curation and exhibition. (The Museum of Crypto Art) In the past, the question regarding the definition of art was overtaken by the proponent of the institutional approach to art definition, George Dickie, who besides excluding aesthetics from playing a part in differentiating art from non-art famously pronounced that an artwork created by a monkey is art if it is displayed in an art institution, and non-art if it is displayed elsewhere (Dickie 256). This development might explain why decentralisation of the art market achieved through the use of blockchain technology still relies on the endorsing of the art being sold by the widely acclaimed art auction houses: with their stamp of approval, the work is christened as legitimate art, resulting in astronomical sales. Non-Digital Art It is not surprising that an NFT marketplace is an inviting arena for the investigation of questions of commercialisation tackled in the works of Neo Dada Pop artists, who made their names in the traditional art world. This brings us to a discussion of the second type of artworks found in NFT marketplaces: non-digital art sold as NFT and created by trained visual artists, such as Damien Hirst. In his recent NFT project titled Currency, Hirst explores “the boundaries of art and currency—when art changes and becomes a currency, and when currency becomes art” (“The Currency”). The project consists of 10,000 artworks on A4 paper covered in small, coloured dots, a continuation of the so-called “spot-paintings” series that Hirst and his assistants have been producing since the 1980s. Each artwork is painted on a hand-made paper that bears the watermark of the artist’s bust, adorned with a microdot that serves as a unique identification, and is made to look very similar to the others—visual devices used to highlight the ambiguous state of these artworks that simultaneously function as Hirst-issued currency. For Hirst, this project is an experiment: after the purchase of NFTs, buyers are given an opportunity to exchange the NFT for the original art, safely stored in a UK vault; the unexchanged artworks will be burned. Is art going to fully transform into currency? Will you save it? In Hirst’s project, the transformation of physical art into crypto value becomes the ultimate act of Dada nihilism, except for one big difference: if Dada wanted to destroy art as a way to invent it anew, Hirst destroys art to affirm its death and dissolution in currency. In an ironic gesture, the gif NFT artist Nino Arteiro, as if in agreement with Hirst, attempts to sell his work titled Art Is Not Synonymous of Profit, which contains a crudely written text “ART ≠ PROFIT!” for 0.13 Ether or US$350. Buying this art will negate its own statement and affirm its analogy with money. Distributed-Creativity Art When browsing through crypto art advertised in the crypto markets, one inevitably encounters works that stand out in their emphasis on aesthetic and formal qualities. More often than not, these works are created with the use of Artificial Intelligence (AI). To a viewer bombarded with creations unconcerned with the concept of beauty, these AI works may serve as a sensory aesthetic refuge. Among the most prominent artists working in this realm is Refik Anadol, whose Synthetic Dreams series at a first glance may appear as carefully composed works of a landscape painter. However, at a closer look nodal connections between points in rendered space provide a hint at the use of algorithmic processes. These attractive landscapes are quantum AI data paintings created from a data set consisting of 200 million raw images of landscapes from around the world, with each image having been computed with a unique quantum bit string (“Synthetic Dreams”). Upon further contemplation, Anadol’s work begins to remind of the sublime Romantic landscapes, revamped through the application of AI that turned fascination with nature’s unboundedness into awe in the face of the unfathomable amounts of data used in creation of Anadol’s works. These creations can be seen as a reaction against the crypto art I call exhausted Dada, or a marketing approach that targets a different audience. In either case, Anadol revives aesthetic concern and aligns himself with the history of sublimity in art that dates back to the writings of Longinus, becoming of prime importance in the nineteenth-century Romantic painting, and finding new expressions in what is considered the technological sublime, which, according to David E. Nye. concentrates “on the triumph of machines… over space and time” (as quoted in Butler et al. 8). In relation to his Nature Dreams project, Anadol writes: “the exhibition’s eponymous, sublime AI Data Sculpture, Nature Dreams utilizes over 300 million publicly available photographs of nature collected between 2018- 2021 at Refik Anadol Studio” (“Machine Hallucinations Nature Dreams”). From this short description it is evident that Anadol’s primary focus is on the sublimity of large sets of data. There is an issue with that approach: since experiencing the sublime involves loss of rational thinking (Longinus 1.4), these artworks cease the viewer’s ability to interrogate cultural adaptation of AI technology and stay within the realm of decorative ornamentations, demanding an intervention akin to that brought about by the historical avant-garde. Conclusions I hope that this brief analysis demonstrates the mechanisms by which the strains of Dada entered the vocabulary of crypto artists. 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