Heat shock proteins (HSPs) are synthesised by cells subsequent to a stress exposure and are known to confer protection to the cell in response to a second challenge. HSP induction and decay are correlated to thermotolerance and may therefore be used as a biomarker of thermal history. The current study tested the temperature-dependent nature of the heat shock response and characterised its time profile of induction. Whole blood from 6 healthy males (Age: 26 +/- (SD) 2 yrs; Body mass 74.2 +/- 3.8 kgs; VO(2max): 49.1 +/- 4.0 ml.kg(-1).min(-1)) were isolated and exposed to in vitro heat shock (HS) at 37, 38, 39, 40, and 41 degrees C for a period of 90 min. After HS the temperature was returned to 37 degrees C and intracellular HSP70 was quantified from the leukocytes at 0, 2, 4, and 6 h after heat treatment. The concentration of HSP70 was not different between temperatures (P > 0.05), but the time-profile of HSP70 synthesis appeared temperature-dependent. At control (37 degrees C) and lower temperatures (38-39 degrees C) the mean HSP70 concentration increased up to 4 h post HS (P < 0.05) and then returned towards baseline values by 6 h post HS. With in vitro hyperthermic conditions (40-41 degrees C), the time-profile was characterised by a sharp rise in HSP70 levels immediately after treatment (P < 0.05 for 40 degrees C at 0 h), followed by a progressive decline over time. The results suggest a temperature-dependent time-profile of HSP70 synthesis. In addition, the temperature at which HSP70 is inducted might be lower than 37 degrees C.
Since their revival in the 1980s, lindy hop and other swing dances have become increasingly popular with middle-class youth. There are hundreds of vibrant local swing-dance communities throughout the developed world, and in each, dancing is the most important form of social interaction. Yet despite this emphasis on embodied cultural practice, swing dancers make great use of digital online technology, from YouTube and the exchange of digital audio-visual clips to discussion boards, instant messaging and email. Despite the transgressive and subversive history of swing dances in African American communities, the extent to which these legacies are taken up by contemporary swing dancers is a matter of debate. This article considers the uses of online audio-visual media by contemporary swing dancers and the extents to which they might realize their resistant history.
Since its revival in the 1980s, Lindy hop along with other swing dances has become increasingly popular with middle class youth throughout the developed world. Social dancing plays a central part in local swing dance communities, and DJing recorded music has become an essential part of social dancing. Marked by class and gender, DJing in swing dance communities is also shaped by digital technology, from the CDs, computers and portable media devices which DJs use to play digital musical files to the discussion boards and websites where they research and discuss DJing and the online music stores where they buy CDs and download music. This brief discussion of the preponderance of digital technology in swing dance DJing is part of a larger project considering the mediation of embodied practice in swing dance culture, and it pays particular attention to the ways in which mediated discourse in swing culture reflects wider social forces, yet is also subordinated by the embodied discourse of the dance floor.
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