Kazimierz Funk: Polish vitamins' discoverer. / Kazimierz Funk - polski odkrywca witamin.

Kazimierz Funk, born on February 23, 1884, in Warsaw, demonstrated an early inclination toward the field of human physiology. He charted his scientific trajectory within esteemed European scientific institutions, commencing at the age of 16 in Geneva, where he pursued studies in natural sciences. Subsequently, he continued his academic endeavors in Bern, culminating in the attainment of his doctorate in 1904. Following this, Funk relocated to Paris and secured a position at the Pasteur Institute. In France, his research concentrated on elucidating the role of trace elements in the human body. In 1906 he transitioned to Berlin, collaborating with Hermann Fisher (1852-1919) to investigate proteins and cancer processes. In 1910, Funk ventured to London, joining the Lister Institute, where he initiated research on beriberi disease. His investigations led to the isolation of a substance pivotal in treating the ailment, which he termed "vitamin" (derived from 'vita' meaning life and 'amine' indicating a nitrogen-containing compound). Despite four nominations for the Nobel Prize (in 1914, 1925, 1926, and 1946), Kazimierz Funk didn't receive the prestigious accolade. In 1925, at the urging of Dr. Ludwik Rajchman (1881-1965), the director of the National Institute of Hygiene, Funk assumed the directorship of the Biochemistry and Hygiene of Nutrition Branch at the National School of Hygiene. Under Funk's guidance, Poland became the third European country to produce insulin. Kazimierz Funk passed away on November 19, 1967, in New York City, at the age of 83. His significant contributions to the fields of biochemistry and nutrition endure as a testament to his enduring impact on scientific understanding. This proposal aims to condense and emphasise Kazimierz Funk's diverse scientific interests and the various scientific teams and sites he collaborated with, which ultimately led to his groundbreaking discover.

Optimization of data acquisition and analysis for fiber ball imaging.

The inverse Funk transform of high angular resolution diffusion imaging (HARDI) data provides an estimate for the fiber orientation density function (fODF) in white matter (WM). Since the inverse Funk transform is a straightforward linear transformation, this technique, referred to as fiber ball imaging (FBI), offers a practical means of calculating the fODF that avoids the need for a response function or nonlinear numerical fitting. Nevertheless, the accuracy of FBI depends on both the choice of b-value and the number of diffusion-encoding directions used to acquire the HARDI data. To inform the design of optimal scan protocols for its implementation, FBI predictions are investigated here with in vivo data from healthy adult volunteers acquired at 3 T for b-values spanning 1000 to 10,000 s/mm2, for diffusion-encoding directions varying in number from 30 to 256 and for TE ranging from 90 to 120 ms. Our results suggest b-values above 4000 s/mm2 with at least 64 diffusion-encoding directions are adequate to achieve reasonable accuracy with FBI for calculating axon-specific diffusion measures and for performing WM fiber tractography (WMFT).

Fiber ball imaging.

By modeling axons as thin cylinders, it is shown that the inverse Funk transform of the diffusion MRI (dMRI) signal intensity obtained on a spherical shell in q-space gives an estimate for a fiber orientation density function (fODF), where the accuracy improves with increasing b-value provided the signal-to-noise ratio is sufficient. The method is similar to q-ball imaging, except that the Funk transform of q-ball imaging is replaced by its inverse. We call this new approach fiber ball imaging. The fiber ball method is demonstrated for healthy human brain, and fODF estimates are compared to diffusion orientation distribution function (dODF) approximations obtained with q-ball imaging. The fODFs are seen to have sharper features than the dODFs, reflecting an enhancement of the higher degree angular frequencies. The inverse Funk transform of the dMRI signal intensity data provides a simple and direct method of estimating a fODF. In addition, fiber ball imaging leads to an estimate for the ratio of the fraction of MRI visible water confined to the intra-axonal space divided by the square root of the intra-axonal diffusivity. This technique may be useful for white matter fiber tractography, as well as other types of microstructural modeling of brain tissue.

Use of electron backscatter diffraction patterns to determine the crystal lattice. Part 3. Pseudosymmetry.

A pseudosymmetric description of the crystal lattice derived from a single wide-angle Kikuchi pattern can have several causes. The small size (<15%) of the sector covered by an electron backscatter diffraction pattern, the limited precision of the projection centre position and the Kikuchi band definition are crucial. Inherent pseudosymmetries of the crystal lattice and/or structure also pose a challenge in the analysis of Kikuchi patterns. To eliminate experimental errors as much as possible, simulated Kikuchi patterns of 350 phases have been analysed using the software CALM [Nolze et al. (2021). J. Appl. Cryst. 54, 1012-1022] in order to estimate the frequency of and reasons for pseudosymmetric crystal lattice descriptions. Misinterpretations occur in particular when the atomic scattering factors of non-equivalent positions are too similar and reciprocal-lattice points are systematically missing. As an example, a pseudosymmetry prediction depending on the elements involved is discussed for binary AB compounds with B1 and B2 structure types. However, since this is impossible for more complicated phases, this approach cannot be directly applied to compounds of arbitrary composition and structure.

Use of electron backscatter diffraction patterns to determine the crystal lattice. Part 2. Offset corrections.

A band width determination using the first derivative of the band profile systematically underestimates the true Bragg angle. Corrections are proposed to compensate for the resulting offset Δa/a of the mean lattice parameters derived from as many Kikuchi band widths as possible. For dynamically simulated Kikuchi patterns, Δa/a can reach up to 8% for phases with a high mean atomic number Z, whereas for much more common low-Z materials the offset decreases linearly. A predicted offset Δa/a = f(Z) is therefore proposed, which also includes the unit-cell volume and thus takes into account the packing density of the scatterers in the material. Since Z is not always available for unknown phases, its substitution by Z max, i.e. the atomic number of the heaviest element in the compound, is still acceptable for an approximate correction. For simulated Kikuchi patterns the offset-corrected lattice parameter deviation is Δa/a < 1.5%. The lattice parameter ratios, and the angles α, ß and γ between the basis vectors, are not affected at all.

The Effect of Expert Performance Microtiming on Listeners' Experience of Groove in Swing or Funk Music.

This study tested the influence of expert performance microtiming on listeners' experience of groove. Two professional rhythm section performances (bass/drums) in swing and funk style were recorded, and the performances' original microtemporal deviations from a regular metronomic grid were scaled to several levels of magnitude. Music expert (n = 79) and non-expert (n = 81) listeners rated the groove qualities of stimuli using a newly developed questionnaire that measures three dimensions of the groove experience (Entrainment, Enjoyment, and the absence of Irritation). Findings show that music expert listeners were more sensitive to microtiming manipulations than non-experts. Across both expertise groups and for both styles, groove ratings were high for microtiming magnitudes equal or smaller than those originally performed and decreased for exaggerated microtiming magnitudes. In particular, both the fully quantized music and the music with the originally performed microtiming pattern were rated equally high on groove. This means that neither the claims of PD theory (that microtiming deviations are necessary for groove) nor the opposing exactitude hypothesis (that microtiming deviations are detrimental to groove) were supported by the data.

Microtiming in Swing and Funk affects the body movement behavior of music expert listeners.

The theory of Participatory Discrepancies (or PDs) claims that minute temporal asynchronies (microtiming) in music performance are crucial for prompting bodily entrainment in listeners, which is a fundamental effect of the "groove" experience. Previous research has failed to find evidence to support this theory. The present study tested the influence of varying PD magnitudes on the beat-related body movement behavior of music listeners. 160 participants (79 music experts, 81 non-experts) listened to 12 music clips in either Funk or Swing style. These stimuli were based on two audio recordings (one in each style) of expert drum and bass duo performances. In one series of six clips, the PDs were downscaled from their originally performed magnitude to complete quantization in steps of 20%. In another series of six clips, the PDs were upscaled from their original magnitude to double magnitude in steps of 20%. The intensity of the listeners' beat-related head movement was measured using video-based motion capture technology and Fourier analysis. A mixed-design Four-Factor ANOVA showed that the PD manipulations had a significant effect on the expert listeners' entrainment behavior. The experts moved more when listening to stimuli with PDs that were downscaled by 60% compared to completely quantized stimuli. This finding offers partial support for PD theory: PDs of a certain magnitude do augment entrainment in listeners. But the effect was found to be small to moderately sized, and it affected music expert listeners only.

O manifesto do funk ostentação: Uma leitura psicanalítica do discurso de dois adolescentes e a sua relação com o funk / The manifest of funk ostentação: a psychoanalytic reading of the discourse of two adolescents and their relation with brazilian funk music / El manifiesto del funk ostentação: una lectura psicoanalítica del discurso de dos adolescentes y su relación con el funk

Este artigo se propõe fazer uma reflexão teórica movida a partir de fragmentos de falas de dois adolescentes que vivem em um contexto social de criminalidade violenta proeminente e suas singulares relações com o funk ostentação. Fundamentadas na teoria psicanalítica, buscamos compreender como as composições deste gênero musical podem ocupar um lugar privilegiado na dinâmica psíquica desses adolescentes. Nestas circunstâncias, lançamos mão de contribuições importantes da psicanálise sobre a intrínseca vinculação entre o sujeito e a civilização. A análise das duas falas nos conduziu aos conceitos freudianos de "narcisismo" e de "sublimação". Os adolescentes relatam um laço particular com a música que pode se apresentar como confirmação do envolvimento com a criminalidade ou, em oposição, como uma construção sublimatória para o excesso de agressividade, via a composição musical.

This article proposes to make a theoretical reflection based on fragments of speeches by two adolescents living in a social context of violent criminality and their unique relations with funk ostentação (Brazilian music genre which has ostentation as its lyrics' main subject). Based on psychoanalytical theory, we sought to comprehend how compositions associated to this musical genre can occupy a privileged place in these adolescents' psychic dynamic. In these circumstances, important psychoanalytical contributions regarding the intrinsic bond between individuals and civilization have been considered. The analysis of the two speeches led us to the Freudian concepts of "narcissism" and "sublimation". Both adolescents report a particular bond with music that may present itself as confirmation of the link with criminality or, in opposition, as a sublimatory construction for the excess of aggressiveness by way of musical composition.

Este artículo se propone a hacer una reflexión teórica movida a partir de fragmentos de discurso de dos adolescentes que viven en un contexto social de criminalidad violenta prominente y sus singulares relaciones con el funk ostentação (género de la música brasileña que tiene ostentación como tema principal de sus letras). Desde una orientación fundamentada en la teoría psicoanalítica, buscamos comprender cómo las composiciones de este género musical pueden ocupar un lugar privilegiado en la dinámica psíquica de esos adolescentes. En estas circunstancias, utilizamos contribuciones importantes del psicoanálisis sobre la intrínseca vinculación entre el sujeto y la civilización. El análisis de los dos discursos nos condujo a los conceptos freudianos "narcisismo" y "sublimación". Los adolescentes relatan un lazo particular con la música que puede presentarse como confirmación de la participación con la criminalidad o, en oposición, como una construcción sublimatoria para el exceso de agresividad vía la composición musical.

A relação do funk com a cultura escolar: entre dilemas e tensões / The relationship of funk with school culture: between dilemmas and tensions / La relación del funk con la cultura escolar: entre dilemas y tensiones

O objetivo deste estudo foi entender os elementos que dão visibilidade e invisibilidade ao funk dentro de um ambiente escolar. Para tanto, esta pesquisa desenvolveu-se em uma escola de um bairro periférico do município de Serra (Espírito Santo). O método adotado teve um caráter etnográfico, sendo os dados coletados através de observações diretas e indiretas, registros em diário de campo e entrevistas semiestruturadas. Tais procedimentos foram aplicados com os sujeitos centrais da investigação, representados nas figuras dos alunos e do corpo docente. Os resultados mostraram a existência de conflitos e entraves dentro da escola investigada, no que se refere à sua relação com o funk.

This study aimed to understand the elements that give visibility and invisibility to funk within a school environment. In order to achieve this goal, a field research was conducted in a school located in the outskirts of Serra (Espírito Santo, Brazil). Following an ethnographic approach, data were collected through direct and indirect observations, records in field journal and semistructured interviews. These procedures were used with the central research subjects, namely the students and teachers. The results showed the existence of conflicts and obstacles within the investigated school regarding its relation with funk.

El objetivo de este trabajo fue entender los elementos que dan visibilidad e invisibilidad al funk dentro del ambiente escolar. Esta investigación se desarrolló en una escuela de un barrio periférico del município de Serra (Espírito-Santo). El método adoptado tuvo un carácter etnográfico, con los datos recogidos por medio de observaciones directas e indirectas, registros en diario de campo y entrevistas semiestructuradas. Tales procedimientos fueron aplicados con los sujetos centrales de la investigación, representados por los alumnos y cuerpo docente. Los resultados demuestran la existencia de conflictos y tensiones en el interior de la escuela estudiada, en lo que se refiere a su relación con el funk.

Representações sociais e território nas letras de funk proibido de facção / Social representations and territory in proibido de facção funk lyrics / Representaciones sociales y territorio em letras de funk proibido de facção

Este artigo apresenta, por meio de uma análise de letras de funk "proibido de facção", uma leitura da territorialidade do tráfico de drogas nas favelas. Esse estilo musical, que expressa uma cultura específica da juventude urbana pobre, revela cenas de um cotidiano pouco conhecido pela maior parte da população. Para tal, foi realizada a análise do conteúdo de 50 letras de funk, de forma a se compreenderem questões que esse tipo de narrativa faz circular. Destaca-se o território e a territorialidade como categorias de análise que revelam a dinâmica que o tráfico de drogas impõe nos espaços populares da cidade e que incidem diretamente nas representações sociais e práticas dos moradores das favelas.

This article aims to analyse how territoriality of drug trafficking in favelas is expressed in funk lyrics. Those songs represent a unique urban culture produced for poor youth living in favelas. It reveals a daily reality that goes overlooked by most people which produces negative effects among favela residents. For that, it was developed an analysis of fifty lyrics of "forbidden funk" style songs. In those funk songs, we highlight territory as an important category of analysis which shows the social dynamic that gangs develop in favelas. Here we understand that through funk lyrics it is possible to "read" some aspects of the consequences of the territorialisation of drug trafficking in the life, social representation and social practices of favelas residents.

Este artículo introduce la manera como la territorialidad de barrios marginales, dibujado por grupos vinculados al tráfico de drogas, es expresada en letras de "funk de fracción", el cual es prohibido. Para esto, se llevó a cabo el análisis de contenido de 50 letras de esa vertiente Del funk, con el fin de entender las cuestiones que este tipo de narrativa circula. Esas canciones, manifestación de una específica cultura de la juventud urbana pobre, diseña escenas de la vida cotidiana desconocidos para buena parte de la población Carioca, con efectos directos sobre los que viven en esos lugares. Destacándose el territorio y la territorialidad como categoría analítica reveladora de la dinámica social que estos grupos imprimen a los espacios populares de la ciudad. Las letras de funk de fracción ofrecen una lectura sobre el desdoblamiento de la territoriedad del tráfico en la vida, las representaciones y las prácticas de los habitantes de los barrios marginales.

Boladão, pesadão, isso é Rio de Janeiro: notas sobre funks de torcida e de facção / Boladão, pesadão, isso é Rio de Janeiro: notes towards organized soccer fans and criminal faction funks

Este artigo tem como objetivo cotejar a produção e as características dos funks de facção e de torcida no contexto do Rio de Janeiro. Para tanto, foram selecionadas amostras representativas de funks de torcida/facção a partir do material coletado em CDs piratas e na rede mundial de computadores: 39 funks da facção criminosa Comando Vermelho e 44 da torcida Força Jovem Vasco. O objetivo do estudo é entender os contextos em que são produzidos, que incluem forte expressão do universo jovem. Os resultados mostraram a estruturação dessas produções em torno do conflito, da depreciação dos inimigos, da exaltação de si e dos aliados, da repartição territorial e das paródias. Vislumbrou-se assim um campo construído por representações sociais, baseado em ancoragens que capturam, transformam e readaptam elementos de universos aparentemente distantes, como as guerras do Afeganistão e o ambiente funk dos EUA nos anos 70.

This work aims at comparing the production of forbidden funk music and funk music produced by organized fans of soccer teams in the context of Rio de Janeiro. The analysis is to be conducted through the examination of 39 forbidden funk songs’ content which quotes the criminal faction “Comando Vermelho”, plus 44 other funk songs produced by an organized soccer fans team entitled “Força Jovem Vasco”. The objective of the study is to understand the contexts where they are produced, as an expression of the universe of youngsters. The results showed relations in both samples, between conflict, the depreciation of the enemies, self-exaltation and of their allies, territorial distribution and parodies. The construction of social representations is glimpsed thus, based in elements of apparently distant universes, such as the war in Afghanistan and the American funk in the 70´s.

My pussy é o poder: Representação feminina através do funk: identidade, feminismo e indústria cultural / My pussy is power: Female representation through the funk: identity, feminism and cultural Psicol industry

Reconhecendo a importância do funk enquanto gênero musical para a cultura brasileira e o papel das mulheres no interior do movimento, este trabalho pretende analisar as relações entre funk e feminismo. A partir da análise da relação entre funk, gênero e erotismo, entre outras categorias, esta dissertação busca demonstrar as brechas e resistências presentes nos discursos das funkeiras. Outra proposta deste estudo é, através da trajetória da cantora Valesca Popozuda, apontar as transformações em seu discurso e sua relação com os diversos ativismos, bem como com o próprio feminismo. O texto discute também as críticas feitas às funkeiras por parte de setores do movimento feminista, buscando compreender as raízes destas críticas e dialogar com as questões propostas, bem como com a relação entre funk, feminismo e indústria cultural...

Recognizing the importance of funk as a musical genre to the Brazilian culture and the role of women within the movement, this study aims to examine the relationship between feminism and funk. From the analysis of the relationship between funk, gender, and eroticism, among other categories, this paper seeks to demonstrate the gaps and strengths of the discourse of the funkeiras. Another purpose of this study is, through the trajectory of the singer Valesca Popozuda, to expose the transformations in her discourse and how they related to various forms of activism, as well as with feminism itself. The text also discusses the criticism directed at funkeiras by sectors of the feminist movement in order to understand its roots, as they speak to the questions proposed, as well as the relationship between funk, feminism and culture industry...