Journal articles on the topic 'Dao de gui fan'

Roket merupakan salah satu teknologi dibidang pertahanan yang terus dikembangkan hingga saat ini. Negara yang mampu menguasai teknologi roket akan disegani oleh negara lain yang ada didunia. Selain digunakan untuk sistem alusista, sebuah roket juga digunakan untuk kemajuan teknologi dibidang untuk meluncurkan berbagai macam satelit yang dibutukan oleh manusia misalnya satelit komunikasi, cuaca dan lain-lain. Roket didesain mirip peluru dilengkapi sayap/fin dengan rasio ukuran lebar bentang sisi kiri sayap/fin kesisi kanan sayap/fin tidak lebih dari setengah panjang badan roket. Fungsi dari sayap/fin Untuk dapat menjaga posisi dari sudut elevasi yang dapat dikontrol secara autonomous berdasarkan perubahan data sudut dari sensor. Roket ini dilengkapi dengan sistem telemetri, dimana roket akan mengirim informasi dari wahana ke ground segment ditampilkan kedalam GUI (Graphic User Interface) secara real time berupa data – data berupa ketinggian, elevasi, arah dan data hasil pergerakan roket. Hasil pengujian 1 menunjukkan persentase rata – rata roket untuk tetap berada pada sudut elevasi sekitar 3.98%. Pengujian 2 sekitar 17.86% dan pengujian 3 sekitar 29.30%. Kecepatan rata – rata error roket untuk mencapai puncak sebesar 24.7 m/s. Perbedaan data persentase roket untuk berada pada posisi sudut elevasi dipengaruhi oleh perubahan kecepatan angin yang tidak stabil pada saat dilakukannya percobaan peluncuran.

Baby incubator is very important to keep the newborn’s body temperature especially for premature babies. Premature babies is the babies that born less than 37 weeks and has less than 2500 grams body weight. Baby incubator is designed to have a lenght of 70 cm, a width of 40 cm, and a height of 60 cm. The system of baby incubator will automatically turn on or turn off the fan, heater or humidifier in accordance with the range of temperature and humidifier that has been set. The range of humidifier inside the baby incubator is 40% - 60%. The range of temperature can be set in a Graphical User Interface (GUI). At GUI, user can fill and show babies profile, babies activity, level of baby’s bilirubin, and the range of temperature. Those Datas are saved in a database’s tables. GUI can show the temperature and humidity of babies incubator in form of graph. Babies monitoring can be done by wireless. There is a monitoring device that can buzz if the baby is crying. This system has a database that can store incubator room temperature-humidity data, baby’s temperature, sound counters, biodata, activity, bilirubin and incubator temperature regulation. Can also provide information about the incubator's humidity and baby's temperature on the LCD and GUI and can save the record of the activities carried out by the baby, as well as keep a record of the baby's bilirubin value and turn on the lights automatically according to the bilirubin value inputABSTRAK:Inkubator bayi sangat berperan penting untuk menjaga suhu tubuh bayi baru lahir khususnya bagi bayi prematur. Bayi prematur adalah bayi yang lahir kurang dari 37 minggu dan memiliki berat badan kurang dari 2500 gram. Inkubator bayi yang dirancang memiliki ukuran ruang panjang 70 cm, lebar 40 cm, dan tinggi 60 cm. Sistem dari inkubator bayi ini akan secara otomatis menyalakan atau mematikan kipas, heater atau humidifier sesuai dengan batas suhu dan kelembaban yang telah diatur. Batas kelembaban udara di dalam inkubator bayi adalah sebesar 40% sampai 60%. Batas suhu inkubator bayi diatur sesuai dengan umur dan berat badan bayi. Pengaturan batas suhu inkubator bayi dapat diatur pada sebuah Graphical User Interface (GUI). Pada GUI, pengguna dapat mengisi dan menampilkan biodata bayi, aktivitas bayi, tingkat bilirubin bayi dan batas suhu inkubator yang diinginkan. Data-data tersebut disimpan pada tabel-tabel yang berada pada sebuah basis data. GUI juga dapat menampilkan suhu dan kelembaban inkubator bayi dalam bentuk grafik. Pemantauan bayi dapat dilakukan secara wireless. Terdapat sebuah alat pemantau yang akan berbunyi apabila bayi menangis. Sistem ini memiliki database yang dapat menyimpan data suhu-kelembaban ruang inkubator, suhu tubuh, counter suara, biodata, aktivitas, bilirubin dan pengaturan temperatur inkubator. Juga dapat memberikan informasi mengenai suhu-kelembaban inkubator dan suhu tubuh bayi pada LCD dan GUI dan dapat menyimpan record aktivitas yang dilakukan bayi, serta menyimpan record nilai bilirubin bayi dan menyalakan lampu secara otomatis sesuai dengan nilai bilirubin yang di­-input.

Background:Gout is an arthritic disease caused by the deposition of monosodium urate crystal (MSU) in the joints, which can lead to acute inflammation and damage adjacent tissue [1].Over the past decade, noncoding RNAs (ncRNAs) have been shown to have crucial importance in health and disease[2,3]. However, studies evaluating the function of ncRNAs in gout are scarce, and current knowledge of the role of ncRNAs in gout is still limited.Objectives:To assess the contribution of noncoding RNAs to gout and the clinical importance of these genes in primary gouty arthritis (GA).Methods:The mRNA expression levels of noncoding RNAs (LINC00173, LINC00963, LINC01330 and miRNA-182-5p) were measured in peripheral blood mononuclear cells (PBMCs) from 60 gout patients(including 30 acute gout patients, 30 intercritical gout patients) and 40 healthy subjects. The relationship between noncoding RNA expression levels and laboratory features was analyzed in GA patients.Results:The expression levels of LINC00173, LINC00963 and miRNA-182-5p were much lower in the AG and IG group than in the HC groups (p<0.05), and no significant difference was detected between AG and IG groups(P>0.05). The expression levels of LINC01330 were much lower in the AG group than in the IG and HC groups (p<0.05), and no significant difference was detected between AG and IG groups(P>0.05). In GA patients, the levels of noncoding RNAs mRNA correlated with laboratory inflammatory and metabolic indexes.Conclusion:Altered noncoding RNAs expression suggests that noncoding RNAs is involved in the pathogenesis of GA and participates in regulating inflammation and metabolism.References:[1]Xu Yi-Ting,Leng Ying-Rong,Liu Ming-Ming et al. MicroRNA and long noncoding RNA involvement in gout and prospects for treatment.[J].Int Immunopharmacol, 2020, 87: 106842.doi:10.1016/j.intimp.2020.106842[2]Yu Yunfang,Zhang Wenda,Li Anlin et al. Association of Long Noncoding RNA Biomarkers With Clinical Immune Subtype and Prediction of Immunotherapy Response in Patients With Cancer.[J].JAMA Netw Open, 2020, 3: e202149.doi:10.1001/jamanetworkopen.2020.2149[3]Zou Yaoyao,Xu Siqi,Xiao Youjun et al. Long noncoding RNA LERFS negatively regulates rheumatoid synovial aggression and proliferation.[J].J Clin Invest, 2018, 128: 4510-4524.doi:10.1172/JCI97965Figure 1.Relative Expression of noncoding RNAs in the PBMCs of Patients.Disclosure of Interests:Quan-Bo Zhang Grant/research support from: the National Natural Science Foundation of China(General Program) (no.81974250) and Science and Technology Plan Project of Sichuan Province (no.2018JY0257), Yu-Qin Huang: None declared, Fan-Ni Xiao: None declared, gui-lin jian: None declared, Yi-Ping Tang: None declared, Fei Dai: None declared, Jian-Xiong Zheng: None declared, Yu-Feng Qing Grant/research support from: Science and Technology Project of Nanchong City (no.18SXHZ0522).

Cooling pads are commonly used to reduce temperature of laptop to avoid overheating problem. However, existing cooling pads are prone to various limitations: fixed voltage in the hardware component, inaccurate temperature readings and lacked of computer-based temperature monitoring functions. In this paper, a laptop cooling system with multivoltage fan speed controller using real-time processor temperature readings is proposed. A graphical user interface (GUI) and color coded LEDs are also implemented to provide visual inspection of the temperature values captured from the laptop. The temperature values are displayed in graph and tabular form. The performance of the proposed cooling pad with computer-based monitoring application is evaluated against two other types of existing cooling pad systems. The experiments have shown that the temperature values can be monitored clearly with the proposed GUI. More importantly, the proposed cooling pad system has the potential to achieve lower temperature faster than the rest of the existing cooling pad systems.

Megalith Papua is the actual activity with medium natural stones such as stalagmites and stalagtik in a cave, a dolmen, stone sculptures and other natural stones are considered to be the reincarnation of the spirits of ancestors, as found in the cave Sosoreweru. In this study conducted in the Cave Sosoraweru Forir village in the district of Coke, Fakfak. The methods used in this study is the method of data collection includes library research, field surveys, using the approach Ethnoarchaeology. The results of the study in the form of 4 pieces shaped stone menhirs. based on these findings may reveal molar tribal folklore in the village district Forir the consortium. Folklore have utility in a common life, as a means of educators, entertainment, social protest and the projection of a pent-up desire.ABSTRAKMegalitik Papua merupakan kegiatan aktual dengan media batu-batu alam seperti stalagmit dan stalagtik dalam gua, dolmen, batu pahatan dan batu-batu alam lainnya yang dianggap sebagai jelmaan roh-roh nenek moyang. Penelitian ini dilakukan di Gua Sosoraweru, Kampung Forir di Distrik Kokas, Kabupaten Fakfak. Adapun metode yang digunakan dalam penelitian ini adalah metode pengumpulan data yang meliputi studi pustaka, survei lapangan, dan analisis menggunakan pendekatan etnoarkeologi. Hasil penelitian berupa empat buah batu berbentuk menhir. Berdasarkan temuan tersebut dapat mengungkapkan cerita rakyat suku Baham di Kampung Forir, Distrik Fakfak. Cerita rakyat mempunyai fungsi sebagai media pendidikan, hiburan, protes sosial dan proyeksi suatu keinginan yang terpendam.

The development of software application for image reconstruction system is essential in the research study of computed tomography (CT). An experimental prototype was the research tool used in developing a series of useful prototype to evaluate the reconstruction methods. A CT scanner software prototype was created using the MATLAB image processing toolbox together with the Graphical User Interface (GUI) and Graphical User Interface Development Environment (GUIDE). The prototype model was selected to guide the development of the prototype application and mainly to provide a platform to update a system from the available knowledge. The prototype model was capable in creating a CT scanner synthetic datasets, display a sinogram image from the synthetic datasets, construct images using back projection technique and displaying cross-section images. Two types of images were acquired from this research, the first type was the unfiltered and blurred image and the second type was the filtered and clear image. This research also focused on two-dimensional parallel-beam and fan-beam geometry configuration; the principle of transforming fan-beam datasets into parallel-beam datasets was carried out using the classical rebinning concept.

Penelitian ini bertujuan untuk mengetahui model arsitektur pohon ordo Sapindales di sekitar kawasan wisata air terjun Moramo Hutan Suaka Margasatwa Tanjung Peropa. Waktu dan tempat penelitian dilaksanakan pada semester genap tahun ajaran 2016/2017 bulan Januari-Februari 2017 bertempat di kawasan wisata air terjun Moramo Hutan Suaka Margasatwa Tanjung Peropa. Sampel dalam penelitian ini adalah jenis pohon yang termasuk dalam ordo Sapindales. Metode yang digunakan yaitu metode survey dengan teknik jelajah. Teknik analisis data yaitu dengan analisis deskriptif. Hasil penelitian ini adalah pada famili Sapindaceae ditemukan satu spesies yaitu kase (Pometia pinnata)teridentifikasi memiliki model Koriba, famili Anacardiaceae terdapat tujuh spesies yang ditemukan yaitu kedondong hutan (Spondias pinnata), mangga hutan (Mangifera indica), kuweni (Mangifera odorata), ketiganya memiliki model Scarrone, jambu mete (Anacardium occidentale) memiliki model Troll, dahu hitam (Dracontomelon dao) dan dahu merah (Dracontomelon duperreanum) memiliki model Stone, gui (Koordersiodenron pinnatum)memiliki model Roux, dan famili Burseraceae ditemukan satu spesies yaitu lengai (Haplolobus celebicus)memiliki model Stone. Model Scarrone dan model Stone adalah model arsitektur pohon yang mendominasi pada jenis tumbuhan yang termasuk ordo Sapindales yang ada di kawasan wisata air terjun Moramo Hutan Suaka Margasatwa Tanjung Peropa.

Abstract On a rocket, control requires monitoring to determine its position and attitude. Rocket stance includes roll, pitch, and yaw angles. Monitoring can be done manually without the help of tools while the object’s position is still within reach. It is difficult to carry out monitoring when the object is moving far and beyond the reach of the operator. This observation requires a monitoring system to monitor the object further. This research applies a telemetry system to a target tracking rocket. The measurement results from the IMU and GPS sensors on the rocket body will be processed by the ATMega 2560 microcontroller and sent via a 2.4 GHz RF signal. to Ground Control Station. The rocket telemetry data that has been sent to the GCS can be viewed by the operator through the GUI system in a computer program using the C# language in Visual Studio. Tests on latitude and longitude are carried out by tracking the trajectory of objects while testing for roll, pitch, and yaw angles is carried out by placing objects according to the reference angle. The results of the position obtained the values of altitude, latitude, and longitude of 0.5364 m, 0.000012°, and 0.000023°, respectively. An attitude tests for roll position, pitch, and compass heading have values of 0.35°, 0.07, and 2.90°, respectively. The telemetry data transmission distance test is still well-received at a distance of 200 with a test speed of 70 KM/hour.

Objetivou-se avaliar o efeito do silício (Si) sobre a ramulose e aspectos bioquímicos da resistência do algodoeiro a essa doença. Os cultivares BRS Araçá e FM 993 foram desenvolvidos em solução nutritiva contendo (+Si) ou não (-Si) silício. Avaliou-se o período de incubação (PI), incidência (I), área abaixo da curva do índice da ramulose (AACIR) e concentração foliar de Si (CFSi). A CFSi e o PI aumentaram em 76% e 19,5%, respectivamente, nas plantas +Si em relação às -Si, e a I e a AACIR diminuíram em 64% e 18%, respectivamente. A concentração dos compostos fenólicos solúveis totais (CFST) e dos derivados da lignina-ácido tioglicólico (DLATG) dos dois cultivares supridos com Si aumentou durante o progresso da ramulose, porém essa concentração foi inferior à daquelas que não receberam Si. No cultivar BRS Araçá +Si a atividade das enzimas quitinase (QUI) e glicanase (GLI) aumentou até os 10 dai em relação às plantas -Si. A atividade das enzimas peroxidase (POX) e polifenoloxidase (PPO) no cultivar BRS Araçá +Si aumentou entre 20 e 30 dai em relação às plantas -Si, enquanto na FM 993 +Si o aumento foi de até 10 dai. No cultivar FM 993 +Si, a atividade da fenilalanina amônia-liase (FAL) aumentou. O fornecimento de Si às plantas de algodoeiro aumentou a resistência à ramulose mediante incremento na concentração CFST e de DLATG nos dois cultivares e na atividade das POX, PPO, QUI e GLI na BRS Araçá, e de POX e FAL na FM 993.

Nell’epoca della “modernità liquida” si assiste al riavvicinamento degli individui al “sacro” ma non nel senso di “istituzione religiosa”, bensì di una sorta di religiosità fai da te, priva di mediazioni, non di rado sincretica, a cui tentare di aggrapparsi per restare a galla in un mare di incertezze e in assenza di appigli solidi, ma che non limiti il proprio percorso di autoaffermazione e la ricerca della soddisfazione personale. In tutto ciò un ruolo di primaria importanza è rivestito dai Social Network, proprio per la loro natura e per le modalità di interazione che consentono. Nel presente articolo – dopo aver descritto cosa siano i Social Network, come e quanto incidano sulla formazione dell’identità degli individui e sulle relazioni che costoro intessono gli uni con gli altri – ci si chiede quali sfide si ritrovino oggi ad affrontare l’evangelizzazione e la testimonianza cristiane: la Chiesa, infatti, ha riservato una particolare attenzione ai media digitali fin dalla loro comparsa. In definitiva, ci si chiede come il credente possa oggi “abitare” con autenticità la Rete.

Il trapianto di pene è un intervento ancora sperimentale e alternativo alla fal-loplastica. Questo trattamento presenta maggiori benefici, ma anche maggiori ri-schi per i riceventi dell'organo e gli effetti a lungo termine sono ancora sconosciuti. Ad oggi ci sono stati solo cinque casi al mondo e quasi tutti hanno dato risultati incoraggianti sia dal punto di vista fisiologico che psicosessuale. La perdita del pe-ne può essere vissuta come un trauma che porta le persone ad isolarsi e, in alcuni contesti culturali, ad essere stigmatizzate, e questo ha conseguenze sulla sfera psi-cologica, sessuale, sociale e relazionale della persona, sia per il forte valore simbo-lico del pene, sia per la sua funzione anatomica. È importante indagare le fantasie e le aspettative sia del ricevente affinché all'intervento non venga associato un effetto miracoloso, che del personale medico affinché ci sia una comunicazione chiara con il paziente su rischi, benefici e possibili alternative. È consigliato un pro-cesso di valutazione psicosessuale del paziente in modo che possano essere valu-tate le sue risorse intrapersonali e interpersonali poiché l'intero iter terapeutico è lungo e difficoltoso per via del suo impatto sull'identità della persona e del lavoro di integrazione del nuovo organo nel Sé. Quindi è importante, laddove è possibile, rendere partecipe del percorso anche famiglia e partner. La figura dello psicoses-suologo è quindi fondamentale sia per la natura intima del trattamento, sia per gli aspetti della vita coinvolti e il suo coinvolgimento è consigliato per tutto l'iter tera-peutico per ridurre le possibilità di un rigetto psicologico and il sorgere di disagi psi-cosessuali.

Abstract Limited treatment beneficial rate and market saturation of the first generation of immune checkpoint inhibitors (Such as PD-(L)1 inhibitors) have turned the attention of pharmaceutical industry to the next generation of innate immune checkpoints such as CD47/SIRPα and CD24/Siglec-10. Various cancers of lung, breast, colon, prostate, ovarian, stomach, pancreas, myeloid and lymphoid tissues are known to highly express CD47 and/or CD24, which confer cancer cells means of immune-evasion via induction of “Don’t eat me” signals. Precisely and simultaneously neutralizing CD47 and CD24 signaling on tumors, when coupled with an IgG1 antibody’s potent phagocytosis and cytotoxicity activity, may serve as potent immunotherapy for multiple cancer types. We have developed a humanized CD24 neutralizing antibody which has been revealed to neutralize CD24-Siglec-10 interaction and completely eliminate established colon cancer in syngeneic mouse models via proposed mechanisms of antibody-dependent cell cytotoxicity (ADCC), antibody-dependent cell phagocytosis (ADCP), and subsequent tumor-specific immunity as a result of macrophage activation. Using this mAb as backbone, we developed an CD24 mAb-CD47 trap by conjugating the SIRPα decoy receptor to the N-terminal of the antibody heavy chain. Initial in vitro studies indicated that this mAb-trap has simultaneous two-target binding as well as blocking activities. More promisingly, eight administrations of the mAb-trap at 3mg/kg dose in mice bearing triple-negative breast cancer resulted in a complete tumor growth inhibition. Furthermore, in a Herceptin-resistant xenograft tumor model, the mAb-trap is also efficacious and resulted in over 60% of tumor growth inhibition when administrated at 7.2mg/kg. Taken together, our data show that precise neutralization of CD47 and CD24 signaling on tumors using IgG1 antibody may serve as potent monotherapy for cancers. Citation Format: Wenzhi Tian, Song Li, Dianze Chen, Dandan Liu, Huiqin Guo, Chunmei Yang, Li Zhang, Wei Zhang, Xiaoping Tu, Liang Peng, Gui Zhao, Ruliang Zhang, Fan Zhang. Preclinical development of a bispecific antibody-trap selectively targeting CD47 and CD24 for cancer immunotherapy [abstract]. In: Proceedings of the American Association for Cancer Research Annual Meeting 2022; 2022 Apr 8-13. Philadelphia (PA): AACR; Cancer Res 2022;82(12_Suppl):Abstract nr 6281.

Abstract Trastuzumab executes anti-tumor efficacy mainly via antibody-dependent cell cytotoxicity (ADCC). However due to the fact that majority of the populations including patients with cancers carry a CD16A-158F allele which has low binding affinity to the Fc fragment of trastuzumab, response to trastuzumab treatment is hindered. Furthermore, overexpression of CD47 on cancer cells prevent macrophages from activation via Fc-FcγRIIa interaction due to the so called “Don’t eat me” signal. We therefore designed a bispecific mAb-trap designated as IMM2902. Extensive in vitro as well as in vivo characterization demonstrated that IMM2902 binds to both CD47 and HER2 with high affinity (KD = 5.8x10-10M for HER2; KD = 8.9x10-9M for CD47) and has stronger ADCC activity against NCI-N87 (EC50 = 0.054nM for IMM2902, v.s. 0.868nM for trastuzumab). In vivo efficacy studies in several xenograft tumor models revealed a robust anti-tumor activity as reflected by the complete elimination of established tumors in BT-474 breast cancer and NCI-N87 gastric xenograft models even at the dose as low as 3.5mg/kg. Interestingly, even in Herceptin-resistant breast tumor model, when administered at a dose of 10mg/kg, the established HCC-1954 tumors were also eliminated. Immunohistochemistry staining of the tumor tissues demonstrated an accelerated HER2 degradation which is highly correlated with tumor volume. IMM2902 has no impact on hemagglutination, nor does it have significant hemotoxicity following single as well as multiple administrations in non-human primate animals at different dosage. Our study suggests that IMM2902 has the potential to be an alternative promising treatment option for patients with her2-positive cancers refractory to trastuzumab treatment. Citation Format: Wenzhi Tian, Song Li, Dianze Chen, Dandan Liu, Huiqin Guo, Chunmei Yang, Li Zhang, Wei Zhang, Xiaoping Tu, Liang Peng, Gui Zhao, Ruliang Zhang, Fan Zhang. Preclinical development of a bispecific antibody-trap selectively targeting CD47 and HER2 for the treatment of breast as well as gastric cancer [abstract]. In: Proceedings of the American Association for Cancer Research Annual Meeting 2022; 2022 Apr 8-13. Philadelphia (PA): AACR; Cancer Res 2022;82(12_Suppl):Abstract nr 6280.

Statement of the problem. The twentieth century marked an increased interest in polyphonic music. The geography of polyphonic works for piano expanded significantly and a creative development of many Chinese composers, writing polyphonic piano pieces, took place. Today, polyphonic pieces make up a significant part of the piano repertoire in China, but they are little studied by musicologists and performers. The objective of this study – to reveal the contribution of Chinese composers to the creation of polyphonic piano repertoire of the XX – early XXI century. Analysis of the research and publications on the theme. А large number of modern authors study polyphony from the point of physical and mathematical research methods (Igarashi, Yu. & Ito, Masashi & Ito, Akinori, 2013; Weiwei, Zhang & Zhe, Chen, & Fuliang, Yin, 2016; Li, Xiaoquan et al. others, 2018). This approach does not reveal the factual musical component of polyphonic genres. In the 20th century, musicologists explored polyphony in musical folklore (Wiant, 1936; Fan Zuyin, 2004; Li Hong, 2015) and in professional Chinese composing (Sun Wei-bo, 2006, Winzenburg, 2018). The scientific novelty. This article studies the role of Chinese composers in the development of the world polyphonic piano repertoire of the XX – early XXI century. The methodological basis for the analysis of polyphonic works was the theoretical concepts of P. Hindemith, Peng Cheng, Fang Zuin, Li Hong, Sun Wei-bo. The results of the study. The research outcomes demonstrate the evolutionary development of the genre diversity of Chinese piano polyphony as well as those composers who created magnificent musical pieces. Conclusions. Chinese composers have fully mastered the art of modern counterpoint, represented by the genres of polyphonic program pieces (He Lu Ting), invention (Xiao Shu Xian, Du Qian, Sun Yun Yin, Chen Chen Quang), polyphonic suite (Ma Gui), large polyphonic cycle ( He Shao, Chen Hua Do, Xiao Shu Xian), fugue (Li Jun Yong, Yu Su Yan, Chen Gang, Tian Lei Lei, Duan Ping Tai, Zheng Zhong, Xiao Shu Xian) and small cycle “Prelude and Fugue” (Ding Shan Te, Chen Zhi Ming, Wang Li Shan). Creatively assimilating and rethinking the experience of Western polyphonists, Chinese composers have filled their polyphonic works with national features, firmly linking them with the origins of Chinese traditional and folk music. The polyphonic way of transmitting musical material becomes the most expressive at the moments of profound creativity and musical dramatization.

Background:Gout is a chronic autoinflammatory disease caused by monosodium urate (MSU) crystal deposition [1].Acute gout is characterized by an acute inflammatory reaction that resolves spontaneously within a few days[2], which is one of the distinguishing features of gout compared to other arthropathies or self-inflammatory diseases. Autophagy is a lysosomal degradation pathway that is essential for cellular growth, survival, differentiation, development and homeostasis [3]. Studies have demonstrated that autophagy might play a key role in the pathogenesis of primary gouty arthritis (GA) [4-7]. However, the roles of autophagy in the development of gout have not yet been elucidated.Objectives:The aim of our study was to investigate the changes in autophagy-related gene (ATG) mRNA and protein in patients and the clinical importance of these genes in primary gouty arthritis (GA) and to explore the roles of autophagy in the pathogenesis of GA.Methods:The mRNA and protein expression levels of ATGs (ATG3, ATG7, ATG10, ATG5, ATG12, ATG16L1, ATG4B and LC3-2) were measured in peripheral blood mononuclear cells (PBMCs) from 196 subjects, including 57 acute gout patients (AG group), 57 intercritical gout patients (IG group) and 82 healthy control subjects (HC group). The relationship between ATG expression levels and laboratory features was analyzed in GA patients.Results:The expression levels of ATG4B, ATG5, ATG12, ATG16L1, ATG10 and LC3-2 mRNA were much lower in the AG group than in the IG and HC groups (p<0.05), while the ATG7 mRNA level was much higher in the AG group than in the IG and HC groups (p<0.05). The protein expression levels of LC3-2, ATG3, ATG7 and ATG10 were much higher in the AG group than in the other groups, while those of ATG5, ATG12, ATG16L1 and ATG4B were far lower in the AG group than in the other groups (p<0.05). In GA patients, the levels of ATG mRNA and protein correlated with laboratory inflammatory and metabolic indexes.Conclusion:Altered ATG expression suggests that autophagy is involved in the pathogenesis of GA and participates in regulating inflammation and metabolism.References:[1]Dalbeth N, Choi HK, Joosten LAB, Khanna PP, Matsuo H, Perez-Ruiz F, et al. Gout. Nat Rev Dis Primers. 2019;5: 69.doi:10.1038/s41572-019-0115-y.[2]Schauer C, Janko C, Munoz LE, Zhao Y, Kienhöfer D, Frey B, et al. Aggregated neutrophil extracellular traps limit inflammation by degrading cytokines and chemokines. Nat Med. 2014;20: 511-517.doi:10.1038/nm.3547.[3]Han Y, Zhang L, Xing Y, Zhang L, Chen X, Tang P, et al. Autophagy relieves the function inhibition and apoptosis-promoting effects on osteoblast induced by glucocorticoid. Int J Mol Med. 2018;41: 800-808. doi:10.3892/ijmm.2017.3270.[4]Yang QB, He YL, Zhong XW, Xie WG, Zhou JG. Resveratrol ameliorates gouty inflammation via upregulation of sirtuin 1 to promote autophagy in gout patients. Inflammopharmacology. 2019;27: 47-56.doi:10.1007/s10787-018-00555-4.[5]Mitroulis I, Kambas K, Chrysanthopoulou A, Skendros P, Apostolidou E, Kourtzelis I, et al. Neutrophil extracellular trap formation is associated with IL-1β and autophagy-related signaling in gout. PLoS One. 2011;6: e29318.doi: 10.1371/journal.pone.0029318.[6]Crişan TO, Cleophas MCP, Novakovic B, Erler K, van de Veerdonk FL, Stunnenberg HG, et al. Uric acid priming in human monocytes is driven by the AKT-PRAS40 autophagy pathway. Proc Natl Acad Sci U S A. 2017;114: 5485-5490.doi:10.1073/pnas.1620910114.[7]Lee SS, Lee SW, Oh DH, Kim HS, Chae SC, Kim SK. Genetic analysis for rs2241880(T > C) in ATG16L1 polymorphism for the susceptibility of Gout. J Clin Rheumatol. 2019;25: e113-e115.doi:10.1097/rhu.0000000000000685.Disclosure of Interests:Yu-Qin Huang: None declared, Quan-Bo Zhang Grant/research support from: National Natural Science Foundation of China(General Program) (no.81974250) and Science and Technology Plan Project of Sichuan Province (no.2018JY0257), Jian-Xiong Zheng: None declared, gui-lin jian: None declared, tao-hong liu: None declared, Xin He: None declared, fan-ni xiao: None declared, qin xiong: None declared, Yu-Feng Qing Grant/research support from: Science and Technology Project of Nanchong City (no.18SXHZ0522)

Based on Lee’s prior research on Daoism (Lee, 2003; Lee, 2004; Lee, Han, Byron and Fan, 2008; Lee and Hu, 1993; Lee, Norasakkunkit, Liu, Zhang and Zhou, 2008), this article first introduces Laozi, Dao, De and Daoism in relation to harmony. Then, Daoist harmony is elaborated in the following areas: (1) the yin-yang oneness, (2) the way it is (natural), (3) wei-wu-wei (or nonintervention), (4) water-like characteristics, (5) love for peace, and (6) tolerance and appreciation of differences. The article concludes with a suggestion for harmony with the external world as well as with fellow human beings.

LANGUAGE NOTE | Document text in Chinese; abstract also in English.
 本文旨在探討《左傳》“凡去其國”一例，既嘗試釋讀凡例文字，結合出土簡 帛異文説明此例關涉的語言現象，也通過考察楊伯峻《春秋左傳注》的應用情 況，尤其是對杜預《注》、孔穎達《疏》的取捨，窺探《傳》例的來源及其解《經》的 效能。全文主體共分四個章節，包括：《左傳》“凡去其國”例釋義———兼從出 土文獻異文現象看《傳》例文字；楊伯峻“凡去其國”例總注辨證———兼駁安井 衡《傳》例文字訛誤説；從楊《注》對杜《注》孔《疏》引《傳》例解《經》的取捨看 其注釋策略；“史之書策，必有舊法”———據《傳》“凡去其國”例證“五十凡”實 有自來。杜預從《傳》例解《經》事，有根有據。於若干例外《經》文，杜説亦甚 通達，但有時過於執著，委曲牽合，難免招人詬病。楊伯峻注以舊注疏爲鑒，於 其説有取有捨，其注釋策略及説解《經》、《傳》之用心，無疑值得審視與借鏡。 楊注未爲“凡去其國”例文字釋義，以“凡去其國，復歸其位曰復歸”解《經》，實 有未安。凡杜《注》於例外説義，楊注均避而不談，有意擺脱前人束縛。安井衡 認爲，“凡去其國”例中“入”與“歸”二字爲誤换，論證粗疏，並不可取。純從文 字訓詁論，《傳》所見“入”“復入”“歸”“復歸”與“納”“復”“反”“還”，取義相 通，故每每互用。這種現象也出現在傳世與出土的各種《老子》版本中。古策 書法式應有如《傳》例的規條，後史或依或違。借鑒楊伯峻的實踐經驗，引《傳》例説《經》，須審慎行事，於兩者之相合處，固可據《傳》例並書法解讀《經》文義 理，於其不合處，不能一概而論，以免委曲牽合、膠柱鼓瑟。
 Of the so-called “Fifty Outlines” (fan 凡)found in the Zuozhuan, one states that:: In all cases concerning princes or ministers who left their domains, if the leaders of their domains escorted them and established them, it is called ru ('enter ' . If their positions were restored after returning from abroad, it is called fu gui (' restoration return.' ) If princes of other domains installed them in power, it is called gui (' return '. If the princes or ministers returned by force and violence, it is called fu ru ( ' restoration enter. ' ” Based on a thorough and in-depth examination of Yang Bojun's commentary on this rule and its applications throughout the Chunqiu Zuozhuan zhu, this paper finds that Yang misused the short form of the fan, and that his equivocal gesture on Yasiu Sokken's suggestion of the misplacement of the keywords in the fan is completely unacceptable. A comparison of the keywords in this fan with different manuscripts of the Laozi shows that the terms ru, fu gui, gui, fu ru are synonymous and simply mean “return.” This paper also attempts to prove the authenticity of this fan by applying the norms to relevant historical events recorded in the Zuozhuan and hence explore some issues concerning its sources.

Cofactors may explain why in some cases food ingestion leads to anaphylaxis while in others elicits a milder reaction or tolerance. With cofactors, reactions become more severe and/or have a lower allergen threshold. Cofactors are present in up to 58% of food anaphylaxis (FAn). Exercise, NSAIDs, and alcohol are the most frequently described, although the underlying mechanisms are poorly known. Several hypotheses have suggested the influence of these cofactors on basophils and mast cells (MCs). Exercise has been suggested to enhance MC activation by increasing plasma osmolarity, redistributing blood flow, and activating adenosine and eicosanoid metabolism. NSAIDs’ cofactor effect has been related with cyclooxygenase inhibition and therefore, prostaglandin E2 (PGE2) production. Indeed, overexpression of adenosine receptor 3 (A3) gene has been described in NSAID-dependent FAn; A3 activation potentiates FcϵRI-induced MC degranulation. Finally, alcohol has been related with an increase of histamine levels by inhibition of diamino oxidase (DAO) and also with and increase of extracellular adenosine by inhibition of its uptake. However, most of these mechanisms have limited evidence, and further studies are urgently needed. In conclusion, the study of the immune-related mechanisms involved in food allergic reactions enhanced by cofactors is of the utmost interest. This knowledge will help to design both tailored treatments and prophylactic strategies that, nowadays, are non-existent.

This study investigates the dynamical attitude of a nonlinear elastic circular rod’s longitudinal oscillation with lateral inertia and finite radius. This model was derived in 1986 by Wei and Gui-tong with a fourth-order nonlinear mixed derivative. The axial symmetry of this model has been thought through by using cylindrical coordinates. Furthermore, the strain and kinetic energy in the length unit of the rod have been determined. Two recent computational (extended Fan-expansion (EFE) and generalized rational (GR)) techniques are employed to construct some novel solitary wave solutions. The soliton wave solutions are obtained using Mathematica 13 software and are given with the distinct physical properties of trigonometric, hyperbolic and rational solution species. The stability of the investigated model and the obtained solutions through the suggested two analytical schemes are tested. Putting different values of the parameters explains these solutions through some numerical simulations in two-dimensional, three-dimensional and contour plots.

Introduction In a 2019 report for the International Journal of Communication, Baym et al. positioned distributed blockchain ledger technology, and what would subsequently be referred to as Web3, as a convening technology. Riffing off Barnett, a convening technology “initiates and serves as the focus of a conversation that can address issues far beyond what it may ultimately be able to address itself” (403). The case studies for the Baym et al. research—early, aspirant projects applying the blockchain concept to music publishing and distribution—are described in the piece as speculations or provocations concerning music’s commercial and social future. What is convened in this era (pre-2017 blockchain music discourse and practice) is the potential for change: a type of widespread, broadly discussed, reimagination of the 21st-century music industries, productive precisely because near-future applications suggest the realisation of what Baym et al. call dreams. In this article, we aim to examine the Web3 music field as it lies some years later. Taking the latter half of 2021 as our subject, we present a survey of where music then resided within Web3, focussing on how the dreams of Baym et al. have morphed and evolved, and materialised and declined, in the intervening years. By investigating the discourse and functionality of 2021’s current crop of music NFTs—just one thread of music Web3’s far-reaching aspiration, but a potent and accessible manifestation nonetheless—we can make a detailed analysis of concept-led application. Volatility remains throughout the broader sector, and all of the projects listed here could be read as conditionally short-term and untested, but what they represent is a series of clearly evolved case studies of the dream, rich precisely because of what is assumed and disregarded. WTF Is an NFT? Non-fungible tokens inscribe indelible, unique ledger entries on a blockchain, detailing ownership of, or rights associated with, assets that exist off-chain. Many NFTs take the form of an ERC-721 smart-contract that functions as an indivisible token on the Ethereum blockchain. Although all ERC-721 tokens are NFTs, the inverse is not true. Similar standards exist on other blockchains, and bridges allow these tokens to be created on alternative networks such as Polygon, Solana, WAX, Cardano and Tezos. The creation (minting) and transfer of ownership on the Ethereum network—by far the dominant chain—comes with a significant and volatile transaction cost, by way of gas fees. Thus, even a “free” transaction on the main NFT network requires a currency and time investment that far outweighs the everyday routines of fiat exchange. On a technical level, the original proposal for the ERC-721 standard refers to NFTs as deeds intended to represent ownership of digital and physical assets like houses, virtual collectibles, and negative value assets such as loans (Entriken et al.). The details of these assets can be encoded as metadata, such as the name and description of the asset including a URI that typically points to either a file somewhere on the Internet or a file hosted via IPFS, a decentralised peer-to-peer hosting network. As noted in the standard, while the data inscribed on-chain are immutable, the asset being referred to is not. Similarly, while each NFT is unique, multiple NFTs could, in theory, point to a single asset. In this respect ERC-721 tokens are different from cryptocurrencies and other tokens like stable-coins in that their value is often contingent on their accurate and ongoing association with assets outside of the blockchain on which they are traded. Further complicating matters, it is often unclear if and how NFTs confer ownership of digital assets with respect to legislative or common law. NFTs rarely include any information relating to licencing or rights transfer, and high-profile NFTs such as Bored Ape Yacht Club appear to be governed by licencing terms held off-chain (Bored Ape Yacht Club). Finally, while it is possible to inscribe any kind of data, including audio, into an NFT, the ERC-721 standard and the underpinning blockchains were not designed to host multimedia content. At the time of writing, storing even a low-bandwidth stereo audio file on the ethereum network appears cost-prohibitive. This presents a challenge for how music NFTs distinguish themselves in a marketplace dominated by visual works. The following sections of this article are divided into what we consider to be the general use cases for NFTs within music in 2021. We’ve designated three overlapping cases: audience investment, music ownership, and audience and business services. Audience Investment Significant discourse around NFTs focusses on digital collectibles and artwork that are conceptually, but not functionally, unique. Huge amounts of money have changed hands for specific—often celebrity brand-led—creations, resulting in media cycles of hype and derision. The high value of these NFTs has been variously ascribed to their high novelty value, scarcity, the adoption of NFTs as speculative assets by investors, and the lack of regulatory oversight allowing for price inflation via practices such as wash-trading (Madeline; Das et al.; Cong et al.; Le Pennec, Fielder, and Ante; Fazil, Owfi, and Taesiri). We see here the initial traditional split of discourse around cultural activity within a new medium: dual narratives of utopianism and dystopianism. Regardless of the discursive frame, activity has grown steadily since stories reporting the failure of Blockchain to deliver on its hype began appearing in 2017 (Ellul). Early coverage around blockchain, music, and NFTs echoes this capacity to leverage artificial scarcity via the creation of unique digital assets (cf Heap; Tomaino). As NFTs have developed, this discourse has become more nuanced, arguing that creators are now able to exploit both ownership and abundance. However, for the most part, music NFTs have essentially adopted the form of digital artworks and collectibles in editions ranging from 1:1 or 1:1000+. Grimes’s February 2021 Mars NFT pointed to a 32-second rotating animation of a sword-wielding cherubim above the planet Mars, accompanied by a musical cue (Grimes). Mars sold 388 NFTs for a reported fixed price of $7.5k each, grossing $2,910,000 at time of minting. By contrast, electronic artists Steve Aoki and Don Diablo have both released 1:1 NFT editions that have been auctioned via Sotheby’s, Superrare, and Nifty Gateway. Interestingly, these works have been bundled with physical goods; Diablo’s Destination Hexagonia, which sold for 600 Eth or approximately US$1.2 million at the time of sale, proffered ownership of a bespoke one-hour film hosted online, along with “a unique hand-crafted box, which includes a hard drive that contains the only copy of the high-quality file of the film” (Diablo). Aoki’s Hairy was much less elaborate but still promised to provide the winner of the $888,888 auction with a copy of the 35-second video of a fur-covered face shaking in time to downbeat electronica as an Infinite Objects video print (Aoki). In the first half of 2021, similar projects from high-profile artists including Deadmau5, The Weekend, Snoop Dogg, Eminem, Blondie, and 3Lau have generated an extraordinary amount of money leading to a significant, and understandable, appetite from musicians wanting to engage in this marketplace. Many of these artists and the platforms that have enabled their sales have lauded the potential for NFTs to address an alleged poor remuneration of artists from streaming and/or bypassing “industry middlemen” (cf. Sounds.xyz); the millions of dollars generated by sales of these NFTs presents a compelling case for exploring these new markets irrespective of risk and volatility. However, other artists have expressed reservations and/or received pushback on entry into the NFT marketplace due to concerns over the environmental impact of NFTs; volatility; and a perception of NFT markets as Ponzi schemes (Poleg), insecure (Goodin), exploitative (Purtill), or scammy (Dash). As of late 2021, increased reportage began to highlight unauthorised or fraudulent NFT minting (cf. TFL; Stephen), including in music (Newstead). However, the number of contested NFTs remains marginal in comparison to the volume of exchange that occurs in the space daily. OpenSea alone oversaw over US$2.5 billion worth of transactions per month. For the most part, online NFT marketplaces like OpenSea and Solanart oversee the exchange of products on terms not dissimilar to other large online retailers; the space is still resolutely emergent and there is much debate about what products, including recently delisted pro-Nazi and Alt-Right-related NFTs, are socially and commercially acceptable (cf. Pearson; Redman). Further, there are signs this trend may impact on both the willingness and capacity of rightsholders to engage with NFTs, particularly where official offerings are competing with extant fraudulent or illegitimate ones. Despite this, at the time of writing the NFT market as a whole does not appear prone to this type of obstruction. What remains complicated is the contested relationship between NFTs, copyrights, and ownership of the assets they represent. This is further complicated by tension between the claims of blockchain’s independence from existing regulatory structures, and the actual legal recourse available to music rights holders. Music Rights and Ownership Baym et al. note that addressing the problems of rights management and metadata is one of the important discussions around music convened by early blockchain projects. While they posit that “our point is not whether blockchain can or can’t fix the problems the music industries face” (403), for some professionals, the blockchain’s promise of eliminating the need for trust seemed to provide an ideal solution to a widely acknowledged business-to-business problem: one of poor metadata leading to unclaimed royalties accumulating in “black boxes”, particularly in the case of misattributed mechanical royalties in the USA (Rethink Music Initiative). As outlined in their influential institutional research paper (partnered with music rights disruptor Kobalt), the Rethink Music Initiative implied that incumbent intermediaries were benefiting from this opacity, incentivising them to avoid transparency and a centralised rights management database. This frame provides a key example of one politicised version of “fairness”, directly challenging the interest of entrenched powers and status quo systems. Also present in the space is a more pragmatic approach which sees problems of metadata and rights flows as the result of human error which can be remedied with the proper technological intervention. O’Dair and Beaven argue that blockchain presents an opportunity to eliminate the need for trust which has hampered efforts to create a global standard database of rights ownership, while music business researcher Opal Gough offers a more sober overview of how decentralised ledgers can streamline processes, remove inefficiencies, and improve cash flow, without relying on the moral angle of powerful incumbents holding on to control accounts and hindering progress. In the intervening two years, this discourse has shifted from transparency (cf. Taghdiri) to a practical narrative of reducing system friction and solving problems on the one hand—embodied by Paperchain, see Carnevali —and ethical claims reliant on the concept of fairness on the other—exemplified by Resonate—but with, so far, limited widespread impact. The notion that the need for b2b collaboration on royalty flows can be successfully bypassed through a “trustless” blockchain is currently being tested. While these earlier projects were attempts to either circumvent or fix problems facing the traditional rights holders, with the advent of the NFT in particular, novel ownership structures have reconfigured the concept of a rights holder. NFTs promise fans an opportunity to not just own a personal copy of a recording or even a digitally unique version, but to share in the ownership of the actual property rights, a role previously reserved for record labels and music publishers. New NFT models have only recently launched which offer fans a share of IP revenue. “Collectors can buy royalty ownership in songs directly from their favorite artists in the form of tokens” through the service Royal. Services such as Royal and Vezt represent potentially massive cultural shifts in the traditional separation between consumers and investors; they also present possible new headaches and adventures for accountants and legal teams. The issues noted by Baym et al. are still present, and the range of new entrants into this space risks the proliferation, rather than consolidation, of metadata standards and a need to put money into multiple blockchain ecosystems. As noted in RMIT’s blockchain report, missing royalty payments … would suggest the answer to “does it need a blockchain?” is yes (although further research is needed). However, it is not clear that the blockchain economy will progress beyond the margins through natural market forces. Some level of industry coordination may still be required. (18) Beyond the initial questions of whether system friction can be eased and standards generated without industry cooperation lie deeper philosophical issues of what will happen when fans are directly incentivised to promote recordings and artist brands as financial investors. With regard to royalty distribution, the exact role that NFTs would play in the ownership and exploitation of song IP remains conceptual rather than concrete. Even the emergent use cases are suggestive and experimental, often leaning heavily on off-chain terms, goodwill and the unknown role of existing legal infrastructure. Audience and Business Services Aside from the more high-profile NFT cases which focus on the digital object as an artwork providing a source of value, other systemic uses of NFTs are emerging. Both audience and business services are—to varying degrees—explorations of the utility of NFTs as a community token: i.e. digital commodities that have a market value, but also unlock ancillary community interaction. The music industries have a longstanding relationship with the sale of exclusivity and access tailored to experiential products. Historically, one of music’s most profitable commodities—the concert ticket—contains very little intrinsic value, but unlocks a hugely desirable extrinsic experience. As such, NFTs have already found adoption as tools of music exclusivity; as gateways into fan experiences, digital communities, live events ticketing and closed distribution. One case study incorporating almost all of these threads is the Deathbats club by American heavy metal band Avenged Sevenfold. Conceived of as the “ultimate fan club”, Deathbats is, according to the band’s singer M. Shadows, “every single thing that [fans] want from us, which is our time, our energy” (Chan). At the time of writing, the Deathbats NFT had experienced expected volatility, but maintained a 30-day average sale price well above launch price. A second affordance provided by music NFTs’ ability to tokenise community is the application of this to music businesses in the form of music DAOs: decentralised autonomous organisations. DAOs and NFTs have so far intersected in a number of ways. DAOs function as digital entities that are owned by their members. They utilise smart contracts to record protocols, votes, and transactions on the blockchain. Bitcoin and Ethereum are often considered the first DAOs of note, serving as board-less venture capital funds, also known as treasuries, that cannot be accessed without the consensus of their members. More recently, DAOs have been co-opted by online communities of shared interests, who work towards an agreed goal, and operate without the need for leadership. Often, access to DAO membership is tokenised, and the more tokens a member has, the more voting rights they possess. All proposals must pass before members, and have been voted for by the majority in order to be enacted, though voting systems differ between DAOs. Proposals must also comply with the DAO’s regulations and protocols. DAOs typically gather in online spaces such as Discord and Zoom, and utilise messaging services such as Telegram. Decentralised apps (dapps) have been developed to facilitate DAO activities such as voting systems and treasury management. Collective ownership of digital assets (in the form of NFTs) has become commonplace within DAOs. Flamingo DAO and PleasrDAO are two well-established and influential examples. The “crypto-backed social club” Friends with Benefits (membership costs between $5,000 and $10,000) serves as a “music discovery platform, an online publication, a startup incubator and a kind of Bloomberg terminal for crypto investors” (Gottsegen), and is now hosting its own curated NFT art platform with work by the likes of Pussy Riot. Musical and cross-disciplinary artists and communities are also exploring the potential of DAOs to empower, activate, and incentivise their communities as an extension of, or in addition to, their adoption and exploration of NFTs. In collaboration with Never Before Heard Sounds, electronic artist and musical pioneer Holly Herndon is exploring ideological questions raised by the growing intelligence of AI to create digital likeness and cloning through voice models. Holly+ is a custom voice instrument that allows users to process pre-existing polyphonic audio through a deep neural network trained by recordings of Holly Herndon’s voice. The output is audio-processed through Holly Herndon’s distinct vocal sound. Users can submit their resulting audio to the Holly+ DAO, to whom she has distributed ownership of her digital likeness. DAO token-holders steward which audio is minted and certified as an NFT, ensuring quality control and only good use of her digital likeness. DAO token-holders are entitled to a percentage of profit from resales in perpetuity, thereby incentivising informed and active stewardship of her digital likeness (Herndon). Another example is LA-based label Leaving Records, which has created GENRE DAO to explore and experiment with new levels of ownership and empowerment for their pre-existing community of artists, friends, and supporters. They have created a community token—$GENRE—for which they intend a number of uses, such as “a symbol of equitable growth, a badge of solidarity, a governance token, currency to buy NFTs, or as a utility to unlock token-gated communities” (Leaving Records). Taken as a whole, the spectrum of affordances and use cases presented by music NFTs can be viewed as a build-up of interest and capital around the technology. Conclusion The last half of 2021 was a moment of intense experimentation in the realms of music business administration and cultural expression, and at the time of writing, each week seemed to bring a new high-profile music Web3 project and/or disaster. Narratives of emancipation and domination under capitalism continue to drive our discussions around music and technology, and the direct link to debates on ecology and financialisation make these conversations particularly polarising. High-profile cases of music projects that overstep norms of existing IP rights, such as Hitpiece’s attempt to generate NFTs of songs without right-holders’ consent, point to the ways in which this technology is portrayed as threatening and subversive to commercial musicians (Blistein). Meanwhile, the Water and Music research DAO promises to incentivise a research community to “empower music-industry professionals with the knowledge, network and skills to do more collaborative and progressive work with technology” through NFT tokens and a DAO organisational structure (Hu et al.). The assumption in many early narratives of the ability of blockchain to provide systems of remuneration that musicians would embrace as inherently fairer is far from the reality of a popular discourse marked by increasing disdain and distrust, currently centred on NFTs as lacking in artistic merit, or even as harmful. We have seen all this talk before, of course, when jukeboxes and player pianos, film synchronisation, radio, recording, and other new communication technologies steered new paths for commercial musicians and promised magical futures. All of these innovations were met with intense scrutiny, cries of inauthentic practice, and resistance by incumbent musicians, but all were eventually sustained by the emergence of new forms of musical expression that captured the interest of the public. On the other hand, the road towards musical nirvana passes by not only the more prominent corpses of the Digital Audio Tape, SuperAudio, and countless recording formats, but if you squint and remember that technology is not always about devices or media, you can see the Secure Download Music Initiative, PressPlay, the International Music Registry, and Global Repertoire Databases in the distance, wondering if blockchain might correct some of the problems they dreamed of solving in their day. The NFT presents the artistic and cultural face of this dream of a musical future, and of course we are first seeing the emergence of old models within its contours. 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