Challenger Research Journal

This is the whole pdf for Volume 4 with all of the articles. 

Triggering Receptor Expressed on Myeloid Cells 2 (TREM2) is a surface receptor expressed in macrophages during tissue injury. This receptor plays a role in driving phagocytosis and dampening inflammation. Because of this, it plays a large part in diseases such as Alzheimer’s disease, liver fibrosis, and metabolic syndrome. Each of these diseases all have a population of TREM2-expressing macrophages that does not exist in healthy tissue. However, the exact pathway in which TREM2 is involved in these diseases is rather unknown. Macrophage gene expression is regulated by a variety of transcription factors such as ATF3 and TFEB. These transcription factors have been suggested to be involved in some of the disease processes mentioned above by RNA-seq or ChIP-seq experiments.

The research question we addressed was how these two transcription factors directly affectvtranscription in macrophages, specifically in the TREM2 pathway. CRISPR/Cas9 gene editing was used to generate loss of function alleles for each transcription factor. RNA-seq was then used to compare gene expression to define the

gene-specific transcriptional roles of each factor and determine whether they play roles downstream of TREM2 signaling.

Results showed that Atf3 knockout had very few genes upregulated or downregulated in the RNA seq compared to Trem2 knockout. Tfeb, on the other hand, had 13 genes in common with Trem2 knockout that were expressed lower than the control and 10 genes in common expressed higher than the control. The Tfeb knockout had

no difference in Trem2 expression between the knockout population and control, further providing evidence that Tfeb is located downstream of Trem2. Because Trem2 levels stayed consistent in the Tfeb KO, it is likely that

some of the effects of Trem2 on the macrophage disease population genes are directly mediated through Tfeb.

Artificial intelligence systems leverage large datasets with iterative processing algorithms that identify patterns to create an additional layer of expertise. This transformational power operates in tandem with ethical risks. The dominant narrative behind AI is simultaneously stigmatized and misunderstood: with exponential growth of the ubiquitous technology leaving public awareness in the dust, it's becoming increasingly important to balance enthusiasm for AI's enormous promise with a sober understanding of its moral risks. This study seeks to characterize the public opinion of AI in high-risk, domain-specific applications. To that end, a poll was administered to American adults. The results of the study reveal that the great majority of survey respondents have a neutral or optimistic perspective on AI in particular high-risk domains. The study concludes by presenting a standard heuristic for understanding public perception where ethics may fail to preserve a human factors' approach. In this way, researchers and developers can undertake coordinated efforts to mitigate the harm caused by AI while promoting rational optimism in vulnerable populations.

This article highlights the relationship between wuxia (martial heroes) and jidaigeki (period drama) action films and state censorship in the 1930s and 1940s. I first introduce readers to key East-Asian literary conventions that portray righteous warriors who incarnate their moral codes with swords. I then illustrate the political contexts in 1930s China and 1940s Japan which caused the popular film genres of wuxia and jidaigeki to become politically problematic and therefore strictly censored. I closely examine director Bu Wancang’s 1931 wuxia film A Spray of Plum Blossoms and Kurosawa Akira’s jidaigeki 1945 film Treading on the Tiger’s Tail, investigating creative solutions each director found in order to release their respective films despite censorship pressures. There are three inventions both directors pioneered in their work, namely “ostensible exactness” in setting; “patriotic warriors” in characterization; and “swordless fights” in presenting spectacular action scenes. I argue that although these solutions failed to restore both genres back to their former popularity, Kurosawa’s film paved the way for the success of his world-class jidaigeki in the 1950s, and Bu’s wuxia led to the emergence of kung fu films in the 1960s. My critical analysis underscores the innovative creativity of Chinese wuxia and Japanese jidaigeki films while calling attention to the artistic and cultural legacies of these two popular cinematic genres. The comparison demonstrates how film censorship may undermine or even destroy traditions that have a long history and deep cultural roots.