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Coupe parasagittale au niveau des replis de la valvule du cervelet. La technique de coloration est la même que celle de la figure P11a_010 avec un grossissement des replis multiplié par quatre. Cette méthode à l’argent, utilisée sur coupes à la paraffine, est rapide et assez bien reproductible. Elle teinte en noir le réseau neurofibrillaire des dendrites et axones mais pas les corps cellulaires, qui présentent une teinte brun-orangé.
- Pour plus de détails ou précisions, voir « Atlas of Fish Histology » CRC Press, ou « Histologie illustrée du poisson » (QUAE) ou s'adresser à Franck Genten (fgenten@gmail.com)
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Parasagittal section through the folds of the valvula cerebelli. Neuronal processes can be quite easily
demonstrated in paraffin sections by using the silver
impregnation according to Tinel. This rapid and
fairly reliable method stains axons, fibrillary structures
(neurofibrils) and dendrites of many neurons in
black, with some differences depending on the procedure.
Cell bodies (somata) of neurons are in shades of orange brown.
- For more information or details, see « Atlas of Fish Histology » CRC Press, or « Histologie illustrée du poisson » (QUAE) or contact Franck Genten (fgenten@gmail.com)
Credit: Dr Sarah Newey, Dorothy Hodgkin Fellow from the University of Oxford.
Growing brain cells from humans to understand brain development and disease has become possible with the advent of induced pluripotent stem cell (iPSC) technology. Here, a skin biopsy is taken and the resulting skin cells grown in a dish. These cells are then reprogrammed to naive stem cells using a clever cocktail of biological factors. These stem cells are now pluripotent - meaning they can be differentiated into any cell type in the body with the appropriate instructions. In this image, human iPSCs have been instructed to make cortical brain cells, or neurons, which make up three quarters of the human brain. The red flower-like structures, known as ‘rosettes’, are labelled for a marker of neuronal stem cells. These neuronal stem cells give rise to the more mature neurons, labelled green, with their characteristic long branches. The nuclei of these cells are labelled blue. A truly remarkable process.
By activating multiple fluorescent proteins in neurons, neuroscientists at Harvard University are imaging the brain and nervous system as never before, rendering their cells in a riotous spray of colors dubbed a "Brainbow";
Brainbow allows researchers to tag neurons with roughly 90 distinct colors, a huge leap over the mere handful of shades possible with current fluorescent labeling. By permitting visual resolution of individual brightly colored neurons, this increase should greatly help scientists in charting the circuitry of the brain and nervous system.
Revised logo for the Brain Rehabilitation Research Center, located in Gainesville, Florida. At the center, scientists conduct research to discover new or improved forms of neurorehabilitation for impairments caused by stroke, incomplete spinal cord injury, or other neurological problems.
Waterfall image, taken with 4 x 5 camera and then aged in Adobe Photoshop, Middle - single neuron hand coloured - scanning electron micrograph and 3D space ship rendered in Swift 3D
H. 30 ; L.40 cm
Avec encadrement H.40 ; L.50 cm
Acrylique brillante
Paris, 2012
> Original en vente: flic.kr/p/sNaXaX
> Estampe numérotée avec passe-partout: flic.kr/p/2kUjZ6P
> Impression grand format: flic.kr/p/2kU7mRc
=> impression encadrée: flic.kr/p/XkYpM7
> Dessous de verre: flic.kr/p/2kTJFZh
> Dessous de plat: flic.kr/p/2kTL7xh
> Set de table: flic.kr/p/2kTUzZ9
> Petits cadres noirs: flic.kr/p/2kTWgNL
> Cadres acrylique profondeur: flic.kr/p/2kTUN4u
> Sac imperméable: flic.kr/p/2kDKZo5
> Sac de courses: flic.kr/p/2j1i1wM
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Sur cette image de neurone mutant d’hippocampe de rat, obtenue en microscopie confocale après 7 jours en culture (in vitro), on observe les détails des compartiments du neurone permettant la transmission d'une information au sein du cerveau. En magenta, on peut distinguer les dendrites (ramifications) du neurone qui recueillent de l’information et en cyan la partie proximale des axones, une extension normalement unique du neurone, qui propage l'information depuis le corps jusqu'aux terminaisons nerveuses (ou synapses). Ici, le rat auquel appartient ce neurone est muté pour le gène Prickle 2 qui ne s'exprime pas. Cette mutation conduit à la genèse anoemale de 4 axones au lieu d'un seul.
Cette image est extraite d'un travail mené par une équipe de chercheurs de l'Inserm qui cherche à mieux comprendre les troubles du développement neurologique (TND). Ces troubles entrainent des pathologies telles que les troubles du spectre autistique (TSA) ou l'épilepsie. Les résultats de leurs recherches rapportent que lorsque la protéine Prickle 2 est défectueuse, différents compartiments du neurone sont affectés ce qui entraîne une mauvaise transmission d'information. Ces défauts peuvent avoir des conséquences sur l’efficacité des approches thérapeutiques actuellement proposées pour les TND. Les avoir repérés et avoir identifié cette protéine défectueuse est un pas de plus vers la mise au point de thérapies plus efficaces.
© Ana Dorrego-Rivas et Mireille Montcouquiol /Inserm.licence CC-BY-NC 4.0 international
Source : The core PCP protein Prickle2 regulates axon number and AIS maturation by binding to AnkG and modulating microtubule bundling, ScienceAdvances, 9 septembre 2022
A neurotrophin-induced signaling endosome (green) is transported by a specialized dynein motor (red) along the microtubules of a hippocampal neuron. (JCB 181(6) TOC2).
This image is available to the public to copy, distribute, or display under a Creative Commons Attribution-Noncommercial-Share Alike 3.0 Unported license.
Reference: Ha et al. (2008) J. Cell Biol. 181:1027-1039.
Published on: June 16, 2008.
Doi: 10.1083/jcb.200803150.
Read the full article at:
“Every neural network we looked at, we would find a dedicated neuron for Donald Trump. That was the only person who had always had a dedicated neuron.” — Chris Olah, Anthropic’s head of mechanistic interpretability (trying to make sense of these neural nets after they have been trained), from the Lex Fridman podcast
This is a purely emergent phenomenon, not designed in, and it’s part of a broader resonant homology across neural networks, biological and artificial.
Chris: “This, actually, is indeed a really remarkable and exciting thing, where the same elements, the same features and circuits, form again and again. You can look at every vision model, and you’ll find curve detectors, and you’ll find high-low-frequency detectors. And in fact, there’s some reason to think that the same things form across biological neural networks and artificial neural networks. So, a famous example is vision models in the early layers. They have Gabor [edge-detecting] filters, and Gabor filters are something that neuroscientists are interested in and have thought a lot about. We find curve detectors in these models. Curve detectors are also found in monkeys. We discover these high-low-frequency detectors, and then some follow-up work went and discovered them in rats or mice. So, they were found first in artificial neural networks and then found in biological neural networks.” — from the Lex Fridman pod, and it’s quite interesting from this point onward
This field of study has fascinated me from my first exposure to neural networks in 1989 (when I started a PhD in EE to study them). How fascinating that artificial neural nets recapitulate some of the developmental processes and resulting structures seen in our sensory cortex!
But the biological analogy also carries over to the problem of interpretability. The complex artifacts created by an iterative algorithm — whether brain or LLM — are inherently inscrutable. I first wrote about this in the MIT Tech Review in 2006, concluding: “If we artificially evolve a smart AI, it will be an alien intelligence defined by its sensory interfaces, and understanding its inner workings may require as much effort as we are now expending to explain the human brain.”
So, I respect the difficulty of Mechinterp, and the appeal, unweaving the beauty of transcendence.
Chris concludes: “Biology has these simple rules, and it gives rise to all the life and ecosystems that we see around us. All the beauty of nature, that all just comes from evolution and from something very simple in evolution. And similarly, I think that neural networks build, create enormous complexity and beauty inside and structure inside themselves that people generally don’t look at and don’t try to understand because it’s hard to understand. But I think that there is an incredibly rich structure to be discovered inside neural networks, a lot of very deep beauty if we’re just willing to take the time to go and see it and understand it.”
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This group exhibition, including work by Catherine Richards, Michael Snow, Scott Rogers, Thomson & Craighead and Simon Pope, draws on ideas of scientific experimentation, media processing, and time delay. Each work acts to slow down our senses of perception, causing within us an awareness of both time passing and our experience of it. The title refers to that fact that we often watch other people interact with responsive art, and mirror their behaviour, consciously or not.
Catherine Richards’ I was scared to death / I could have died of joy features glass replicas of the brain, which react to your presence with pulses of electromagnetic light. Scott Rogers’ Between Nonesuch Place juxtaposes an actual non-functioning glass object, a ‘self-flowing flask’ with its virtual working counterpart. Thomson & Craighead’s Flipped Clock is a modified digital clock display, where each individual digit is rotated by 180-degrees. Simon Pope’s Recall From Memory the Space of Another Gallery is an invitation for the visitor to recall experiences of being in other gallery spaces from memory. The seminal filmmaker Michael Snow’s WVLNT: Wavelength for those who don't have the time. Originally 45 minutes, Now 15! remixes his own seminal work Wavelength.
Credit
Curated by Sarah Cook. Supported by CRUMB and The University of Sunderland.
This group exhibition, including work by Catherine Richards, Michael Snow, Scott Rogers, Thomson & Craighead and Simon Pope, draws on ideas of scientific experimentation, media processing, and time delay. Each work acts to slow down our senses of perception, causing within us an awareness of both time passing and our experience of it. The title refers to that fact that we often watch other people interact with responsive art, and mirror their behaviour, consciously or not.
Catherine Richards’ I was scared to death / I could have died of joy features glass replicas of the brain, which react to your presence with pulses of electromagnetic light. Scott Rogers’ Between Nonesuch Place juxtaposes an actual non-functioning glass object, a ‘self-flowing flask’ with its virtual working counterpart. Thomson & Craighead’s Flipped Clock is a modified digital clock display, where each individual digit is rotated by 180-degrees. Simon Pope’s Recall From Memory the Space of Another Gallery is an invitation for the visitor to recall experiences of being in other gallery spaces from memory. The seminal filmmaker Michael Snow’s WVLNT: Wavelength for those who don't have the time. Originally 45 minutes, Now 15! remixes his own seminal work Wavelength.
Credit
Curated by Sarah Cook. Supported by CRUMB and The University of Sunderland.
…neuroni alla ricerca di una strada mai percorsa, / labirinti cerebrali specchiati, / tutto è come amplificato, bizzarro, / sono un proiettile impazzito nella fantasia cosmica….
...neurons in search for a never covered route, / cerebral labyrinths mirrored, / everything is somehow amplified, bizarre, / I am a bullet gone wild in the cosmic fantasy...