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Introduction. Cone-beam computed tomography (CBCT) is considered to be the most informative radiographic method for pre- and postoperative analysis of the maxillary anatomy and for avoiding further complication. Canalis sinuosus is one of such structures that damage can go along with bleeding and neurological symptomatology. The aim of the study was to investigate radiological and morphometric features of the canalis sinuosus in Russian population using CBCT technique. Materials and Methods. 150 CBCT scans of 61 males and 89 females aged from 24 to 80 years were retrospectively studied with different slice thickness and evaluated with regards to prevalence and diameter among age and gender groups in Russia. Results. CS prevalence in this study was 67%, and CS was most frequently presented in the lateral incisor region (33.5%). Women showed statistically higher CS prevalence (p

The article analyzes cityscapes from the point of view of their value for the formation and preservation of the spatial and temporal unity of the cultural landscape of the historical city. The author distinguishes between cityscapes (urban views) as images of any urban location or composition and cityscapes (urban views) as configurations of architectural and other material spaces that we can observe in a real urban environment. The cityscape is defined in this article as a freely perceived, “readable” architectural urban composition, having high artistic significance and “supporting” the surrounding urban tissue, being the most important factor in the activity of citizens and guests of the city, and is also “responsible” for a specific identity urban space as a whole. A cityscape usually consists of several spatial patterns. The space of a traditional Russian city is formed as a system of urban views that reveal both its geographical design and its sacred semantics. Damage (destruction) of one or more cityscapes leads to degradation of the urban environment as a whole. The author defines the main reasons for the destruction of cityscapes and determines the consequences of these processes. The author concludes that cityscapes (urban views), as spatial structures that form the supporting frame of the visual environment, are a fundamental part of the entire cultural structure called ‘the city’. The system of urban views carries several integration functions: logistic, aesthetic, semiotic, local-historical, cultural-identification, and social. The system of cityscapes directly reveals the specifics of the city. The preservation of cityscapes as fundamental pillars of the urban environment and as cultural heritage values ensures the actuality of the historical past, the spatiotemporal unity of an identical urban environment, and also instills in citizens a sense of belonging to their city, which exists only in a ‘long time’ of culture.

Bell state measurements (BSMs) play a significant role in quantum information and quantum computing, in particular in fusion-based quantum computing (FBQC). The FBQC model is a framework for universal quantum computing, provided that we are able to perform entangling measurements, called fusions, on qubits within small entangled resource states. Here, we analyze the usage of different linear-optical BSM circuits as fusions in the FBQC schemes and numerically evaluate hardware requirements for fault-tolerance in this framework. We examine and compare the performance of several BSM circuits with varying additional resources and estimate the requirements on losses for every component of the linear-optical realization of fusions under which errors in fusion networks caused by these losses can be corrected. Our results show that fault-tolerant quantum computing in the FBQC model is possible with currently achievable levels of optical losses in an integrated photonic implementation, provided that we can create and detect single photons of the resource states with a total marginal efficiency higher than 0.973.

The article provides a semantic analysis of the theme of kitovras (centaur) in Russian medieval fine art. The author argues that in the system of relief decorations of Russian medieval cathedrals in Vladimir, the centaur is associated with the Jerusalemite kings David and Solomon and serves to accentuate the theme of a wise and righteous ruler. The study of kitovras images in Russian medieval art, traces the origins of this character back to apocryphal literature or even further to ancient mythology, Talmudic tradition and biblical narratives, which merged into a ‘Russian centaur’. The earliest kitovras images are found in Novgorod region in the 11th century. The typology of centaur images in Rus’, as well as the study of possible contexts for the use of these images in church decoration and in everyday life, make it possible to systematize the semantic and axiological connotations evoked by this figure of a man-beast. These connotations are associated with the ideas of (1) natural savagery, (2) demonic character, (3) duplicity, (4) wisdom, (5) architectural skills, (6) moral perfection, (7) saving pedagogy, (8) protection from evil and, finally, (9) religiously sanctioned authority. Since all these connotations are associated with the same character, the kitovras should be understood as a polyvalent symbol that reveals to viewers one or another of its aspects depending on a viewer’s semiotic code and on the visual and narrative contexts in which it is integrated. Russian churches open their facades into the surrounding urban environment and thereby saturate it with certain meanings, conveyed both by the outline of the churches and by their exterior decoration. Any figure, any scene and any character represented on external surfaces of the churches directly contributes to the semantics of the urban space, to its ideological and cultural program, and functions as a means of informing both confessional and local identity. Such is also the function of kitovras images in the semantic structure of traditional Russian cities. В статье проведён семантический анализ образа китовраса (кентавра) в русском средневековом изобразительном искусстве. Автор констатирует, что в системе рельефных украшений соборов Владимирской Руси кентавр связан с персонами иерусалимских царей Давида и Соломона и служит для усиления мотивов мудрости, зодчества и праведной власти. Исследование темы китовраса в русском средневековом искусстве позволяет обнаружить истоки этого персонажа в апокрифической литературе; ряд мотивов перенесён на русского кентавра из античной мифологии, талмудической традиции и библейских нарративов. Начальный этап распространения образа китовраса связан с культурой Новгорода XI века. Типология изображений кентавра на Руси, а также изучение возможных контекстов использования этого образа в храмовой декорации и повседневном обиходе дают возможность систематизировать те смысловые и ценностные коннотации, которые заключены в фигуре человека-зверя. Эти смысловые подтексты связаны с идеями (1) природной дикости, (2) демонического характера, (3) двуличия, (4) мудрости, (5) архитектурного мастерства, (6) нравственного совершенства, (7) спасительной педагогики, (8) защиты от зла и, наконец, (9) религиозно санкционированной власти. Поскольку все эти коннотации связаны с одним и тем же персонажем, постольку китоврас должен быть понят как поливалентный символ, обнаруживающий перед зрителем тот или иной конкретный содержательный аспект в зависимости от визуально-нарративного контекста, в который он включён, и от того кода, которым располагает (пользуется) реципиент. Русский храм открывается своими фасадами в окружающую городскую среду и тем самым активно участвует в наполнении этой среды определёнными смыслами, выраженными и с помощью формы храма, и с помощью его экстерьерного декора. Таким образом, любой сюжет, любая сцена и любой персонаж, которые помещены на внешних поверхностях храма, напрямую влияют на смысловое содержание городского пространства, его идеологическую и культурную аранжировку, выступают как средства формирования и универсальной, и локальной культурной идентичности. Такова роль образа китовраса в оформлении смысловой структуры традиционного русского города.

This article is devoted to the analysis of the square as one of the key visual elements (patterns) of the urban environment. To understand how a city works, it is necessary to find out what urban practices are associated with the square, what its role is in shaping the overall appearance of the city, and in what ways it relates to other visual patterns. The study of the city square in its aesthetic, semiotic, social, and cultural aspects is a necessary part of the discourse, which is focused on the theoretical understanding and practical formation of the overall image of the city. The article deals with questions about the human scale of the square, its cultural functions, artistic integrity, and forms of its participation in the scenography of urban space. A comparison of the closed and open squares is made by referring to some well-known examples. It is shown that a normal urban pattern is a square that combines the properties of ‘openness’ and ‘closedness’ and at the same time includes elements of geometry, architecture, sculpture, and local history in its ensemble. It is concluded that a stable visual pattern of the urban environment can only be such a square that combines several functions, is in obvious combination with patterns of other types, has a human scale, and is a noticeable architectural ensemble. The square can act as a visual dominant of the entire urban structure, determining the general perception of the city, its appearance, and silhouette. At the same time, the city also influences the square, programming its form, style, and function. The degradation of squares, which leads to the degradation of the urban environment as a whole is explained by their dehumanization, functional reduction (the transformation of squares into transport hubs), and, most importantly, the fragmentation of their visual perception. The city square is degrading precisely because the townspeople cease to understand and perceive it as a certain and very complex form of organization of the urban texture, on which both the compositional unity of the city and the continuity of its cultural identity rest.

Abstract Despite vaccine availability, influenza remains a substantial global public health concern. Here, we report interim findings on the primary and secondary objectives of the safety, reactogenicity, and humoral immunogenicity of a quadrivalent messenger RNA (mRNA) vaccine against seasonal influenza, mRNA-1010, from the first 2 parts of a 3-part, first-in-human, phase 1/2 clinical trial in healthy adults aged ≥18 years (NCT04956575). In the placebo-controlled Part 1, a single dose of mRNA-1010 (50 µg, 100 µg, or 200 µg) elicited hemagglutination inhibition (HAI) titers against vaccine-matched strains. In the active-comparator-controlled Part 2, mRNA-1010 (25 µg, 50 µg, or 100 µg) elicited higher HAI titers than a standard dose, inactivated seasonal influenza vaccine for influenza A strains and comparable HAI titers for influenza B strains. No safety concerns were identified; solicited adverse reactions were dose-dependent and more frequent after receipt of mRNA-1010 than the active comparator. These interim data support continued development of mRNA-1010.

Introduction. The prevalence of oncological diseases of the oropharyngeal region continues to grow steadily, but there is an increase for a number of nosologies in the five-year survival rate of this category of patients, which naturally leads to the actualization of accompanying treatment programs and the desire to improve the quality of life of oncological patients. One of the areas of maintenance therapy in oncology is dental support, the choice of approaches and methods of which is not systematically organized.Aim. To determine the optimal method of dental support for patients with malignant neoplasms of the head and neck organs for the prevention and treatment of oral mucositis.Materials and methods. At the Russian Scientific Center of Roentgenoradiology, retrospective analysis of scientific clinical results of oral mycosis treatment in patients with malignant tumors of the head and neck receiving antitumor therapy was performed.Results. Two main approaches have been identified for the prevention and treatment of oral mucositis in patients with malignant neoplasms of the head and neck organs: personalized and unified approach. using personalized approach, maximal mean value of oral mycosis severity during the whole antitumor treatment period per the Radiation therapy Oncology group (RTOg) classification was 2.19 ± 0.13. The quality of life of patients is reduced by 26.1 %. using unified approach, maximal mean value of oral mycosis severity during the whole antitumor treatment period per the RTOg classification was 2.44 ± 0.05. The quality of life of patients is reduced by 51.5 %, but at the same time, absolutely all patients retain the ability to eat independently and take care of the oral cavity.Conclusion. Both personalized and unified approaches for the prevention and treatment of oral mucositis are possible for use in clinical practice.

Abstract Cardiac manifestation of classical Fabry disease (cFD) varies with sex and presence of left ventricular hypertrophy. p.D313Y/p.A143T variants (vFD) represent milder late-onset phenotypes, however, data on vFD are scarce. Patients with FD (cFD = 37;vFD = 14) and 14 healthy controls underwent 1.5 T CMR including Cine, LGE, native T1 mapping(nT1) and myocardial strain(CMR-FT). CMR-FT was assessed using ventricular longitudinal, circumferential, radial (LV-GLS/RV-GLS, LV-GCS/LV-GRS), and atrial longitudinal strain (LA/RATotal, LA/RAConduit, LA/RABooster). In cFD reduced myocardial strain (LV-GLS: −20 ± 4 vs. −24 ± 3%,p = 0.007; LV-GCS: −20 ± 4 vs. −26 ± 4%,p = 0.002, LA Total -GLS: 29 ± 10 vs. 37 ± 6%,p = 0.007; LA Conduit -GLS: 15 ± 10 vs. 23 ± 5%,p = 0.003) and nT1 values (951 ± 51 ms vs. 1036 ± 20 ms, p 0.05) for discrimination of cFD versus controls. Significantly lower LV-GLS/LV-GCS was found in male compared to female cFD (−19 ± 4 vs. −22 ± 4%, p = 0.03). In six non-hypertrophied female cFD with normal nT1 LATotal -GLS was the only discriminating parameter with an accuracy of 86%. LV-GLS, LV-GCS and LATotal -GLS can detect impaired cardiac mechanics of cFD besides nT1. LATotal -GLS might identify non-hypertrophied female cFD. Variants p.D313Y/p.A143T did not reveal cardiac involvement by multiparametric CMR.

The article attempts to determine the conceptual foundations for analyzing the influence of the artistic design of the temples of medieval Vladimir on the formation of the urban sacred space. The study aims to use the example of Vladimir during the reign of Andrei Bogolyubsky and Vsevolod III to substantiate the city-forming significance of exterior sculptural programs as a visual text that encodes the key parameters of the semantic organisation of urban environment. Hermeneutic presuppositions and initial cultural conditions for such an analysis are formulated. Based on the visual semiotics of Umberto Eco, it is shown that the external temple decoration of Vladimir acts both as an aesthetic object and as a semiotic construction. In line with the logical semantics of Gottlob Frege, the denotative (meaningful) and connotative (semantic) levels of coding and decoding of sacred visual texts of Vladimir cathedrals are defined. The basic references of the central image of the exterior plastics — the biblical David, as well as those narratives that are determined by these references are classified. The mechanism of localisation of universal religious narratives is shown through the distinction between text and subtext. Thus, the role of external temple decoration in constructing a sacred urban topic is determined. As a result, the possibility of interpreting the temple decoration of medieval Vladimir as a visual text is substantiated, which, firstly, expresses the implied meanings associated with specific images through code and context, and, secondly, translates these meanings into the environment, forming the cultural space of the city.

The question of the possibility of exploring the city by means of cinematography is investigated in this article. I am making a preliminary description and structuring of the on-screen presentation of the city here, showing that this presentation is carried out through the formation of its non-verbal image. Using the example of three Soviet films of the“thaw” period, I show how it is possible to comprehend the city in its human dimension with the help of cinematographic tools. Combinations of a general plan and immersion in the thick of events, documentary and utopian character, structure of urban space and spontaneous movement of heroes, individual mood and social “atmosphere”, place and time form an integral artistic image of the city on the screen. The cinematic image of the urban space appears as a visual projection of the complex inner life of its inhabitants. Urban modernity contains and represents the history of a place, and the characters of films in such a multidimensional modernity gradually become themselves: their life turns into a biography. At the same time, the city is enriched with these biographies, forever incorporating them into its history. The mutual dependence of the city and the person is conveyed using optical metaphors, the construction and design of mise-en-scenes, the location and movement of the camera, visual allusions to mythological and ideological constructs, the mutual recall of verbal and non-verbal texts and other artistic techniques, which together form a kind of cinematic language for presentation and analysis of urban space as a special cultural chronotope. Thus, “urban” cinema acts as a specific paradigm of urban studies that allows one to explore the city by constructing its screen image.

The article is devoted to the analysis of the content and meaning of the sacral-political narrative of the Vladimir temples external sculptural decoration of the 12th century. The central image of the named narrative is biblical David in the role of a king. The images of temple facades, thematically associated with David as an autocratic ruler, form a semiotic series expressing the idea of the sanctity of righteous power. The crown and vestments of David, his throne pose, images of lions as symbols of political power, as well as figures of flying horsemen, including Saints Boris and Gleb – patrons of Russian princes and defenders of Russian cities – are the key signs that visually mark this idea. This visual text also suggests the presence of a subtext in which the prince of Vladimir is designated as ‘new David’, and Vladimir turns out to be ‘the new Jerusalem’. The prince of Vladimir, like biblical David, moves the capital to a peripheral city and delivers to this city its ‘palladium’ – the shrine that gives the new capital the status of the highest and the only one sacral-political center. In the context of such a narrative, visually fixed in the facade decoration of Vladimir temples, the prince becomes a semantic analogue of King David, the icon of the Virgin of Vladimir (‘Vyshgorodskaya’) semantically corresponds to the Ark of the Covenant, and the city of Vladimir is established as the new Jerusalem. However, the modus in which the prince of Vladimir is identified with King David contradicts the traditional Christian ‘Jerusalem’ urban model and includes that destructive element into the urban planning program of the Vladimir princes, which later develops into the concept of the ‘Third Rome’. Статья посвящена анализу содержания и смысла сакрально-политического нарратива внешней скульптурной декорации владимирских храмов XII века. Центральным образом названного нарратива выступает библейский Давид в роли царя. Изображения храмовых фасадов, тематически связанные с Давидом как самодержавным правителем, образуют семиотический ряд, выражающий идею святости праведной власти. Ключевыми знаками, визуально фиксирующими эту идею, являются корона и облачение Давида, его тронная поза, изображения львов в качестве символов политической власти, а также фигуры летящих всадников, в том числе святых Бориса и Глеба – покровителей русских князей и защитников русских городов. Этот визуальный текст предполагает также наличие подтекста, в котором владимирский князь обозначается как «новый Давид», а Владимир оказывается «новым Иерусалимом». Владимирский князь, подобно библейскому Давиду, переносит столицу в периферийный город и доставляет в этот город его «палладиум» – ту святыню, которая придаёт новой столице статус высшего и единственного сакрально-политического центра. В контексте такого нарратива, визуально зафиксированного в фасадной декорации владимирских храмов, князь становится смысловым аналогом царя Давида, Владимирская (Вышгородская) икона Богородицы семантически соответствует Ковчегу Завета, а город Владимир утверждается в качестве нового Иерусалима. Однако тот модус, в котором происходит отождествление владимирского князя с царём Давидом, противоречит традиционной восточнохристианской «иерусалимской» урбанистической модели и вносит в градостроительную программу владимирских князей тот деструктивный элемент, который в дальнейшем разворачивается в концепцию «Третьего Рима».

Abstract To compare the patient radiation doses during angiographic selective adrenal vein sampling (AVS) before and after an imaging technology upgrade. In this retrospective single-center-study, cumulative air kerma (AK), cumulative dose area product (DAP), fluoroscopy time and contrast agent dosage were recorded from 70 patients during AVS. 35 procedures were performed before and 35 after an imaging processing technology upgrade. Mean values were calculated and compared using an unpaired student’s t-test. DSA image quality was assessed independently by two blinded readers using a four-point Likert scale (1 = poor; 4 = excellent) and compared using Wilcoxon signed-rank test. After the technology upgrade we observed a significant reduction of 35% in AK (1.7 ± 0.7 vs. 1.1 ± 0.7 Gy, p = 0.01) and a significant reduction of 28% in DAP (235.1 ± 113 vs. 170.1 ± 94 Gy*cm2, p = 0.01) in comparison to procedures before the upgrade. There were no significant differences between the number of exposure frames (143 ± 86 vs. 132 ± 61 frames, p = 0.53), fluoroscopy time (42 ± 23 vs. 36 ± 18 min, p = 0.22), or the amount of contrast medium used (179.5 ± 84 vs. 198.1 ± 109 ml, p = 0.41). There was also no significant difference regarding image quality (3 (2–4) vs. 3 (2–4), p = 0.67). The angiographic imaging technology upgrade significantly decreases the radiation dose during adrenal vein sampling without increasing time of fluoroscopy or contrast volume and without compromising image quality.

Abstract Background Diffuse interstitial lung disease have been described in Neurofibromatosis type 1 (NF1), but its diversity and prevalence remain unknown. The aim of this study was to assess the prevalence and characteristics of (NF1)-associated lung manifestations in a large single-center study using multidetector computed tomography (MDCT) and to evaluate the smoking history, patients’ age, genetics, and the presence of malignant peripheral nerve sheath tumors (MPNST) as potential influencing factors for lung pathologies. Methods In this retrospective study, 71 patients with NF1 were evaluated for the presence of distinctive lung manifestations like reticulations, consolidations, type of emphysema, pulmonary nodules and cysts. All patients underwent F-18-FDG PET/CT scans, which were reviewed by two experienced radiologists in consensus. Patients’ subgroups were formed based on their smoking history (current smokers/previous smokers/never smokers), age ( 18 years), and presence of MPNST (MPNST/no MPNST). In 57 patients (80%), genetic analysis of sequences coding for the neurofibromin on chromosome 17 was performed, which was correlated with different lung pathologies. Results Among all NF1 patients (33 ± 14 years, 56% females), 17 patients (24%) were current smokers and 62 patients (87%) were > 18 years old. Pulmonary cysts, nodules, and paraseptal emphysema were the most common pulmonary findings (35%, 32%, 30%). The presence of pulmonary metastases, MPNST and centrilobular emphysema was associated with smoking. Cysts were observed only in adults, whereas no significant correlation between age and all other pulmonary findings was found (p > 0.05). Presence of MPNST was accompanied by higher rates of intrapulmonary nodules and pulmonary metastasis. Neither the presence nor absence of any of the specific gene mutations was associated with any particular lung pathology (p > 0.05). Conclusions All pulmonary findings in NF1 patients occurred independently from specific mutation subtypes, suggesting that many NF1 mutations can cause various pulmonary pathologies. The presence of pulmonary metastases, MPNST and centrilobular emphysema was associated with smoking, indicating the value of smoking secession or the advice not to start smoking in NF1 patients as preventive strategy for clinicians. For screening of pulmonary manifestations in NF1 patients, an MDCT besides medical history and physical examination is mandatory in clinical routine.

This publication continues a series of articles devoted to the study of the traditional Russian city as a religious visual semiotic system. The article shows the list of Russian overgate churches built in the period from the 11th to the 21st century. This catalog allows assessing the intensity of the construction of such temples in different historical periods. The maximum number of built overgate churches belongs to the 17th century, and the highest rate of their construction – to the 21st century. The article also presents information about the dedication of Russian overgate churches, taking into account the fact that the dedication of the same churches could change. Most of the churches are grouped by category of dedication: prophets, apostles, saints, holidays, and icons. In addition, information about the time of the construction of such churches in Veliky Novgorod and about the territories culturally gravitating towards it is presented as an example of the local history of overgate churches. Here the churches are divided into two categories: urban and monastic. In conclusion, there is a brief analysis of the overgate church as an element of urban space. With this the author uses the ideas of Aldo Rossi about the semiotic role of an architectural structure as a sign of a historical event, about the relationship between architectural composition and cultural style, about the meaning of the syntactic position of a building in an urban text, about the visual semiotics of a city as overcoming of own boundaries of architecture. In this context, both overgate church and sacred composition in which it is included turn out not only to be material objects, religious architectural structures, works of art of a certain era, objects of aesthetic attitude, but also semiotic constructs, signs and texts, visual messages and testimonies, as well as forms of visual confession of the deepest worldview beliefs. Публикация продолжает серию статей, посвящённых исследованию традиционного русского города как религиозной визуально-семиотической системы. Здесь я публикую перечень русских надвратных храмов, построенных в период с XI по XXI век. Этот каталог позволяет оценить интенсивность строительства таких храмов в разные исторические периоды. Максимальное число построенных надвратных церквей приходится на XVII век, а наибольшая скорость их постройки – на XXI. Также приведены сведения о посвящениях русских надвратных храмов с учётом того, что посвящение одного и того же храма могло меняться. Большая часть храмов сгруппирована по категориям посвящений: пророкам, апостолам, святым, праздникам и иконам. Кроме того, в качестве примера локальной истории надвратных храмов представлена информация о времени постройки таких храмов в Великом Новгороде и на территориях, культурно тяготеющих к нему. Здесь храмы разделены на две категории: городские и монастырские. В заключение представлен краткий анализ надвратного храма как элемента городского пространства. При этом использованы идеи Альдо Росси о семиотической роли архитектурного сооружения как знака исторического события, о взаимной связи архитектурной композиции и культурного стиля, о значении синтаксической позиции здания в городском тексте, о визуальной семиотике города как преодолении архитектурой собственных границ. В таком контексте и надвратный храм, и вся та сакральная композиция, в которую он включён, оказываются не только материальными объектами, религиозными архитектурными сооружениями, произведениями искусства определённой эпохи, предметами эстетического отношения, но и семиотическими конструктами, знаками и текстами, визуальными сообщениями и свидетельствами, формами наглядного исповедания глубочайших мировоззренческих убеждений.

Purpose of the study. Assessment of the quality of individual oral hygiene in patients with squamous cell oropharyngeal cancer before and after radiation therapy.Materials and methods. Examined 76 patients with squamous cell carcinoma of the oropharyngeal region. For all patients, before and after radiation therapy, evaluated the hygienic state of the oral cavity using indices: index of individual hygiene (Green V.), Silness‑Loe index (GI), index of prevalence of periodontal diseases (CPITN).Results. The number of males was higher than that of females: 52 (68.4%) versus 24 (31.6%). Before radiotherapy, 52 (68.4%) patients had gingivitis, 66 (86.8%) had periodontitis, 43 (56.5%) had metal crowns, and 57 (76%) had destroyed teeth. All patients (100%) had oral mucositis after radiation therapy. We found a significant negative trend: the Green V. index changed by 29.2%, CPITN indicators‑by 38%, GI — by 31.2% (p