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Vaccines based on mRNA technology have revolutionized the field. In fact, lipid nanoparticles (LNP) formulated with mRNA are the preferential vaccine platform used in the fight against SARS-CoV-2 infection, with wider application against other diseases. The high demand and property right protection of the most potent cationic/ionizable lipids used for LNP formulation of COVID-19 mRNA vaccines have promoted the design of alternative nanocarriers for nucleic acid delivery. In this study we have evaluated the immunogenicity and efficacy of different rationally designed lipid and polymeric-based nanoparticle prototypes against SARS-CoV-2 infection. An mRNA coding for a trimeric soluble form of the receptor binding domain (RBD) of the spike (S) protein from SARS-CoV-2 was encapsulated using different components to form nanoemulsions (NE), nanocapsules (NC) and lipid nanoparticles (LNP). The toxicity and biological activity of these prototypes were evaluated in cultured cells after transfection and in mice following homologous prime/boost immunization. Our findings reveal good levels of RBD protein expression with most of the formulations. In C57BL/6 mice immunized intramuscularly with two doses of formulated RBD-mRNA, the modified lipid nanoparticle (mLNP) and the classical lipid nanoparticle (LNP-1) were the most effective delivery nanocarriers at inducing binding and neutralizing antibodies against SARS-CoV-2. Both prototypes fully protected susceptible K18-hACE2 transgenic mice from morbidity and mortality following a SARS-CoV-2 challenge. These results highlight that modulation of mRNAs immunogenicity can be achieved by using alternative nanocarriers and support further assessment of mLNP and LNP-1 prototypes as delivery vehicles for mRNA vaccines.

In this article, the author name Núria López-Bigas was incorrectly written as Nuria López-Vigas. The original article has been corrected.

This article is a review of the handwritten lessons of the forms "son" and "sõo" (as the first person singular of the present indicative of the verb "to be") transmitted by the songbooks of the Galician-Portuguese lyrical poetry. Its main goal is to ascertain whether the occurrences of "son" constitute authentic lessons or if, on the contrary, they could have entered in the manuscript tradition in a spurious manner, as well as to verify whether the records of "sõo" in hypermetric verses justify that this bisyllabic form can be considered monosyllabic., En el presente trabajo se efectúa una revisión de las lecciones manuscritas de las formas son y sõo (como primera persona del presente de indicativo del verbo seer) transmitidas por los cancioneros de la lírica gallego-portuguesa. El objetivo del estudio es constatar si las ocurrencias de son constituyen lecciones auténticas o si, al contrario, pudieron entrar en la tradición manuscrita de manera espuria, así como verificar si los registros de sõo en versos hipérmetros justifican que esta forma bisílaba pueda considerarse monosílaba., No presente traballo faise unha revisión das leccións manuscritas das formas son e sõo (como primeira persoa do presente de indicativo do verbo seer) transmitidas polos cancioneiros da lírica galego-portuguesa. O obxectivo do estudo é constatar se as ocorrencias de son constitúen leccións auténticas ou se, pola contra, puideron entrar na tradición manuscrita de xeito espurio, así como verificar se os rexistros de sõo en versos hipérmetros xustifican que esta forma bisílaba poida considerarse monosílaba.

The Interferon Stimulated Gene 15 (ISG15), a unique Ubiquitin-like (Ubl) modifier exclusive to vertebrates, plays a crucial role in the immune system. Primarily induced by interferon (IFN) type I, ISG15 functions through diverse mechanisms: (i) covalent protein modification (ISGylation); (ii) non-covalent intracellular action; and (iii) exerting extracellular cytokine activity. These various roles highlight its versatility in influencing numerous cellular pathways, encompassing DNA damage response, autophagy, antiviral response, and cancer-related processes, among others. The well-established antiviral effects of ISGylation contrast with its intriguing dual role in cancer, exhibiting both suppressive and promoting effects depending on the tumour type. The multifaceted functions of ISG15 extend beyond intracellular processes to extracellular cytokine signalling, influencing immune response, chemotaxis, and anti-tumour effects. Moreover, ISG15 emerges as a promising adjuvant in vaccine development, enhancing immune responses against viral antigens and demonstrating efficacy in cancer models. As a therapeutic target in cancer treatment, ISG15 exhibits a double-edged nature, promoting or suppressing oncogenesis depending on the tumour context. This review aims to contribute to future studies exploring the role of ISG15 in immune modulation and cancer therapy, potentially paving the way for the development of novel therapeutic interventions, vaccine development, and precision medicine.

British architect Mark Fisher was a key figure in the development and professionalization of the set design for rock concert industry. His design for the U2 360° Tour (2009-2011) consisted of a huge arachnid structure over 50 meters high, nicknamed ‘The Claw’, which broke with the usual one-way configuration and allowed the audience to position themselves around the musicians. Despite the popularity of the design, there are no publicly available plans or documentation to provide an in-depth understanding of the project. This article arises from these shortcomings, and its main objective and fundamental contribution consists of carrying out a complete graphic reconstitution of this scenography, which is used as the basis for a series of analytical diagrams of different parameters related to its operation in the service of a multitudinous and nomadic rock concert. The methodology employed and the contents generated derive from the predominantly graphic approach of the research presented. Beyond this technical and planimetric content, the article also vindicates the consideration of scenographies as an architectural type in itself that is subordinated by its ephemeral and itinerant condition., El arquitecto británico Mark Fisher fue una figura clave en el desarrollo y profesionalización de la industria del diseño de espacios escénicos para los conciertos de rock. Su diseño de la escenografía para la gira U2 360° Tour (2009-2011) consistía en una enorme estructura arácnida de más de 50 metros de altura, apodada ‘The Claw’ (La Garra), que rompía con la configuración unidireccional habitual y permitía al público ubicarse alrededor de los músicos. A pesar de la popularidad del diseño, no existen planos o documentación de alcance público que permitan conocer a fondo el proyecto. Este artículo nace de estas carencias, y su principal objetivo y aportación fundamental consiste en la realización de una reconstitución gráfica completa de esta escenografía, que se emplea como soporte de una serie de diagramas analíticos de distintos parámetros relacionados con su funcionamiento al servicio de un concierto de rock multitudinario y nómada. La metodología empleada y los contenidos generados se derivan del enfoque predominantemente gráfico de la investigación presentada. Más allá de este contenido técnico y planimétrico, el artículo también reivindica la consideración de las escenografías como un tipo arquitectónico en sí mismo que está subordinado por su condición efímera e itinerante.