2009/03/31

"Hauptversammlung"- Rimini Protokoll 2009 6th of April going public! (with Daimler AG, Berlin)




Rimini Protokoll: Hauptversammlung.


RIMINI PROTOCOL LOOKING DAIMLER SHAREHOLDERS

We are looking for people who sell one Daimler share - for a short transaction.

We would buy from these people temporarily a Daimler share- in exchange for the invitation to the Annual Meeting of the CEO Group (Such an invitation is automatically emitted to each shareholder). Following the Annual General Meeting the stock will be then sold again. That is all.

Any possible costs of this transaction, we take over. For there is at least to earn a free book about the project.

- Who knows someone who would help out there?
- Who knows Daimler shareholders who not anyway want to go to the AGM and give us their ticket?

Please contact us:
hauptversammlung@hebbel-am-ufer.de
0049-(0)30-25900457

Am 8. April 2009 laden Rimini Protokoll zu einer der aufwändigsten Inszenierungen der Spielzeit: Zur Hauptversammlung der Daimler AG im ICC Berlin.
Die eigentliche Regie führen diesmal nicht Rimini Protokoll sondern die Abteilung Investors Relations der Stuttgarter Aktiengesellschaft.
Vor ca. 8000 Aktionären wird eine riesige, blaue Leinwand aufgebaut, davor, leicht erhöht sitzt der eine Teil des Ensemble: 6 Vorstandsmitglieder und 20 Aufsichtsräte. Hinter der Leinwand arbeiten dutzende von Bühnenarbeitern als Back-Office-Souffleure, um für jede Frage an die Darsteller eine Antwort einflüstern zu können. Der andere Ensembleteil besteht aus den Teilhabern des Konzerns: stolzen Aktionären, dividende-hungrigen Aktionären, räuberischen Aktionären, touristischen Aktionäen, kritischen Aktionären (...). Die Presse spielt mit und auch die Mitarbeiter des Aktionärsservice. Das Stück beginnt morgens um 9h und endet erst am späten Abend mit der Entlastung des Vorstandes. „Wir schaffen Wert“ schwor der Aufsichtsratsvorsitzende 2008 seine Aktionäre ein – dann gingen die Kurse in den Keller...
Rimini Protokoll haben Aktien gekauft und Aktionäre gesucht, die ihre Einladung abtreten, um möglichst vielen Theaterzuschauern Zugang zu dieser Aufführung zu gewähren.

Zur Aufführung produzieren Rimini Protokoll ein Theaterprogrammheft und vermitteln Nischengespräche im Foyer.


- als Daimler-Aktionär nehmen Sie einen Gast mit oder überschreiben Sie uns Ihre HV-Einladung.

- als Depotbesitzer kaufen Sie bis zum 15.3.2009 eine Aktie - für Transferkosten kommt Rimini Protokoll auf – und nehmen Sie einen Gast mit, falls Sie mehr als nur eine Aktie besitzen.

- als interessierter Theaterzuschauer melden sich bitte bis spätestens 25.3. an

Briefing Hauptversammlung:
Am 6. April findet ein Briefing zur Hauptversammlung statt:
Einführung zum Stück. Anleitung für den großen Tag. Der Daimlerkurs im Spiegel seiner Geschichte Analysen zum Jahresbericht. Hintergrundgespräche.
(Der Besuch des Briefings ist für den Besuch der HV nicht obligatorisch)

Weitere Informationen unter:

www.hebbel-am-ufer.de

Kontakt:hauptversammlung@hebbel-am-ufer.de

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2009/03/19

Diagrammatology and Diagrammatic Praxis, CFCUL Lisboa 2009


“Le monde nomade” 2006
Marco Godinho (*1978, Portugal),
. Lives and works in Luxembourg/France
Carte découpée



Diagrammatology
and Diagrammatic Praxis

Interdisciplinary Workshop
23rd & 24th of March 2009

Amphitheater of the Foundation
of the Faculty of Sciences of the Lisbon University
Building C1, 3rd Floor












A diagram is a representamen which is predominantly an icon of relations and is aided to be so by conventions. Indices are also more or less used. It should be carried out upon a perfectly consistent system of representation, founded upon a simple and easily intelligible basic idea.

Peirce, CP 4.418

By diagrammatic reasoning, I mean reasoning which constructs a diagram according to a precept expressed in general terms, performs experiments upon this diagram, notes their results, assures itself that similar experiments performed upon any diagram constructed according to the same precept would have same results, and expresses this in general terms. This was a discovery of no little importance, showing, as it does, that all knowledge without exception comes from observation.

Peirce, NEM IV, 47




Program



23rd of March 2009


Fundamental issues of Diagrammatology I

10h00 Opening Lecture: Prof. Frederik Stjernfelt (University of Aarhus, Denmark)
The extension of the Peircean diagram category
Different semiotic schools have had different ideas about what counted as the prototypical semiotic phenomenon. In structuralism, the single word in the paradigm was probably the prototype; in Chomskyanism, syntax and recursion was seen as prototypical; in cognitive semantics - closer to Peirce's ideas - bodily based image schemata and metaphors are prototypical. Taking diagrams as prototypical invites us to a wholly different way of approaching semiotics, and by Peirce's operational criterion for iconicity, sign uses far from common sense diagrams - logic, algebra, aspects of grammar - must be reconceptualized as subtypes of diagrams. So Peircean diagrammatology not only develops our understanding of diagrams proper and their importance - it also invites us to redescribe the whole of semiotics and see its connections to logic in a new light.

11h30 Discussion with the workshop participants

12h00 Coffee Break

12h15 Jan Wöpking ("Excellence Cluster Topoi" Project Berlin, Germany)
Diagrammatic Simulation. A Case Study of a Galilean Diagram

12h45 Dr. Irene Mittelberg (HumTec, RWTH Aachen, Germany)
Diagrammatic iconicity in grammar and gesture

13h15 -15h00 Lunch Break

15h00 Prof. Franco Oliveira (CFCUL)
Picture-proofs in mathematics: a chapter in Robert Brown's philosophy of mathematics, with examples

15h30 Prof. José Croca (University of Lisbon, CFCUL/FCUL

Diagrams in Physics




16h30 Discussion with the workshop participants



17h00 Coffee-Break

17h15 Springerbook Session On Prof. Frederik Stjernfelt's book Diagrammatology. An Investigation on the borderline of Phenomenology, Ontology and Semiotics (2007) and Prof. Ahti-Veikko Pietarinnen's book Signs of Logic (2007)
Prof. Pietarinnen commentary on Stjernfelt's book (30min)
Prof. Stjernfelt commentary on Pietarinnen's book (30min)
Discussion with the participants (15 min)
18h15 Remarks and outlook by Alexander Gerner

20h00 Dinner in Bairro Alto (Optional)


24th of March 2009


Fundamental issues of Diagrammatology II

10h00 Prof. Olga Pombo
Operativity and Representativity of the Sign in Leibniz

10h30 Prof. Ahti-Veikko Pietarinnen
Is non-visual diagrammatic logic possible?

11h00 Coffee-Break


Fundamental issues in Diagrammatology III

11h15 Dr. Catarina Pombo (CFCUL)
Rhizome - Thought


IV Diagrammatic types: Learning and refiguring knowledge with maps

12h15 Alexander Gerner (CFCUL)
Notes on diagrammatic knowledge in contemporary art

12h45 Prof. Frederik Stjernfelt
What can we learn from maps as a diagram type?

13h15 -15h00 Lunch Break


V Diagrammatic praxis: Diagrammatology in inter-media art, scenographic media, collective robotics

and architecture in the making

15h00 Prof. Matthias Bauer (University of Flensburg, Germany)
Diagrammatology, scenographic media and the display function of art

15h30 Tiago Lança (Architect; Ordem dos Arquitectos, Lisbon)

Architectural and space drawing: Thinking with the hand

16h00 Dr. Paulo Urbano (Department of Informatics, FCUL)
Mimetism and Collective Pattern Formation

16h30 Discussion with the workshop participants


17h00 Coffee Break

17h15 Miguel Cardoso/Santiago Ortiz
Bestiário.org (Lisbon/Barcelona)

17h45 Final Debate

19h00 End of the Workshop

20h30 Dinner at Fábrica Braço de Prata (Optional)

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2009/03/05

" To draw an escape plan "- Cave Exits I


“Redesenhar” de Nuno Sousa Vieira

TO DRAW AN ESCAPE PLAN, por Nuno Sousa Vieira


Graça Brandão Lisboa - Nuno Sousa Vieira (27.02.2009 a 04.04.2009)

To Draw An Escape Plan é um projecto expositivo, cujo desenho final resulta da elaboração de uma estratégia, tendo como objectivo final encontrar uma eventual saída de emergência do meu atelier. Este local ideal de escape é encontrado através da elaboração de um conjunto de procedimentos e etapas, sendo cada uma delas uma causa directa da que a antecede.

O meu actual atelier é nas instalações de uma antiga unidade fabril que iniciou a sua actividade nos anos 60. Esta fábrica de plásticos produzia sacos, baldes, bacias e todo uma parafernália de produtos de plástico. No início da década de 70, foi construído um novo bloco anexo ao já existente, para aí serem instalados os novos escritórios, respondendo ao crescimento económico e empresarial.

Alguns anos mais tarde as instalações fabris foram aumentadas. Um novo hangar foi construído, mas sem os devidos procedimentos legais, tais como projectos e licenças; o mesmo sucedeu com as sucessivas ampliações da estrutura inicial. A visão da estrutura empresarial como um todo perdeu-se, dando lugar a uma mera adição de partes, que procurava responder às necessidades do mercado, facto que conduziu também à alteração do produto comercializado durante a década de 80, passando a empresa a produzir PVC e TR, transformando resina num novo componente utilizado para a fabricação de solas de borracha e garrafas de plástico. Após sucessivas vendas, a empresa, no início dos anos 90, foi adquirida pelos actuais donos que consideraram as instalações insatisfatórias.

As fragilidades de uma construção desordenada e gradualmente degradada, conduziram ao fim daquela estrutura substituída por uma nova fábrica construída a cerca de 20 quilómetros de distância.

Em 2001, este espaço foi-me cedido para atelier. Depois de ultrapassados os confrangimentos iniciais gerados pelo facto de ir trabalhar nos meus projectos, num espaço dotado, por razões muito especiais, de uma enorme carga afectiva, senti-me disponível para olhar para aquelas paredes e responder ao impulso de trabalhar, não só naquele local, mas com o próprio local. De espaço de trabalho, ele passou progressivamente a matéria de trabalho e, actualmente a material de trabalho. Percebi que está tudo lá e eu só tenho que encontrar e descobrir cada proposição plástica, para a poder mostrar.

No ano de 2007, o processo de legalização de toda aquela unidade fabril tornou-se incontornável, o que conduziu a algumas alterações no espaço e entre elas, por razões de segurança, ao corte da luz. Este facto provocou em mim uma tomada de consciência do fim daquele espaço enquanto atelier, precipitando-me para uma ideia de saída.

O projecto que desenvolvi, nasce da associação de uma dupla ideia de saída - as obras que saem do espaço onde foram produzidas para o espaço galerístico e a minha eventual saída daquele local. Essa saída, propicia uma simultânea ideia de entrada, do artista e do público. Este pleonasmo de saída e a fortíssima relação inerente à dicotomia presença/ausência, participação/ distância são questões centrais neste projecto. O hiato de tempo entre o estar dentro e o estar fora, determinam o desenho do projecto expositivo.

Nuno Sousa Vieira
2009

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QB1

Frederic Kaplan : Interview

Born in Paris, Frederic Kaplan worked ten years for Sony, designing brains for entertainment robots. He now supervises the development of novel interactive furniture and robotic objects at the Ecole Polytechnique Federale de Lausanne (EPFL) in Switzerland. In 2008, he co-founded OZWE with Martino d'Esposito.

Q: Can you describe QB1 in just a few words?

FK: QB1 is a novel kind of personal computer, adapted to our 21st century lifestyle. No mouse, no keyboard, no remote control. You don’t touch anything. You simply use gestures to interact. Its display is motorized. Once its sees you it turns in your direction. So you can freely move while interacting with the device.

Q: You present QB1 as a new kind of computer. Aren’t today’s computers good enough?


FK: Personal computers were designed to be efficiently used by an individual user - hence their name - in a sitting position, either working or playing, fully concentrated on the task at hand. As the scope of applications and domains of computer usage has widened, personal computers have started to be used in situations where continuous full attention to the device is likely to be an obstacle to other forms of social interactions. In addition personal computers tend now to be used in casual settings where the sitting position is actually unnatural. To play music in a party, to serve as an aid in the kitchen, to interact with visitors in a museum or to give advice to customers in shops, interaction systems of classical personal computers are clearly ill-adapted.


Q: So, QB1 is essentially introducing a new kind of interface.


FK: I think it is more than this. QB1 is likely to be one of the first members of a new family of devices for which radically new kinds of applications can be built. Most current applications of personal computers were designed for a very different style of interaction. We try as much as possible not to be influenced by this legacy and invent novel use of computers that would exploit the natural richness of free gestural interactions in space. You know, the one you observe everyday when people use tools, play musical instruments and interact with one another.


Q: QB1 seems to be a kind of mix between a computer and a robot? You have yourself worked many years in the field of robotics. Why would you want to create such kind of hybrid device?


FK: During the last ten years, personal robots targeted for entertainment have started to be produced and sold. These devices, which can be viewed as computers with physical actuation systems, have introduced radically novel ways of interactions based on artificial vision techniques, gesture recognition and most importantly co-presence in a physical space. Important research efforts have been done to make interactions with these robots as natural as possible, taking advantage of our deep expertise in how to communicate with people. However, despite some successful results this kind of natural interaction system has tended to be used only in the domain of anthropomorphic or zoomorphic robots and progress in these fields has not impacted more mundane kinds of computer systems. QB1 does not like a robot, but its display is motorized and equipped with a 3d perception system. Once it sees you, QB1 follows your movements and you can interact directly with it as iif it was a face-to-face interaction.


Q: Why is that sort of robotized behavior interesting?


FK: First, it is possible to interact with QB1 from various positions in the same room and not simply from the frontal position. The device can easily search for and actively track people and objects in order to maintain them in sight, thus permitting various styles of contact-free distal interaction. In the same way that we can freely move during a human conversation, the device permits now to freely move while interacting with a computer. In addition, the kind of movements that the device can perform permits a wide range of non verbal physical expressions that augment interaction in the same way that numerous non verbal cues augment our language exchanges.


Q: What does this add to the user?


FK: These various features permit to give QB1 an actual presence in both the physical and social spaces. This allows to take benefit of the tendency people have to treat computers like real people and to operate a shift from a device mainly considered as a tool to a device which takes the role of team member, companion or assistant.


Q: How do you actually interact with the device?

FK: QB1 perceives the world in 3D and knows where potential users are. You interact with it by acting directly in the physical world. In classical graphical user interfaces, the user typically moves a cursor, using for instance a mouse, inside a graphical environment, for instance figuring metaphorically a desktop. His actions take place in this graphical virtual environment and not in the real one. This explains why one has to be fully concentrated while interacting with a personal computer. With QB1 interaction system, the user sees an image of himself on the display. It can either be directly the picture taken by the camera, a silhouette or a 3d reconstruction. The user identifies very easily with this representation of himself which moves exactly the way he does. In some way, the system can be understood as an augmented mirror.


Q: What is actually new about this kind of interaction?


FK: Depending on the position of the user the interface changes. More information is provided if the user is near, less if he is far away. Moreover, interactive zones on the display can be defined in relation to the user’s location. This interface system is user-centric in a strong sense: it is centered around the user. For instance, some interface elements only appear when the user is in sight and they disappear as soon as the user leaves (why should there be buttons, if there is nobody to interact with them?)


Q: Do you think this kind of computers will one day replace our PCs?


FK: No, I think this sort of devices are adapted to rather different contexts of use, namely casual everyday interactions. Desktop and laptop personal computers are still the best tools to engage in tasks that need high concentration or isolation such as writing, composing and the likes.


Q: Do other teams in the world work on similar projects?


FK: Not many. There is a team at the MIT Media Lab working on a robotic screen which has some similarities with our device. But contrary to QB1, their project seems to focus on a sitting user interacting with the computer in a very traditional way. I think QB1 introduces an interaction paradigm which is really novel in that respect : contact-free interface, free movement. I also think that we’ll see many more robotic computer projects designed for everyday environment in the future. Actually, this is maybe the way that robots will eventually enter our home, not with the shape of Science-Fiction humanoid creatures, but in the guise of robotized everyday devices.

Martino d'Esposito : Interview

After a childhood in the Middle East, Martino d'Esposito studied industrial design at the Ecole Cantonale d'Art de Lausanne (ECAL). He is now designing objects and furniture for several companies including Ligne Roset, Cinna , Neweba and Monodor. in 2008, he co-founded OZWE with Frederic Kaplan.

Q: Why make a moving computer?

MdE: It seems to be that objects should communicate with people who use them, give them “a help” without loosing their object identity. We wanted to create a computer with which we could communicate in a more natural manner, but which would still not look “human”. The idea was that it would be humanized by its gestures, not its look.

Q: The idea of objects that “help” can be traced back in several of your past creations, like for instance this tray that adapts to the waiter’s gestures or this side table that can save your life in the case of an earthquake. Is QB1 also in the lineage of these objects?

MdE: QB1 tries to adapt to the persons present in its environment and not the other way round, like it is usually the case with personal computers. It turns towards you, following you in order to be always ready-at-hand if you need one of his services. Similarly as the anti-sismic table that can be, depending on the context, an ordinary side table or a surviving kit, QB1 is ready to offer functions continuously adapted to the present situation.

Q: There is also a fun factor, isn’t there?

MdE: I’m trying to design objects that are not really games but that add some entertainment aspects in our everyday life. For instance, I have created a few years ago, a set of forks including one shorter item as an invitation to decide using a “short-straw” game who is going to wash the dishes. QB1’s movements permit an always adapted position in terms of usability, but can also surprise the user in terms of unexpected behavior. This mix between function and fun factors is one of the line I’m currently exploring in my work with Alexandre Gaillard.

Q: Why have you decided to equip QB1 with a fabric slipcover?

MdE: I wanted to get away of the traditional plastic shell used in most hi-tech devices nowadays. These shells are impersonal, get dusty and are a waste of primary good. In our case, there was also a weight constraint. It was crucial for the “head” to be as light as possible. This is why I have decided to work with a dressmaker in order to create a real “clothe” for QB1. This slipcover smoothes the movements of the device. In addition it permits to change the QB1’s look, by simply changing the zip equipped slipcover.


Q: Will there be one day a whole collection of clothes for QB1?

MdE: Why not? You can dress QB1 with a lot a various materials. Dressmakers can contact us, if they are interested! It is also likely that anyone will be able to create clothes for their technological objects. This is what is currently happening for mp3 players and cell phones which are customized in various ways. It is a way of turning objects with a rather cold and anonymous design into personal items.

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2009/03/04

Why Sleep is Needed to Form Memories




FEBRUARY 11, 2009
Penn Study Shows Why Sleep is Needed to Form Memories
First-of-its-kind study shows how brain connections strengthen during sleep


PHILADELPHIA – If you ever argued with your mother when she told you to get some sleep after studying for an exam instead of pulling an all-nighter, you owe her an apology, because it turns out she's right. And now, scientists are beginning to understand why.


In research published this week in Neuron, Marcos Frank, PhD, Assistant Professor of Neuroscience, at the University of Pennsylvania School of Medicine, postdoctoral researcher Sara Aton, PhD, and colleagues describe for the first time how cellular changes in the sleeping brain promote the formation of memories.

"This is the first real direct insight into how the brain, on a cellular level, changes the strength of its connections during sleep," Frank says.

The findings, says Frank, reveal that the brain during sleep is fundamentally different from the brain during wakefulness.

"We find that the biochemical changes are simply not happening in the neurons of animals that are awake," Frank says. "And when the animal goes to sleep it's like you’ve thrown a switch, and all of a sudden, everything is turned on that's necessary for making synaptic changes that form the basis of memory formation. It's very striking."

The team used an experimental model of cortical plasticity – the rearrangement of neural connections in response to life experiences. "That's fundamentally what we think the machinery of memory is, the actual making and breaking of connections between neurons,” Frank explains

In this case, the experience Frank and his team used was visual stimulation. Animals that were young enough to still be establishing neural networks in response to visual cues were deprived of stimulation through one eye by covering that eye with a patch. The team then compared the electrophysiological and molecular changes that resulted with control animals whose eyes were not covered. Some animals were studied immediately following the visual block, while others were allowed to sleep first.

From earlier work, Frank's team already knew that sleep induced a stronger reorganization of the visual cortex in animals that had an eye patch versus those that were not allowed to sleep. Now they know why.

A molecular explanation is emerging. The key cellular player in this process is a molecule called N-methyl D-aspartate receptor (NMDAR), which acts like a combination listening post and gate-keeper. It both receives extracellular signals in the form of glutamate and regulates the flow of calcium ions into cells.

Essentially, once the brain is triggered to reorganize its neural networks in wakefulness (by visual deprivation, for instance), intra- and intercellular communication pathways engage, setting a series of enzymes into action within the reorganizing neurons during sleep.

To start the process, NMDAR is primed to open its ion channel after the neuron has been excited. The ion channel then opens when glutamate binds to the receptor, allowing calcium into the cell. In turn, calcium, an intracellular signaling molecule, turns other downstream enzymes on and off.

Some neural connections are strengthened as a result of this process, and the result is a reorganized visual cortex. And, this only happens during sleep.

“To our amazement, we found that these enzymes never really turned on until the animal had a chance to sleep," Frank explains, "As soon as the animal had a chance to sleep, we saw all the machinery of memory start to engage." Equally important was the demonstration that inhibition of these enzymes in the sleeping brain completely prevented the normal reorganization of the cortex.

Frank stresses that this study did not examine recalling memories. For example, these animals were not being asked to remember the location of their food bowl. "It's a mechanism that we think underlies the formation of memory.” And not only memory; the same mechanism could play a role in all neurological plasticity processes.

As a result, this study could pave the way to understanding, on a molecular level, why humans need sleep, and why they are so affected by the lack of it. It could also conceivably lead to novel therapeutics that could compensate for the lack of sleep, by mimicking the molecular events that occur during sleep.

Finally, the study could lead to a deeper understanding of human memory. Though how and even where humans store long-lasting memories remains a mystery, Frank says, "we do know that changes in cortical connections is at the heart of the mystery. By understanding that in animal models, it will bring us close to understanding how it works in humans."

The research was funded by the National Institutes of Health, the National Sleep Foundation, and L'Oreal USA, and also involved researchers at the Penn’s Center for Sleep and Respiratory Neurobiology, and the School of Life Sciences, Jawaharlal Nehru University, New Delhi, India.

Neuron. 2009 Feb 12;61(3):454-66.
Mechanisms of sleep-dependent consolidation of cortical plasticity.
Aton SJ, Seibt J, Dumoulin M, Jha SK, Steinmetz N, Coleman T, Naidoo N, Frank MG.

Department of Neuroscience, University of Pennsylvania School of Medicine, Philadelphia, PA 19104, USA.

Sleep is thought to consolidate changes in synaptic strength, but the underlying mechanisms are unknown. We investigated the cellular events involved in this process during ocular dominance plasticity (ODP)-a canonical form of in vivo cortical plasticity triggered by monocular deprivation (MD) and consolidated by sleep via undetermined, activity-dependent mechanisms. We find that sleep consolidates ODP primarily by strengthening cortical responses to nondeprived eye stimulation. Consolidation is inhibited by reversible, intracortical antagonism of NMDA receptors (NMDARs) or cAMP-dependent protein kinase (PKA) during post-MD sleep. Consolidation is also associated with sleep-dependent increases in the activity of remodeling neurons and in the phosphorylation of proteins required for potentiation of glutamatergic synapses. These findings demonstrate that synaptic strengthening via NMDAR and PKA activity is a key step in sleep-dependent consolidation of ODP.

Contact information
Marcos G. Frank
Assistant Professor of Neuroscience
Department: Neuroscience
Graduate Group Affiliations
111 Johnson Pavilion
University of Pennsylvania
School of Medicine
Philadelphia, PA 19104-6060
Office: (215) 746-0388
Fax: (215) 573-9050
Email:
mgf@mail.med.upenn.edu

******************************************************




N-methyl-D-aspartate (NMDA) glutamate receptor antagonists are used in clinical anesthesia and are being developed as therapeutic agents for preventing neurodegeneration in stroke, epilepsy, and brain trauma.

In addition to the glutamate (NMDA) binding site, there are also multiple binding sites on the NMDA receptor for modulatory compounds. Efficient NMDA receptor activation requires not only NMDA but also a co-agonist, glycine.

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The Big Picture
By manipulating a single gene, scientists have created a geneticallyengineered mouse that outperforms regular mice on learning and memorytests; the results of this study were reported in the September 2, 1999issue of the journal Nature. When they received an extra copy ofthe NMDA receptorgene, the mice were better able to navigate mazes, remember objects, andretain for longer information that they had alreadylearned.

NMD-What?
The NMDAreceptor is an important molecule. It is the receptor for theneurotransmitter glutamate, an excitatorytransmitter in the brain. The receptor is found in many neurons in thebrain where it plays a crucial role in synaptic plasticity(theability for synapses to change) and memory formation, which occurs whenlearning takes place.

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