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Nephropathic cystinosis is a rare and severe disease caused by disruptions in the CTNS gene. Cystinosis is characterized by lysosomal cystine accumulation, vesicle trafficking impairment, oxidative stress, and apoptosis. Additionally, cystinotic patients exhibit weakening and leakage of the proximal tubular segment of the nephrons, leading to renal Fanconi syndrome and kidney failure early in life. Current in vitro cystinotic models cannot recapitulate all clinical features of the disease which limits their translational value. Therefore, the development of novel, complex in vitro models that better mimic the disease and exhibit characteristics not compatible with 2-dimensional cell culture is of crucial importance for novel therapies development. In this study, we developed a 3-dimensional bioengineered model of nephropathic cystinosis by culturing conditionally immortalized proximal tubule epithelial cells (ciPTECs) on hollow fiber membranes (HFM). Cystinotic kidney tubules showed lysosomal cystine accumulation, increased autophagy and vesicle trafficking deterioration, the impairment of several metabolic pathways, and the disruption of the epithelial monolayer tightness as compared to control kidney tubules. In particular, the loss of monolayer organization and leakage could be mimicked with the use of the cystinotic kidney tubules, which has not been possible before, using the standard 2-dimensional cell culture. Overall, bioengineered cystinotic kidney tubules recapitulate better the nephropathic phenotype at a molecular, structural, and functional proximal tubule level compared to 2-dimensional cell cultures.

We analyze the limitations of two-dimensional (2D) raster digital images for graphic representation of documents with volume or three-dimensional (3D) elements, proposing a visual model based on 3D techniques that complements the visual information conveyed by the 2D raster images that are usually offered in digital archives or library services. The proposed model concurrently applies stereoscopic photography techniques, reflectance transformation imaging (RTI) and 3D models obtained by structure for motion (SfM) procedures. Adapted from the source document.

In this study, we examine multiple perspectives on soliton solutions to the (3+1)-dimensional Boussinesq model by applying the unified Riccati equation expansion (UREE) approach. The Boussinesq model examines wave propagation in shallow water, which is derived from the fluid dynamics of a dynamical system. The UREE approach allows us to derive a range of distinct solutions, such as single, periodic, dark, and rational wave solutions. Furthermore, we present the bifurcation, chaotic, and sensitivity analysis of the proposed model. We use planar dynamical system theory to analyze the structure and characteristics of the system’s phase portraits. The current study depends on a dynamic structure that has novel and unexplored results for this model. In addition, we display the behaviors of associated physical models in 3-dimensional, density, and 2-dimensional graphical structures. Our findings demonstrate that the UREE technique is a valuable mathematical tool in engineering and applied mathematics for studying wave propagation in nonlinear evolution equations.

D-phenylalanine (D-Phe) is an important side-chain building block for semi-synthetic penicillins and cephalosporins. To synthesize D-Phe, D-amino acid aminotransferases (Dat) from Bacillus subtilis WB600, Bacillus licheniformis ATCC 14580, and Bacillus amyloliquefaciens were firstly compared. The theoretical 3 dimensional models of Dat were constructed, which showed appropriate configuration for synthesis of D-Phe in virtual screening. The comparison 3 different Dat on D-Phe formation was tested. All the heterogenous Dat showed high thermostability and pH stability, while Dat from B. subtilis demonstrated a better potential for Phe production than those from B. licheniformis and B. amyloliquefaciens. Then the dat from B. subtilis was expressed in an L-Phe producing chassis of Escherichia coli W14 (pR15ABK) to obtain D-Phe and different factors affecting D-Phe accumulation were tested. The engineered strain E. coli BCEA (pR15ABKApRdatBS) accumulated 1.72 g/L D-Phe in a 15-L jar fermenter which is the highest fermentation concentration that had been reported.

In recent years, innovative applications of electronic commerce (e-commerce) are facing the challenges of mobile commerce (m-commerce) and ubiquitous commerce (u-commerce). To address these challenges and improve the competitiveness of e-commerce, the three-dimensional e-commerce (3DEC) theory is proposed and a 3DEC business strategy model is built up in this study. The new conceptual 3DEC model incorporates the industrial environment analysis, SWOT analysis, and business model canvas (BMC). As a case demonstrated in the British Museum program, this model brings benefits to a wide range of organizations in public and private sectors, as well as e-commerce researchers and practitioners.

EXTENDED ABSTRACT:The project of 3D digitisation and visualisation of the Vače situla was implemented at the beginning of 2011 in cooperation with the National Museum of Slovenia where the situla is kept and the company MFC.2 which, among other services, develops and implements 3 D digitisation and visualisation projects. The purpose of the project was to digitise and visualise a famous and precious piece of cultural heritage and to  1. show what modern 3D shape and texture scanning technologies allow us to do,  2. show how to ensure safety and reach high quality in digitising cultural heritage objects.  3. measure the added value of the 3 D visualisation of cultural heritage as a powerful tool for preservation, conservation, research, education, knowledge sharing and promotion of cultural heritage objects. Furthermore, the aims of the project were:  1. 3D capture of the shape and texture of the situla using the 3D scanning method.  2. 3D image of the situla and its details with expert descriptions.  3. 3D stereoscopic projection of the situla viewed with 3D glasses and with the possibility of controlling it remotely.  4. 3D animation giving professional interpretation of certain facts about the situla.  5. Public presentation of the project results on Slovenian cultural holiday, 8th February 2011, at the National Museum of Slovenia. The 3D capture of the shape and texture of the situla was carried out using the white light 3D scanning method followed by 3D flesh animation to show the object and its details. A touch screen was used to provide user access to the content. Reality based model enabled vertical rotation of the situla as well as the interactive display of individual engravings. By clicking a situla detail a photo with an extensive professional explanation of the scene was displayed in a new browser window. For attractive public presentation of the exhibition a 3D stereoscopic animation of the situla rotating and seemingly floating in the atrium of the National Museum of Slovenia was displayed. Visitors had the possibility to view the animation with 3D glasses and to navigate the floating situla remotely. Furthermore, a 3D animation of the situla history was created and entitled the Story of the Vače Situla. Based on expert interpretation it presented the origins of the situla, the period in which it was produced, the geographic area where its production was spread, usability of situlas and its discovery in Vače at the end of 19th century. The animation includes text, sound and picture presentation of the situla and is enriched by animation of one of small figures depicting everyday life and tasks among the people. The aims of the project were presented to public on Slovenian cultural holiday, 8th February 2011, in the atrium of the national Museum at Prešernova in Ljubljana at a cultural event entitled the Third Dimension of the Vače Situla. The visitors had the opportunity to test the new technology of remote control of 3D objects as well as 3D scanning and capturing the shape and texture of material objects. The public response was very favourable indicating the importance of modern technological approaches in presenting our cultural heritage. The value of 3D technologies in capturing and visualisation of cultural heritage was proved:  1. They enable multiuser and interactive access to 3D content.  2. 3D metadata serve for educational purposes, public presentations, exhibitions and promotion of cultural heritage,  3. They offer new opportunities to spread information on cultural heritage objects.  4. Virtual objects are presented in a user friendly, intuitive and attractive way.

EXTENDED ABSTRACT:DEDI stands for the Digital Encyclopaedia of Natural and Cultural Heritage in Slovenia which was a result of two prototype research and development projects DEDI and DEDI II in the period between 2008 and 2010. The two projects were co-financed by the Ministry of Higher Education, Science and Technology and the European Regional Development Fund in the frame of research and development projects e-content and e-services. DEDI is the first attempt of multimediarich digital representation of Slovenian natural and cultural heritage on a common web site offering verifiable, qualitative and complex content to a wide range of general public. Digital content (text, video records, audio records, photographs) is enriched by 2-dimensional and/or 3-dimensional visualisation of geographical data or even by 4-dimensional models with time component. 4D models combine 3D models with the time dimension. Thus it is possible to simulate the past, the current and the future condition of natural and cultural heritage objects, their changes, growth, deterioration or oscillation. 3D and 4D models are more explanatory, plastic and attractive to the unprofessional public thus increasing the interest in the digital encyclopaedia. Technological solutions for the project were developed by the consortium partners in the field of web technologies who succeeded to locate all immovable natural and cultural heritage objects. The Google Maps web platform is normally used for 2D representations but it is often too complex to represent a large amount of data. In order to meet the needs of the digital encyclopaedia data need to be structured and linked which is one of the main advantages of Geopedia, an interactive atlas which enables active user participation in adding and editing information on Slovenia. A 3D visualisation tool Gaea+ is used for real time visualisation of 3D models offering user-friendly presentation of any geospatial information and an interactive walk-through allowing users to move in 3D space. Many advanced DEDI files (dynamic multimedia representations or dediteka) of some natural and cultural objects of national importance were created. An advanced dediteka combines several object representations into interactive non-linear stories and upgrade them in various ways. The advanced dediteka “The story of Martin Krpan and his age” is a digitised story of Martin Krpan written in 1858 by Fran Levstik enriched by the audio record. The user can read a story and listen to the Slovenian language of the Levstik’s time. Two main digitisation criteria of equal importance were used for the selection of natural and cultural heritage objects: geographical area and the content value. The article describes a 4D simulation of the urban growth of Ljubljana and the virtual reconstruction of the Žiga Zois study room. 4D simulation of the growth of Ljubljana is based on historical and contemporary sources, i.e. 3D visualisation with time component. It is based on old city plans, digitised terrain model, national topographic maps, contemporary city plan and cadastre. 3D terrain models of buildings are enriched by a city plan of a specific period of time. The historical growth of the city is represented by a 2D dynamic map with floor plans and isochrones.3D scanned exterior of the Žiga Zois Mansion is represented as well as a part of the interior with the virtual reconstruction of his study room where the collection of minerals was kept. Some specimens are 3D scanned. A few items of his literary opus are digitised, too.

Three-dimensional models The models are not illustrations but rather computer-generated images based on magnetic resonance imaging (MRI) scans: ''It is derived from genuine medical scan data that has been interpreted by a team of Primal anatomists and then translated into three-dimensional images by an expert team of graphics specialists. [...]when bending the elbow and raising the hand toward the shoulder, the biceps muscle contracts and is the agonist (GREEN); the triceps muscle stretches and is the antagonist (RED).

The teaching of 3D digital game design requires the development of students’ meta-skills, from story creativity to 3D model construction, and even the visualization process in design thinking. The characteristics a good game designer should possess have been identified as including redesign things, creativity thinking and the ability to visualize ideas from imagination. Therefore, 3D visualization is a key skill in this context. To help students fully focus on game design rather than on complicated 3D modeling or animation skills, this study developed an authoring package that is integrated with Google 3D Warehouse, SketchUp, and a web-based 3D multi-user platform: 3D Cyber Worlds. The proposed game design authoring package was used with 53 college students for one semester, while a total of 108 students were involved in the overall study. The results indicate that the package achieved its aim of in assisting students in the game design process, including that of 3D modeling, and is feasible for future development using advance web technologies. Examples of the students’ game design projects and feedback on the use of this authoring package are also presented and discussed.

The 3-D printing creates physical items or objects from digital data. In this Technology Quest column, the author focus on two educators, an art teacher and a middle/high school librarian, who have recently introduced 3-D printers into their learning spaces. Ashley Sullivan received her MakerBot in December 2013, and already, as I write this in May 2014, the students are mesmerized by it. Ashley got her 3-D printer using DonorsChoose.org funds, specifically with backing from the NASCAR Foundation. Sarah Justice received her MakerBot in February 2014. She took it out of the box, hooked it up, and it was ready to go. In her school library she is in the process of creating a makerspace with a sewing machine, large-screen television, old typewriter, and more. The 3-D printer will be a part of this new learning space, but at the moment this technology is on a rolling cart near a plug for easy access.