The growing demand for organ transplants has led to a shortage of available organs. This shortage has contributed to crises such as illegal organ trafficking and transplant tourism. However, recent progress in xenotransplantation may help alleviate this shortage. With current successes transplanting pig organs into non-human primate models and deceased patients, companies are spending a great deal of money on establishing pathogen-free pig facilities and gaining FDA approval to move toward clinical trials. Given this progress, it is worthwhile to examine the current state of xenotransplantation and ongoing approaches to modifying porcine organs to make them safe for clinical use in humans.

Architecture-city is a self-sufficient mixed-use vertical megastructure with advanced infrastructure capable of functioning as a city. It requires special attention to design and construction, particularly in terms of its resilience to pandemics. Before the COVID-19 pandemic, some science-fiction films had predicted pandemics and provided lessons and warnings. This study aimed to learn from science-fiction films to design a pandemic-resilient architecture-city. It conducted content analysis to reach the research aim, using Steven Soderbergh's Contagion as a case. The film was chosen because of its striking similarity to the COVID-19 pandemic. The study was conducted in three steps: transforming the visual content of the film Contagion (2011) into written text, analyzing the content of the written text, and explaining the factors affecting the architecture-city resilience to withstand pandemics. Multiple film reviews complemented the written text to ensure a comprehensive analysis. The content analysis results of the film were presented under "Thoughtful Points in Architectural Designs to Withstand Pandemics". Finally, based on these results and the architecture-city definition, the factors affecting architecture-city resilience to pandemics were discussed. Based on the content analysis of the film Contagion, key considerations in architectural designs to withstand pandemics include attention to indoor environmental quality, available urban services and facilities, and major pandemic challenges. Several factors, such as climate and building orientation, appropriate dimensions and area of spaces, access to daylight and natural ventilation, connection with nature, visual and acoustic aspects, security, materials' color and type, protecting the privacy of residents, open and semi-open spaces, and flexibility are vital in improving the quality of indoor spaces to tackle pandemics effectively. The film Contagion accentuates the significance of strengthening local centers. Designing mixed-use neighborhoods with relative self-sufficiency can increase resilience against pandemics by providing citizens easy access to work, education, shopping, health, welfare, and leisure. During pandemics, access to essential services like healthcare, medicine, food, water, and energy poses major challenges. The utilization of advanced technologies is crucial for architecture-city resilience, alongside indoor environmental quality and easy access to urban services and facilities. By incorporating advanced transportation technologies, such as MULTI elevators, architecture-city can be structured as one or multiple neighborhoods, considering its dimensions. Incorporating touch-free technologies and anti-viral materials into frequently touched surfaces can prevent viruses from spreading via fomites. Incorporating aeroponics technology for food security, utilizing renewable energy to provide power, and implementing smart technologies for social communication, teleworking, telemedicine, tele-education, and online shopping are some ways to enhance the resilience of architecture-city against pandemics. Based on the results of the present study, improving the quality of indoor environmental conditions, providing access to urban services and facilities quickly and efficiently, through the design of mixed-use and self-sufficient neighborhoods within the architecture-city, and utilizing advanced technologies of transportation, construction, agriculture, and smart systems, is essential in creating resilient architecture-cities that can withstand pandemics. The results of this study can benefit architects and decision-makers involved in designing and constructing future architecture-cities.

Purpose: The study of future images is one of the topics of interest in the interdisciplinary field of futures studies. Some of the world's leading futurists, including Fred Polak, Jim Dator, Wendell Bell, Sohail Inayatullah, and others, have focused on studying future images. Cinema is one of the main sources of future images. In this article, the technology image that has been constructed in animated film "Tehran 2121" will be analyzed, that show Iran a century later.Method: The method used is discourse analysis, applying its critical aspect in an attempt to deconstruct future images.Findings: Discourse analysis showed that this film is a reproduction of the discourse of Technophilia and even Technologism that has a long history in Western science-fiction cinema. Therefore, by borrowing the concept of "used future" from Sohail Inayatullah, it can be claimed that the film, suggests the “used future” of the West cities for the future of Tehran. This used future in the past decades considered as the future of major cities in the world, especially in USA and other leading countries. At the same time, an attempt has been made to cover up this fundamental imitation by giving Islamic-Iranian appearance to the film.Conclusion: In such films, only the aspects of technical, attractive special effects and advanced cinematic techniques are not important, and beyond that, we should pay attention to the images that can be created in the audience.

Scientific language, along with media and political discourse, has received adequate and ample attention in research on Grammatical Metaphor (GM) as it is a chief driving force in the discourse of those genres; Modern Prose Fiction (MPF) however has seen spotty and sketchy research at best. This study, thus, aims to bring out how GM is deployed in (MPF), as opposed to such a deployment in the language of science. Drawing mostly upon the conceptualization of GM by Thompson (2004) and Halliday & Matthiessen (1999, 2004), the study shifts the spotlight onto Harry Potter series, which is most representative of MPF discoursally and generically. The works placed under analysis for scientific discourse, selected based on clear and clarified criteria, are equally representative. This study is in a qualitative exploratory mould; it receives, in that spirit, three phases of compensatory sweeping analysis. The findings uncover six categories of GM in MPF and point to the category of Prepositional and Generic GM as the mainstays, underpinning all GM in the genre. The heart of the differential deployment of GM in MPF is found to lie in Semogenesis, the semiotic powerhouse of evolutionary meaning-making in language. The findings promise to broaden the understanding of GM and encourage undertaking analysis of GM in other prose genres, especially under-researched ones.

City is the mostcomplex human product, and the long-lived urbanization process has a vague future. In other words, the future of cities is facing challenges that require different tools for action because the complexity and multidimensionality of urban issues have grown far more in line with the increasing rate of urbanization and technological advances. The uncertainty of the situation, the likelihood of different futures, and the understanding that any wrongdoing can alter the fate and quality of countless people's lives have complicated decision-making in urban problems. In such circumstances, a detailed understanding, analysis, and awareness of challenges facing contemporary cities in the future will be useful in drawing rational and desirable urban perspectives. Meanwhile, as a literary and then cinematic genre resulting from the last two centuries of industrialization and the social and scientific revolutions, science-fiction is considered to be one of the few cultural and pervasive media outlets that regularly tends to the ideas about the future. Currently, science-fiction has increasingly gone beyond simple predictions of science and technology and has brought concerns about humanity, societies, governments, ecology, and their interactions. One of the most frequently-portrayed sci-fi subjects is the future of cities through narrating stories in the context of cities. Stories in which the city is not merely a background, but plays a crucial role. Science-fiction extrapolates the dimensions and aspects of the contemporary situation, the elements, and trends of the present, to find out what they end up with if their full potential is demonstrated. Science-fiction scenarios are based on today's facts and represent the future. Thus, studying and analyzing science-fiction works, followed by offering different scenarios for future cities, will caution both the public and experts about the serious consequences of today human activities. Consequently, such a heightened awareness of these different scenarios and possibilities prevents various trials and errors. The relationship between the modern city and cinema as two twin phenomena of the contemporary world has developed unique lessons for urban analysts and decision-makers, the reading of which requires adoption of efficient and explanatory methodologies. The present study has a futuristic nature and aims to develop an understanding of the subject from an interpretive and inductive perspectives by adopting a qualitative approach. This study seeks to elucidate the challenges facing future cities by utilizing science-fiction cinema experiences while applying a qualitative content analysis approach. To meet these challenges, a wide range of films (data) have been selected and studied in depth through non-random, purposeful and exploratory sampling at four stages from a series of futuristic science-fiction films. The collected data was coded and analyzed in the form of the proposition, category, and concept. The results indicate that the concepts of governance and urban governance, sustainability, spatial justice, environmental quality, informal settlement, digital media, and media architecture, augmented reality and virtual reality, smartness, structural elements of the city, culture, and urban brand will be the leading challenges ahead of future cities.

Background and Objectives: In contemporary society, the media has become a significant influence and can serve as an ideal platform to showcase various forms of art, including architecture. People can experience architecture not only through physical visits to buildings but also through virtual means. Little research has been done on the interaction between cinema and architecture in the past. More recent research shows that the manifestation of architectural styles in cinema has been studied to a limited extent. Few people have studied how to use architecture in cinema and also to create a place for the ideas of architectural designers to appear. The majority of research in this area has been disseminated through articles in art and film magazines, which have been more beneficial to filmmakers. However, this article aims to produce practical results that can be utilized by architects, including designers. When analyzing the use of architectural elements in futuristic films, the focus is on examining the items utilized by filmmakers and stage designers. After identifying the architectural items used, the issue of their compatibility with futuristic styles is evaluated. To accomplish this, an analogy was made with the field of archaeology, which coincided with the emergence of futuristic films and placed significant emphasis on humans and their critical choices. The present study examines the relationship between architecture and cinema from a reference perspective in the type of architectural presence in cinema. The type of films reviewed in this article is futuristic, considering the research intentions and focusing on examining architectural items, after an overview of different cinematic styles, according to the context of the event in futuristic films. This cinematic style is chosen because the interior location is typically a futuristic residence. . Methods: The research method utilized in this study is a relative kind of correlation method. In this approach, the relationship between variables is investigated based on the research objective. A homogeneous collection of 24 science fiction films, chosen from among the top-rated films in the history of cinema, were analyzed from the perspective of reputable websites that focused on futuristic films. The films were categorized and reviewed as part of the study. In this study, the researchers analyzed the content of film sequences using architectural styles identified through library and Internet research. Important sequences and frames were selected for analysis, and a questionnaire was developed. The questionnaire was distributed to architecture students, graduates, and professors to collect their opinions. The results were then analyzed and reviewed. Findings: After analyzing the collected data, the researchers identified five main architectural factors that create a sense of presence in the future. These factors include the use of specific materials and colors, the presence of massive singular buildings and spatial structures, the scale of the buildings, mixed-use buildings with symbolic meaning, and a return to traditional architectural styles. The results of the research indicate that 88% of the 24 films analyzed contain sequences depicting futuristic architecture, indicating a significant presence of such elements in science fiction movies. The analysis of the research results reveals that architecture has a significant presence in futuristic films compared to other factors. However, this presence is not always very prominent. The use of materials and the creation of large buildings are the two most commonly used architectural factors in these films. The use of cold, lifeless, and often metal materials is also a prevalent feature of futuristic architecture in these films. Conclusion: The research results confirm the hypothesis that futuristic architecture has a significant presence in science fiction films, with a combined total of over 88% between films that feature purely futuristic architecture and those that incorporate a combination of styles. The analysis of the most successful films reviewed revealed that the most effective factors were the use of huge monoliths, unusual metal materials, scale, and spatial structures. These factors were found to be present in at least one of the scenes analyzed in 92% of cases, indicating their significant impact on the overall futuristic atmosphere. The film industry is an important platform for architects to express their ideas and showcase non-executed designs. Science-fiction films are created by filmmakers to give audiences a glimpse of the future, including architectural styles. Therefore, it would be beneficial for architects to advise and collaborate with filmmakers in creating futuristic films. Additionally, the definition of architecture needs to be reevaluated, as it is not solely about constructing physical structures for human habitation but also about designing virtual spaces for avatars to inhabit in the digital realm.

This study has concentrated on state of transforming the concept and dream to interior architectural spaces and the role of that in manifestation of the meaning in science fiction film. The theoretical framework of essay is designing architecture theory base on concept which is related to the state of transforming the idea to the form. In this study the concepts and hypothetical approach of this theory are analyzed the designing of interior architecture of film and its elements. Architectural spaces has influenced in all artistic genres and styles of film. Architecture via semiotic and semantic way has influenced on characteristic, identity, time and place sense, creation and manifestation of appropriate space for specific locations, passing of historical palimpsest, psycho sense and so on. This study has made an effort to indicate how architectural designs lead to film production design and for this purpose spontaneously, we analyze the genealogy of space creation in film, the meaning of imagination in all period of history, determination of mise-en-scene and film production design and at the end, resentation and analyzing of war room in Dr Strangelove (1964) by Stanley Kubrick, which had designed by Ken Adam, the ost famous film production design in the world and the war room of Dr Strangelove as what ever Steven Spielberg mentioned, has known as the most important and out standing production design of the world. The research methods in this study are analytic and descriptive base on visual semiotics and combination of qualitative (from case study to theory) and quantitative (from theory to case study) research. The conclusion of the study is that the interior architecture is formed and created base on concept and dream and the characteristic elements of interior architecture spaces have important role in manifestation of the meaning and spiritual concepts. The interior architects with perfect and exact designing of mise-en-scene space, using text, prop, light, color and other architectural elements would design scene space in that way which manifest concepts and would have profound effect on presentation of thought. These kind of transforming from subject to object, from concept to referent and from mental and consciousness world to concrete and physical world have complicated process which is becoming more and more complicated in cinema and architecture cause they have eventual dynamic spaces. The world famous film directors have exact impact of architectural semiotic on manifestation of concepts in their films and with architectural consultant they would do it increasingly perfect and on the other hand the outstanding architects of the world have exact impact of architectural semiotic on manifestation of concepts in their works and with film consultant they would do it increasingly perfect. Architects would know semiotic and semantic way of designing on characteristic, identity, time and place sense in their projects.

Today's media is saturated with various genres of media content. Traditionally considered a masculine realm, the science-fiction genre is dominated by scientific and technological facts and imaginations. Thus, women are deprived from this realm due to the historical definition of gender identity;, despite that, science-fiction is considered a resourceful space for the study of socio-cultural understanding of gender and definition of masculinity and femininity (James & Mandelson, 2003). This paper focuses on the gendered reception of science-fiction films by Tehrani youth. Using a qualitative methodology, we have conducted in-depth interviews with 28 Tehrani male and female participants. The findings reveal that consumption, reception and impacts of sciencefiction movies are highly influenced by Iranian concepts and values concerning gender, and members of two genders correspond to and interpret the genre (signs, latent meaning, and ideology) according to their expressed values corresponding to social definitions of, as well as expectation from, masculine and feminine roles.

The idea that science is objective, or able to achieve objectivity, is in large part responsible for the role that science plays within society. But what is objectivity? The idea of objectivity is ambiguous. This paper distinguishes between three basic forms of objectivity. The first form of objectivity is ontological objectivity: the world as it is in itself does not depend upon what we think about it; it is independent of human thought, language, conceptual activity or experience. The second form of objectivity is the objectivity of truth: truth does not depend upon what we believe or justifiably believe; truth depends upon the way reality itself is. The third form of objectivity is epistemic objectivity: this form of objectivity resides in the scientific method which ensures that subjective factors are excluded, and only epistemically relevant factors play a role in scientific inquiry. The paper considers two problems that arise for the notion of epistemic objectivity: the theory-dependence of observation and the variability of the methods of science. It is argued that the use of shared standard procedures ensures the objectivity of observation despite theory-dependence. It is argued that the variability of methods need not lead to an epistemic relativism about science. The paper concludes with the realist suggestion that the best explanation of the success of the sciences is that the methods employed in the sciences are highly reliable truth-conducive tools of inquiry. The objectivity of the methods of the sciences leads to the objective truth about the objective world.

There is a marathon-like race between academic criticism and literary texts as the former attmepts to classify, frame and determine the boundaries of the latter. Yet, the rapid transformation that is taking place at different levels of society upst the majority of frameworks and boundaries. Taking short story as a genre, one is entitled to suggest that freedom is its essential element. It is observable that stories have surpassed all traditional literary conventions in the twenty-first century. For example, modern means of communication such as the Internet, Facebook and others have taken an important role in the field of literary creatation. The Tunisian author Monsef Al-Wahibi, for example, has chosen the category of "Facebook novel" for his Adam's Lover in which we see a Facebookbased communication between a man and woman. Dialogue of Fingers is another particular case in point. Amidst this turbulence of standards, Arabic literature is witnessing innovations and initiatives that are direct or indirect reaction to the events that the Arab world has been going through in this last decade, that is, prior to the so-called "Arab Spring" and the period during which follow it. One these initiatives goes beyond novelistic conventions in that it breaks the chronological order and the historical sequence, and abolishes the boundaries between reality and fantasy, thus entering "science-fiction" as a direct factor in building narratives and developing events. The stream of Utopian and Dystopian of writing should be grounded in this context. This study has selected two particular novels to develop its argument: Utopia (2008) by Ahmed Khaled Tawfiq and Mercury (2015) by Muhammad Rabi. The paper analyzes the narrative technique that transcends the hierarchy of time in narration on the one hand, and creates worlds in which the boundaries between reality and fantasy are blurred on the other hand. Finally, the paper creates a link betwwen the selected case studies and the turbulent political/social situation in the Arab community.