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Research > Research Portfolio > Dream Teams > Women's Cancers/PI3K Dream Team
SU2C PI3K Dream Team:
Targeting the PI3K Pathway in Women's Cancers
Grant Term: November 2009−October 2013
The scientists participating in the SU2C PI3K Dream Team are the pioneers who discovered the PI3K pathway—a complex chain of signals that helps regulate cell growth—and validated its role in human cancers. The goal of this Dream Team is to discover approaches that will predict which patients will respond positively to PI3K inhibitors, focusing on women's cancers that have the PI3K mutation.
ABOUT THIS TEAM'S RESEARCH
The PI3K pathway is a complex signaling cascade that, in concert with other signaling networks, regulates cell survival and growth. This pathway is mutated in more cancer patients than any other pathway, making it an attractive target for agents that inhibit these genetic aberrations at the molecular level.
The scientists involved in the SU2C PI3K Dream Team focus on breast, ovarian, and endometrial cancers, all of which frequently have mutations in a set of genes that regulate the PI3K pathway. Many drugs to inhibit this pathway have been developed and currently are in clinical trials. However, as with other "targeted" therapies, only a fraction of patients who enroll in these trials benefit.
The goal of this Dream Team is to discover approaches that predict which patients will respond positively to PI3K inhibitors. This project aims to allow clinicians to use biomarkers and imaging techniques to predict which patients will benefit from specific PI3K pathway inhibitors, leading to the development of therapeutic combinations that will hit multiple targets in the complex pathways that contribute to cancer cell growth.
SEE SCIENTIFIC ABSTRACT
The top scientists and researchers on the SU2C PI3K Dream Team come from a variety of backgrounds and disciplines, which leads them to great insights upon collaboration. Learn more about the SU2C PI3K Dream Team.
Lewis C. Cantley, PhD
Cancer Center at Beth Israel Deaconess Medical Center
Gordon B. Mills, MD, PhD
Co-leader
University of Texas MD Anderson Cancer Center
Dream Team Members
Carlos L. Arteaga, MD
Ingram Comprehensive Cancer Center, Vanderbilt University
José Baselga, MD
MGH Cancer Center and Massachusetts General Hospital
Ramon E. Parsons, MD, PhD
Institute for Cancer Genetics and the Herbert Irving Comprehensive Cancer Center, Columbia University
Thomas M. Roberts, PhD
David B. Solit, MD
Judi Hirshfield-Bartek
Piru Cantarell
Ruth G. Fax
Elizabeth S. Frank
Patricia Lee
Don Listwin
Jane Perlmutter
Janet Price
Sarah W. Weiss
"I'm fully convinced that cancer is a logical disease. That there is a logic to how the cancer develops, and if you understand the logic you can understand how to tackle it. So know your enemy. Cancer is our enemy."
TEAM PROGRESS UPDATES
Stand Up To Cancer's research projects are designed to foster collaborative, swift translational research. The hallmarks of these efforts include rigorous application and selection procedures, sufficient funding to allow scientists to focus on the objectives of the grant, and reviews by senior scientists every six months. These reviews help the investigators capitalize on the latest findings, address potential roadblocks, and collaboratively evolve as the science requires. Please click below to see summaries of research results so far for the SU2C PI3K Dream Team.
Depletion of a Putatively Druggable Class of Phosphatidylinositol Kinases Inhibits Growth of p53-Null Tumors
Wulf GM, Cantley LC, et al. (2013)
Cell 155(4):844-57.
A Genetic Mouse Model of Invasive Endometrial Cancer Driven by Concurrent Loss of Pten and Lkb1 Is Highly Responsive to mTOR Inhibition
Cantley LC, Mills GB, Zhao JJ, et al. (2013)
Cancer Research 74(1):15-23.
What a Tangled Web We Weave: Emerging Resistance Mechanisms to Inhibition of the Phosphoinositide 3-Kinase Pathway
Klempner SJ, Myers AP, and Cantley LC (2013)
Cancer Discovery 3(12):1345-54.
CLINICAL TRIALS REFERRALS
Cancer clinical trials allow researchers to study innovative and potentially life-saving new treatments. The goal is to find treatments that are better than what's currently available; in fact, the therapies offered to today's cancer patients were almost all studied and made possible by people participating in clinical trials. But many cancer clinical trials aren't completed because not enough people take part.
At StandUpToCancer.org/ClinicalTrials, you'll find information and answers to common questions about clinical trials. Learn more and talk to your doctor to see if a clinical trial may be the best choice for you.
You can also connect with EmergingMed, a free and confidential clinical trial matching service that provides access to a vast database to help you identify the clinical trials that might be right for you or your loved one.


A Python module to calculate an estimation of the Sample Entropy of a time series.
Partial port of v1.2 C-language code for estimating Sample Entropy using SampEn from PhysioNet to Python.
C-language code last updated 1 November 2004, by George Moody.


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Delicious food from local restaurants.
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As a real estate professional, your personal brand is a catalyst to success. It's your major selling point, and in today's world, standing out from the crowd with effective self-promotion is what puts the distance between you and the next agent.
If after answering those questions you're still unsure, speak with some close friends, co-workers and members of your family, as they'll be able to give you a clear picture of who they think you are.
In order to find success, you firstly need to find out what your definition of success is. For example, are you aiming to get a certain volume of real estate clients, hit a personal financial target, or change your market?
When you see a new business opportunity arise, cross-check it against your priorities. If it doesn't measure up, it's more than likely going to be best to wait for the next opportunity that comes along. Building your brand is about defining goals and sticking to them when asked to compromise.
When you're pitching your services to prospective clients – or even new agencies – you need to keep it short and sweet – and that doesn't give you a lot of time to play with.
If you've been paying attention to the methods big companies use for their advertising, you'll have noticed that they don't just post updates randomly. In fact, time is a huge determining factor for the success of their brand messages.
If you want a large number of your target audience to see your message, and your target audience are young professionals, posting during working hours likely won't render the results you're after. Instead, use data to find out when your audience are online, and create a post schedule around it.


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Diageo-InMobi win top honors at the Indian Digital Marketing Awards 2018
By Team InMobi
We are delighted to announce that Diageo India in partnership with InMobi has won the Best Use Of Mobile award at the Indian Digital Marketing Awards(IDMA) 2018 hosted by Exchange4Media in
Mumbai on June 27, 2018. Exchange4media formulated the Indian Digital Marketing Awards in 2010 with the objective to recognize, celebrate and encourage the work being done in the digital marketing space - specifically, internet, mobile, gaming, social media and the blogosphere. InMobi won the silver, which is the highest honor in the mobile category.
The award recognized InMobi's work for McDowell's No. 1 in India as they battle the toxic culture of drunk driving in the nation. With the Supreme Court of India banning the sale of liquor within 500 metres of states and national highways citing drunk driving as the chief culprit, McDowell's No. 1 knew it was high time they educated its consumers about enjoying responsibly.
The campaign featured among 900 applications and 192 final entries across 33 categories at the 9th edition of the awards. InMobi emerged as the winner in the category - Best Use of Mobile - having being evaluated on various parameters such as innovation, scalability, impact – social and on the sector, sustainability and disruptive/game changing nature of the campaign. The jury was chaired by Sanjiv Mehta, Chairman and MD, Hindustan Unilever Limited & Executive Vice President, Unilever South Asia, and included other industry leaders and domain experts. Excited much! Check out the award winning video case study below.
McDowell's #Jointhepact from InMobi on Vimeo.
If you want to drive innovation on mobile for your brand, reach out to: rajesh.pantina@inmobi.com
About InMobi:
InMobi is a global provider of enterprise platforms for marketers. As a leading technology company, InMobi has been recognized as a 2018 CNBC Disruptor 50 company and as one of Fast Company's 2018 Most Innovative Companies. For more information, visit inmobi.com

redpajama_set_name: RedPajamaCommonCrawl


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(Re) Presenting | Archive of Loss – Interview with artist architect & researcher Joanne Choueiri
Caption: Zoomed in view of two obituaries. Note the Shirley's Fertilizers, later known as 'The Observatory' that held the 'Demolition Show' and combined performances and exhibitions as a response to the demolitions in 1986. Photograph by Kyle Weise.
ARCHIVE OF LOSS
By Joanne Choueiri
'Archive of Loss' gathers approximately 60 buildings demolished under Premier Sir Joh Bjelke-Petersen in the 70s and 80s around Brisbane city and Queensland in an archive that commemorates their loss.
Organised in an obituary format, the archive highlights the loss of each of the buildings through text and photograph. Through the material and psychological loss of a building, the city starts to slowly lose its collective identity.
The exhibition showcases a fictional archive that addresses the lost buildings constituting a milestone in the fight towards the conservation of heritage buildings in Queensland. By doing so, the stories and memories of these spaces are unearthed and brought forth as part of the city's architectural and social history.
From an artist-run perspective the archive features many of the local artist-run spaces and the buildings they occupied prior to demolition during the 1980s. These networked spaces and cooperative artist studios in the inner city regions which contributed directly to Brisbane City being a lively, experimental and diverse arts and culture place.
Archive of Loss – December 2020
I = Interviewer Paul Andrew ARI Remix artist and DIY coordinator
R = Respondent – Artist architect and researcher Joanne Choueiri
I: Hi Joanne, great to meet you. This is my first trip to the fab new location for Metro Arts here in West Village at West End so it's great to be here together to meet you and your exhibition Archive of Loss. Thanks for this interview Joanne, what's the correct pronunciation of your last name?
R: It's (ChWéyri?) so you have to imagine it's a W
I: Thanks Joanne yes. So sixty Brisbane demolition sites in the 1980s?
R: Yeah so basically the exhibition started by trying to find an archive that directly tells me what were the sixty demolitions that occurred in Brisbane under Sir Joh Bjelke-Petersen in the seventies and eighties. So I started by looking at the articles and I found this 1991 article by Rod Fisher who is a historian and said that there were sixty buildings that were demolished in Brisbane, so I started to chase that idea. And I was trying to find basically this archive and I guess the first thing that kind of I directly found was in the Queensland State Library John Stafford's archive that had a list of some heritage buildings that were supposed to be in the National Trust. But they were demolished anyway. Such as the Bellevue or the Cloudland, yeah Cloudland.
So I realised like there's no full documentation of that so I started to look into newspaper clippings, reading stuff, articles, the legislation of the time when they were doing the Fitzgerald Enquiry. And they were talking about these demolitions. And so it was really a big collage of putting things together and it resulted here with these images of sixty, sort of like not exactly sixty buildings.
So basically the exhibition in itself here you see the frames with newspaper clippings that I've done. So this is why I say and explain it's sort of a fictional archive. It takes specifically each article takes the format of an obituary and in this way I used the personification of the building.
And so I almost, just like you're writing an obituary for a person I write obituary for this building depicted in the images. The way I write, I avoid using the work 'it" , and I write as it's an actual person. And within each one of these images I talk about when the building or place was born, when it passed away and normally, in the body of the article written is whatever information I found about the building.
The information is anything that was interesting, details that I found on social media groups that people share you know their memories of such buildings, like Facebook. Such as like someone had their wedding reception there, someone had a cold beer there you know these interesting facts about each of these buildings.
And then at the end of each article normally is followed by a sentence that says this building is survived…similar to how you would say in an obituary where you would say this person is survived by their children. For me, the building as I say was survived by a hole and by a hole I mean an empty piece of land. And I say how long it has been, it remained a flat land or an empty land and what it was replaced by. And an interesting example about that obviously is the Roma Street precinct which was which was survived by a hole for eighteen years before the Brisbane Magistrates court precinct replaced it.
And so each, this is basically the gist of it and each article you would find like different information about. The articles that don't have pictures are because I literally couldn't find pictures. The ones that have don't have so much information it's because I couldn't find so much information about. And yeah so that's basically the gist of it. I think in a sense, when you start going through them, these sixty, almost 60 images, you realise many of the cultural aspects of the city that no longer exist within the city. That being there are no theatres anymore because there were a lot of theatres there were more social gatherings. They were more artist's spaces that that you see.
I: Yes I noticed.
R: Yeah …
R: So each one has almost like a memory related to it that I tried to find yeah by as I said, like mixing different sources trying to collate information from newspapers and yeah whatever I could find in terms of articles.
I: So two questions, thanks Joanne that's awesome really great contextual overview. By way of a connection with this fictional archive to your research the relationship between this exhibition and your research is more broadly about 'the hole'. And there's a work, there's a particular term that you use to describe the hole that's…
R: Yeah so do you mean the political hole?
I: The political hole.
R: Yeah so like basically the idea behind the political hole is normally as well in newspapers they use this term political hole. But it normally means like an ambiguous point where we're going into. I used it more in a physical and psychological manner to denote a political demolition. So it's a demolition that occurred because of political decision that led to the creation of a physical hole from one side. Be it a hole in the plan like the actual map of the city or the skyline of the city.
And a psychological hole because lots of these buildings have you know after these demolitions occurred the feelings of loss, absence and almost grief were associated with these operations of demolitions. And so this is what I try to denote as the political hole basically. So I guess I tried to make it more concretely rather than this ambiguous stuff, newspapers not many use. More in a physical architectural and psychological manner basically.
I: Yeah and the other thing is when we had that wonderful conversation the other day, thank you, I was really intrigued by what we were talking about in relation to your homeland Lebanon and Beirut and you were talking about the archive(s) there, what is your experience of the archive(s) in your homeland? you were saying "Well it's not like here , not like Brisbane".
R: Yeah so the thing is like growing up in Beirut you start slowly to realise that there are bits and pieces of history you have no knowledge about. Mainly there is one side to it that is presented, which is that, during our civil war the archive and the museum archives and all that were looted and they were completely destroyed. So there's no proper for example maps, mapping systems or anything that actually tells us what you know concrete evidence of stuff.
And this is from one side but another side that is way more interesting for me, that has affected actually many artists is the fact that we grow up with no knowledge of actually what happened in the civil war. That is basically because we're not taught about it in school, we don't learn our history.
Basically this is because no one agreed upon a shared and collective history and that's like the politicians did not agree on that. So what you learn from your own history is whatever your mum tells you and that is already biased. Like it's not necessarily the truth. And so you learn to you know you grow up questioning these things.
But because of this specific issue of the lack of archive many artists, such as for example, the artist Walid Raad, who created these fictional archives which tried to actually make us aware of the presence of the lack actually the presence of the lack of an archive. Because we didn't have any information.
So for Wallid and many other artists tried to create these archives to have in a way, some knowledge. Doesn't mean it was the truth, doesn't mean it was political but it was almost like an act of rebellion against not knowing things. And in a way I think, for me, it was quite interesting was this idea of also searching for these truths, constantly.
And I find it a lot, like it fascinates me to catalogue things and try to order things in an archive. Other than obviously in this work which is more to share an actual history that has touched I guess many people. The only fiction aspect about this body of work, this archive of loss, is just the fact that the obituary as such never existed.
But yeah I guess the lack of an archive makes you want to create one.
And so this is how, I guess, in Beirut, and elsewhere in Lebanon, it was different than Brisbane, Brisbane you can find these things, I'm not sure why this archive of sixty demolition sites did not, is not I mean maybe it did exist and I don't know about it. But it's not I guess readily something that I found. And this was what I found interesting about it was that it was not found. However, it's such an important historical event that led to the creation of the Brisbane City that we know now.
11:14.5
I: thanks Joanne, and the other thing that we spoke about briefly the other day is in your research in both making this exhibition and in your research more broadly, the 1991 Rod Fisher article, "Nocturnal Demolitions" you know is really sort of seminal to your exploration. But it's sounding like in your research you're realising there may be other buildings that are not represented in this sixty. Is that, what's sort of happening for you on reflection now , is that what's unfolding at the moment?
R: yeah I mean now that I've done the whole lot and you know I've tried to see, make sense, of what actually exists and what doesn't. I'm sure I've left out some maybe because you know some buildings are not talked about just in general.
Whether for some reason or another the ones that I found very easily as I said were the ones that were in the National Trust heritage. The ones that for example all on Roma Street or George Street were not that evident. Mainly because I guess they were not part of the heritage, that is, the heritage listed forum. But they at the same time they were very culturally important because of the musicians that were there, you know the many boarding houses that were there. The gatherings of artists that actually never happened prior to these demolitions occurring in Brisbane as far as I understood, that is, that artists were not gathering, organising together before this time in the 1980s…correct me if I'm wrong. But artists were not really so much gathering or creating this, the ideas, the artist run initiatives before that point. Is that…?
I: Oh yeah I'm sorry I'm with you now , I just had a memory when I was looking at this photograph of That Space that I was involved with in Charlotte Street in the 1980s. So in the 1940s in the post-war era in the Miya Studios co-operative 1946 and the related Barjai group members shared rooms in Petrie Bight and set up studios in Wickham Terrace. There are other artist collectives, artist groups in Brisbane since the sort of war, post-war era like the Half Dozen Group. Which emerged in the spirit of creative self reliance, the DIY emergence that we know today. But yes this time in the Bjelke-Petersen years was artist occupation of this unprecedented scale of you know almost occupation of these empty spaces, abandoned spaces, pre-demolition spaces. I spoke to artist Anna Zoldos who ran the Observatory Collective with Robyn Gray, Lehan Ramsay and many other artists and photographers) the other day and I asked "Anna do you did you feel, about the Shirley's Fertiliser building being demolished and did you go back to that hole where the demolition show was in ruins there afterwards.
And Anna said "Look yeah it was really traumatic, it was really full on" and then Anna's immediate response was you know, along the lines of ' so Lehan, Ramsay and Robin Gray and I set up Darkroom Studios, you know Darkroom processing, black and white processing, that was big, we spent like months cleaning pigeon shit, polishing those beautiful honey coloured hardwood floors " and as an aside, nearly all the artists that I've interviewed over the years tell stories tell stories about cleaning up the pigeon guano and insect infestations.
And all the other stuff that you know was part of what meanings had become embedded in these buildings. The other thing that Anna spoke about was how much dust they created when they you know saw dust they created when they were sanding back those floors. Because they turned it into a beautiful, beautiful space. And you know during that six months or so, including the sett up time for their new artist-run space they knew they had six months, a short window. It's similar with artist Jeanelle Hurst with the Red Comb House a few years earlier, Jeanelle and those artists also knew it was going to be six months, and that these terrific building and heritage places from our perspectives were all going to be demolished.
With That Space for example we knew we were on a month to month basis. So there was this general feeling that you know it was very temporary what we were doing, ephemeral, but we were going to do it no matter what. But you know Anna just said you know I don't remember going back to look at it. I mean the observatory, the demolition show that John Stafford curated, it was all about making ephemeral work you know quite explicitly that would then be a part of the hole in the ground. And then you know I think I said to you the other day it was eighteen years, I thought it was fifteen, so for eighteen years that entire part of the city, it was a big hole in the ground.
And you know people would remember, it wasn't just this little Roma Street precinct it was the whole precinct because it went into George Street and to Herschel Street and to the …yeah all of these. It was all part of this sinking feeling.
What I was going to say Joanne just in terms of this fictional archive thing which I'll get to in a minute I'd to just talk a bit to finish about the artist you're talking about. But when I was talking to you the other day I recalled that I had my own personal demolition show, for a whole lot of reasons when I was…1988 before the building was demolishes that year, when I was 24. So all the work that I had made in preceding years at that places, and as I was going to move to Sydney at some point. But at that time I stored all of my paintings, all my works under the stairs in that building at That Space that light filled light industrial building with its giant clerestory and big windows. And I wanted them all to go down with the building so that was my personal demolition show.
I needed my works to feel and be ephemeral. And I only talked to Peter Andersen about this a couple of years ago because I never told anyone. It was too personal and their was trauma involved that this building and its collective memory would be wiped out. Because that for me, was also very symbolic because I wanted it to me, it was a place of memory I never wanted to forget. But it was also like a place of destruction.
So for me all that creativity, all that creation you know that idea of creation destruction you know that's seen lots of mythologies. I just like that everything that I had made well most of what I had made was destroyed in this place.(looking at photo of that space) my studio was literally just above there. So just thinking of that when I saw it, I was just, it's so…there was, for a long time, it was very hard, too emotional, for me to talk about it.
R: Yes I can imagine.
I: Just yeah back to the artist and maker of fictional archives Walid, can you spell their name the artist with the visual items?
R: So it's WALID, RAAD and he did actually what was called the Atlas Group. And they were it's all fictional but he sort of created this idea that basically with the aim of creating the archive. And so for example he would try to ahh on a notebook pretty much like in frames as well have cars that were supposed to, he was trying to investigate which car caused the bombing.
So, for example, he had several notebooks from just cars with notes next to them creating an archive of the possible car bombs that were you know that were present during the civil war. Mainly because there were lots of car bombs. So his work really is quite fascinating just because it gives you another idea of what the archive is, also because not many archives are, you know, they share the truth. So it's never you know there's the way the institution lies you know archives when you find them they're supposed to share the truth. Whereas with his it was completely different, different outlook of how to create an archive that is actually fictional. Mainly because as a response to the lack of the presence of one. So yeah I found this part quite fascinating because you're able to tell a new story somehow.
I: and to me the irony with the title, Archives of Loss is of course it's also an archive of beginnings and creation and new memory and new opportunities. Is that how you, do you see it in that way based on your cultural experience and experience in Brisbane? Or do you see it as in a more melancholic way perhaps?
R: Yeah I have to say like the whole format of the exhibition was not something that happened quite fast. I had a problem with trying to identify a connection to the building, mainly because this is not where I come from. But I have to say the connection came sadly, when an explosion, the explosion of the 4th of August in Beirut happened. And obviously, sadly, there were lots of people lost, but there was also a lot of buildings, culture that was and memories mostly that were destroyed with it. And when, and somehow this created like…this sort of created the relation to this, to this work. Basically because prior to that I wasn't really able to understand but after that, because I've managed to witness it, sadly, I was able to connect with it more I guess. And I do feel very you know melancholic I don't know if it's, it's almost like I don't know what you would say but it's quite like grieving.
I: I see this trauma, grief and loss. And just to finish with because we can talk all day, I just wanted to pick up on that vivid story of your mum's, about the lemonade fountain in Beirut? Can you just talk briefly about the lemonade fountain and the way that story was told to you by who?
R: yeah so with the first part of the, my case study, which was on Beirut I was also interviewing people and one of them was my mum just to tell me about the city of Beirut and her memories of that. And she basically was telling me about what she remembered was this fountain that they would hang out or where there was lemonade, fresh lemonade merchant like right there standing who would sell the lemonade. And I mean it's such a small detail of the story but what I also started to notice was other people also telling me about this lemonade experience and it started to become almost funny. Just because it's such a detail but really affected like the experience of the city amongst many people. What was also another interesting fact was , what was also interesting was the fact that I was trying to locate it and it was funny because they couldn't locate it. So each one would tell me no it was here, and they were all like agreed upon this memory but no one actually knew where they stood. Some would tell me on the east side, some would tell me on the west. So it was interesting just also to see how memory starts to fade with time. But I mean just as an essence it still is there but we don't actually know, it's almost like the lost fountain story where you can't actually locate it anymore because it was completely removed. So yeah it was just an interesting detail I guess.
I: Yeah thanks Joanne it's that one thing we talked about for ages the other day about living memory which is exactly that thing about you know living memory is actually quite short you know from a temporal perspective.
R: Yeah, yeah there were some, they would also tell me for example, like one colleague was telling me about where he would go with his father to buy fireworks. And this was such an important time for him because he wanted to go and you know buy the fireworks, it was an event back then. There were some stories were like of, what they watched in the movies. Like the boys would watch I don't know Bruce Lee which was another area of the city and I don't know these interesting stories of what they watched, what was the last movie they watched in a cinema.
Even sometimes like because we had markets and there were people who would carry like I don't know what they're called but literally you pay them just to carry the stuff and walk with you to your house. And this whole idea of how this guy would carry from one side of the city to another with my grandma. So these Beirut stories I guess also the part of my grandma and also not recognising these things just because I mean she has now dementia. But you start losing these memories and you know you don't recognise so many things yeah that are, you know could have been asked before but you didn't realise.
Transcript ends
https://joannechoueiri.cargo.site
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ari_remix Discussing her evocative Archive of Loss exhibition at Metro Arts in West End, Brisbane Meeanjin. Artist Joanne Choueiri with Griffith University colleague Dr. Zuzana Kovar remembering sixty sites of demolition, including artist-run spaces and state sanctioned cultural heritage loss.. Photo: Paul Andrew
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Shorts:colour (1982)
Little Roma Street, Laneway, Brisbane, 1986
(Re) Presenting | Archive of Loss - Interview with artist architect & researcher Joanne ChoueiriARCHIVE OF LOSSCOVID-19https://cargocollective.com/joannechoueirihttps://joannechoueiri.cargo.sitehttps://metroarts.com.auhttps://metroarts.com.au/archive-of-lossJoanne Choueiri


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