"Les fleurs, c'est ma maison, ma maison, c'est une serre ; mon enfance, c'est un jardin ; mon futur, c'est un paradis terrestre..." Chez Jean-Marie Pelt, tout ramène au jardin : le jardin de l'enfance où son grand-père lui a transmis l'amour de la nature ; le Jardin d'Eden, où il a rencontré Dieu, la ville jardin en laquelle il a transformé la ville de Metz, le jardin Terre qu'il s'est donné mission de servir... Laissez-vous guider à travers les jardins (...) de Jean-Marie Pelt et découvrez l'un des grands éveilleurs de conscience de notre temps, un homme en qui vibre L'âme de la nature. (shrink)

An increasing number of environmentally knowledgeable observers and activists comprehend the situation faced by the emerging global civilization and its unsustainable systems, characterized by planet‐altering positive feedback loops arising from human activity. They perceive contemporary natural and cultural developments as the prelude to the imminent collapse of technological civilization and the cataclysmic end of the Anthropocene epoch via a forced passage through the population bottleneck of the impending extinction‐level event which only a remnant of the present biosphere is likely to (...) survive. Should this understanding be accurate, our own time could become the occasion for the greatest choice ever made on Earth: whether to continue things as they are until humanity becomes the chief cause and the chief victim of the now‐unfolding mass extinction; or to make the necessary transition to the awakening of Planet Earth. (shrink)

This book draws from anthropology, ancient history, theology, philosophy and the Holocaust to redefine architectural history for both architects and historians. It also contains ideas and practical propositions that should help sutdents of architecture to build a more human world.

An increasing number of environmentally knowledgeable observers and activists comprehend the situation faced by the emerging global civilization and its unsustainable systems, characterized by planet‐altering positive feedback loops arising from human activity. They perceive contemporary natural and cultural developments as the prelude to the imminent collapse of technological civilization and the cataclysmic end of the Anthropocene epoch via a forced passage through the population bottleneck of the impending extinction‐level event which only a remnant of the present biosphere is likely to (...) survive. Should this understanding be accurate, our own time could become the occasion for the greatest choice ever made on Earth: whether to continue things as they are until humanity becomes the chief cause and the chief victim of the now‐unfolding mass extinction; or to make the necessary transition to the awakening of Planet Earth. (shrink)

The farms in the LEGO Farm theme are immaculate. They feature sparkling clean tractors, pristine fences, and the complete absence of dirt. Whether it is on purpose, or a limitation based on the number of pieces that can be placed inside a box, LEGO Farm presents an agricultural utopia. The farms are smaller, less dependent on toxic inputs, and friendlier to animals than real‐life commercial farms. LEGO Farm often features animals that are clean and well fed. Some animals even appear (...) to be smiling, and that's appropriate considering that they are viewed as living creatures rather than commodities. With LEGO, kids and adults can imagine farms as they would ideally make them. The beauty of LEGO is that anyone can be a Master Builder, building their own MOCs. As a Master Farmer the possibilities for representing environmentally friendly agriculture are endless. (shrink)

The temporal profile of dendritic branching in developing neurons is an interplay between the proliferating number of branching sites and the branching rates at these individual sites. The eventual metrical structure of dendritic arborizations is the outcome of joint processes of branching and elongation of outgrowing neurites. Dendritic growth models have shown to be powerful tools for quantitatively studying the rules of outgrowth, aiming at reproducing the shape characteristics in observed dendritic arborizations. Recent model studies, focusing on the branching process, (...) have predicted strongly decreasing branching rates during dendritic outgrowth. The implications of these findings for the metrical development of outgrowing dendrites will be discussed. (shrink)

As a scientist, Michael Polanyi made significant advances in chemistry and economics. From that deep hands-on experience, he derived a powerful critique of prevailing ideas of knowledge and the proper role of science. He demonstrated that disregarding or eliminating the personal embodiment of knowing in the tacit dimension in pursuit of purely explicit and impersonal knowledge results in knowing that is misleadingly incomplete—“absurd.” If technology is the practical application of science, then it should be useful to extend his critique of (...) science to technology. The pursuit of impersonal knowledge parallels the quest for efficiency through the standardizing and programming of technique while devaluing personal knowing in the form of embodied skills, institutional memory, and a “feel” for possibilities that leads to insightful breakthroughs. As technological development continues to accelerate and proliferate unsustainably, the idolizing of efficiency operates to subsume other values that would tend to constrain such development, raising concerns about the future of discovery, of the economic and social order, and of the human soul. (shrink)

Cancers often express hundreds of genes otherwise specific to germ cells, the germline/cancer (GC) genes. Here, we present and discuss the hypothesis that activation of a “germline program” promotes cancer cell malignancy. We do so by proposing four hallmark processes of the germline: meiosis, epigenetic plasticity, migration, and metabolic plasticity. Together, these hallmarks enable replicative immortality of germ cells as well as cancer cells. Especially meiotic genes are frequently expressed in cancer, implying that genes unique to meiosis may play a (...) role in oncogenesis. Because GC genes are not expressed in healthy somatic tissues, they form an appealing source of specific treatment targets with limited side effects besides infertility. Although it is still unclear why germ cell specific genes are so abundantly expressed in cancer, from our hypothesis it follows that the germline's reproductive program is intrinsic to cancer development. (shrink)

My aim in this piece is to understand what kinds of acts sneering acts are. I aim to look at what sneering acts do and what social function they perform. In particular, I want to mark them out as acts of ‘making people feel’. I explore the grounds on which we might criticize sneering acts, and ask whether the thing that we do when we sneer is always vicious.

Ancient authors such as Aelian, Asclepiodotus, and Polybius all mention the Macedonian phalanx adopting a formation called the _synaspismos _in which the files of soldiers are so close together that their shields would overlap. Modern authors such as Walbank, Englishand Matthew argues that such a formation was impossible to assume in a battle scenario and that the ancient writers were mistaken, in its use in combat. Their argument is based on the fact that the manner of bearing the shield (_peltē_) (...) and pike (_sarissa_) does not allow for such a tight formation. Through the use of experimental archaeology, this article however argues that the _synaspismos _formation was indeed a possibility, and that we are mistaken in modern view of how the _phalangite _wielded the _sarissa _pike. (shrink)

The European bison is one of the last remnants of the megafauna that once roamed through Europe. By the early modern period, it had already disappeared from most of its former range and had become a coveted natural curiosity as well as been designated as royal game. In the 18th century, the last population of lowland European bison surviving in the Białowieża Forest became an object of study for naturalists. When the forest became a part of the Russian Empire during (...) the 19th and early 20th centuries, it was the Russian Imperial family's attention to the species that ensured its survival. In the same period, the European bison was of the utmost importance to the scientific community—as a research subject (on the taxonomic position of the species, its relation to extinct Bovidae, etc.) and as a museum exhibit (to attract audiences interested in seeing the largest European mammal). Obtaining such a specimen demanded the scientific community's adept maneuvering through diplomatic and bureaucratic channels and depended on the Russian monarch's goodwill.The tsar's permission was only a start, as naturalists themselves had to organize hunts, process the pelt and bones, and deliver them to museums. Despite the considerable organizational and logistical difficulties, by the late 19th and early 20th centuries, many museums were displaying the European bison, which succeeded in making the species well known to the wider public. In 1919, the last wild Białowieża bison was killed, but the popularity of this species helped the reintroduction of the animal a decade later. Today, the historical specimens are a source of samples for both genetic and molecular research. (shrink)

Okay, Professor Turner is not Rodney King. He is not responding to bioethicists and social scientists running amuck, setting automobiles aflame, and pelting each other with rocks and broken bottles. He does not come right out and ask, “Why can't we all just get along?” But in its academic way, Turner's essay is an effort to negotiate a truce in the interdisciplinary squabbles that plague bioethics, a plea to move bioethics beyond the “misleading” and “unhelpful” “demarcation of disciplinary goals” that (...) leads to “dichotomous thinking” and “polemical accusations.”. (shrink)

In ‘“Sneering, or Other Social Pelting”’, Lucy O’Brien understands sneering acts as ways of making feel that are aimed at socially downgrading a target. Sneers are essentially expressions of contempt. Although typically thought of as vicious, O’Brien argues they can also be used virtuously to disrupt social hierarchies, especially when taken up by people with low social status. I examine satire as a potentially effective means of carrying out this virtuous activity. I examine O’Brien’s account while exploring the conditions that (...) must obtain to make satire an efficacious tool for social recalibration. (shrink)

Bringing Flowers HomeWe try to put a bandage on the wound,offering a vague apology:Forgive me, distant wars, for bringing flowers home.Towers turn out to have been built on sand.Regimes collapse. No use in asking whywe ripped the bandage off that bleeding wound.An earthquake followed by a hurricane,fires, floods: they've passed some of us by.Us. And who is we? And what is home?Last week an enormous yellow moonhung low in a corner of the sky.Beauty is no bandage for the wound,hole in (...) the future much too big to mendor even to imagine, though we tryto camouflage it, bringing flowers home.You said, when we were talking of the end,that no one teaches us to say goodbye,or how to ease the bandage from the wound.Forgive me, death. I brought these flowers home.Moving the PianoCompact, gleaming, black and white,this sturdy Yamaha uprightstood staunchly in one room for yearsuntil, maneuvered through several doorstoday by two young slender menand up a ramp into their van,it ventured briefly out into the world again.The change of space, the space of change:the walls look naked, empty, strange.Heavy has given way to light.Habitual soliditytoo familiar to seeyields to possibilitytoo unfamiliar to see.Late and early, early, late,end, beginning—all are swirledinto a mist that veils the world.The black and white of status quoblends to a color I don't know,transition that I cannot name,but I salute it all the same.Goodbye, piano, and hello.So where is the piano going?Where will it find another life,music and memories unpackedin an unfolding second act?North Carolina, near a riverwhose stream, like time, is always flowing.My son lives there with his wife.Beloved, nothing is forever.You can't step twice into this life.Nap at Stony PointMy cousin and my friendon their respective recent deathbedsslid from my mind. I noticedthe scarlet splash of a cardinal perched on a cannonon a bluff above the Hudson.I lay down on a picnic table,sun on my face, five turkey vulturescircling overhead, and closed my eyes.And when I opened them I felt as pleasedas if I had completed some needful taskinstead of having forgottenhow my friend in January and my cousin in March,both of them alert and wry and tranquil,had faced what each of them clearly saw approaching—more, had recognized and greeted it,instead of ignoring it by looking through it,the way some people, even iftheir office is two doors down the hall,look right through you, pretending not to see you.Or maybe they don't see youany more than one envisions deathon a sunny April afternoon.The Last Lecture HallTheaters that were never ours,classrooms empty and refill.Nor do the trees belong to us.We cross the stage and disappearor venture in among the treesand lose ourselves there.Feverish categories blur.Genre distinctions: what for?The empty theater becomesa lecture hall. A classroom morphsinto a forest murmuringwith voices. Words pelt down like rainor rise like mist and dissipate.The rustling trees swell to a roar.But they were never still.Theater, classroom, maple, fir:feverish categories blur,presences pressing through the veilof the phenomenal;a leopard padding down the aisle.Tiger-masked students fill the seatsof the amphitheater.The old professor, looking outover the upturned faces, said“You are all allegoricalfigures to me. I will not learnyour names.” Did the students laugh?Tragedy, satire, comedy:genres are deciduous.Modes blur, leaves spin and fall.The leaves of memory seemed to makeA mournful rustling in the dark(Longfellow, “The Fire of Driftwood”).Lights go on in the theater.Class is over. We stumble out.The GatesWhen I woke up I had walked through a gate.I looked around the room—trickle or torrent, stepping into time—and bent my head to drink at a black stream.I look around a roomthick with the dust of after and before.Am I meant to drink from this black stream?My lips are dry,thick with the crust of after and before,gate of ivory and gate of horn.My lips are dry, I'm thirsty.Heat, cold, fire, snow, sun.Gate of ivory and gate of horn:to cross a threshold ends one story(firelight; snow squeaking; winter sun)and begins another.To cross a threshold ends one story(ever after? or a transformation?)and begins anotherthere is no law compelling us to enter.Ever after or a transformation.Torrent, trickle: we set foot in time,but there's no law compelling us to enterstory once we've latched the gate of dream.FilamentsYour past is thickening. You can seeits filaments, as carefullyyou begin to part the strands(they're all connected) with both hands,and clear a path. Now warilyenter the web—not all the way,but toward some kind of clarity.We have been rightly taught that wecan't finish, but must do, the work.Partway through the leafy murk,crisscrossing dapple of the trees,so tough and so precarious,you find yourself in the dawn air,the circle's center everywhere.Along the PromenadeReading a book about transitioningin the twenty-first-century meaning of the wordblends with plans for my son's upcoming weddingand scraps of conversation overheardat the Japanese-themed street fair today.Somnambulists along the promenadefloat in the warm currents of Broadway,eat talk look linger in the sun and shade.Then to the park: October leaves still green(climate change or merely Indian summer?).Snatched memories, I catch them on the wing:Samos Septembers, pomegranate tree,lemon tree, okra, a chameleon,the little summer of Saint Dimitri,they called it. All this happened; but to me?Streams of conversation flowing by.The sound artist described his work like this(if work is the right word): “Accidentallyuploading seemingly private messages,”which describes, also, dreams and poetry,the drifting crowd, incessant carousel,city and weather, time and holiday,all lived, palped, tasted, tested, overheard.Somnambulists along the promenadehave set up booths, their dreams... Bookending my dawn dream: symmetricalsoaking sponges dripping... DNA?Destiny, temperament, personality:the cards we're dealt and that we have to play,except we now can change them gradually.Transition: he or she or rather they,constructed, deconstructed, rearranged,the tarot spread of genealogy,inheritance as aleatoric play.We walked west to Eleventh Avenue,drawn by rumors of Ad Reinhardt's blue,which buzzed and throbbed. Stand still: my head was spinning.Allusions to water or to sky,dense, deep, alarming, ending or beginning... I sat awhile and watched the crowd glide by,enchanted promenaders all drawn inon the exhibition's last dayby the silence's cerulean humming.And then they climbed the stairs, and so did we,to lighter textures on an upper floorwhere Ruth Asawa's baskets in midairweightlessly demonstrated gravity,twigs, trees, crowns, bubbles dancing in white space.Next week my class will read “On Being Ill.”“Blogs,” I'll tell them, is the word we nowuse, not “essay,” for the moving mind,that saunterer who takes note and leaves behindand doubles back and ponders and regretsamidst the wash of vision, the flowand tidal pull of what we see and know,what we've dreamed, what we have said and heard,the thrumming colors and the floating crowd,as if the bubbly brew of sunny dayand anxious dreams could somehow all be caughtup in one enormous, one all-encompassing word. (shrink)

Man has always been a collector and presumably always will be one. In the dim ages of his beginnings, he collected food, shellfish, berries and nuts and in his tropical and sub-tropical haunts lived fairly securely through the little changing seasons. When he invaded the temperate regions, with their seasonal variations, he learned to his cost the rise and fall of the tides of food supply and, dreading winters’ want, practised a variety of methods to hoard his food gatherings until (...) the season of food a-plenty came round again. It was the same with the hunters, who, whatever their feasting at the close of a successful hunt, could not consume everything and, experiencing shortages and failures, began to put aside food to be kept. Extra supplies probably in time gave rise to barter of one thing for another more desired—the furrier skin, the sharper antler pick, the more beautifully finished hand-axe or adze. He who had reserves could face a famine, a lost pelt and a broken tool, and doubtless gained in stature and status among his fellows. What he had, he had to hold by strength or guile— or both in combination in himself, his family or his tribe. Hunting no doubt led to the elimination of competitors, who would lower the food supplies, and to the proclamation of hunting rights, just as, later on, occupation of land good for grazing or cultivation, would give rise to tribal or chieftain ownership—and to the unending battle for ownership, over other claimants. This is again collecting, though in another form. (shrink)

Thanks to the efforts of Paul Schrecker and John W. Nason some half century ago, the University of Pennsylvania is home to microfilm reproductions of over one hundred thousand hand-written pages drawn from the collection of Leibniz’s papers presently housed in the Niedersächsische Landesbibliothek, Hannover. The microfilms are to be found on the mezzanine floor of the reference section in the Van Pelt Library and are readily accessible to visitors. Xerox copies may be made, although the Van Pelt Library stresses (...) that the microfilms remain the property of the Niedersächsische Landesbibliothek, and that permission to copy must be obtained from Hannover beforehand. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Juvenal: Satires, Book IRichard A. LaFleurSusanna Morton Braund, ed. Juvenal: Satires, Book I. Cambridge: Cambridge University Press, 1996. viii 1 323 pp. Cloth, $64.95; paper, $22.95. (Cambridge Greek and Latin Classics)This new text and commentary on Juvenal’s book 1 (Satires 1–5) is for two reasons a most welcome addition to the Cambridge Greek and Latin Classics series. First, Susanna Braund has published extensively and incisively on Roman satire, (...) Juvenal in particular, over the past fifteen years; her several articles and the books Beyond Anger: A Study of Juvenal’s Third Book of Satires (Cambridge 1988), Roman Verse Satire (Greece and Rome New Surveys in the Classics no. 23, Oxford 1992), and The Roman Satirists and Their Masks (Bristol 1996) have all made valuable contributions to our understanding of the genre. Second, modern editions of Juvenal with text and commentary are in short supply (J. Ferguson’s remains the best in English; see my combined review of his 1979 Macmillan and E. Courtney’s important but expensive, and textless, 1980 commentary in CJ 79 [1984] 257–62), and Braund’s work, while it includes only the satirist’s first book, not only offers enough material for an undergraduate course (nearly a thousand lines) but elucidates the volume’s thematic unity in a way that will enhance our students’ appreciation of Juvenal’s later books as well and of Roman poetry books in general.The book’s apparatus is standard for the Cambridge series: a succinct but helpful and up-to-date bibliography and brief index conclude the volume, and the forty-page introduction discusses Roman verse satire generally, Juvenal’s major predecessors (Lucilius, Horace, and Persius), the little we know for certain of Juvenal’s life, what Braund rightly characterizes as the overarching characteristics of his art—indignation, rhetoric, and epic—along with various details of style and meter, the Satires’ influence on subsequent literature, and finally the manuscript tradition. All of this is economically managed and cogent, not least the discussions on several pertinent topics: persona and the “autobiographical monologue as the chief mode of presentation” in satire as in the other “personal” genres of elegy, lyric, and epigram; indignatio and the “moral ambiguity of anger,” which must condition our response to Laronia in Satire 2, Umbricius in 3, and the other “unreliable satirist” figures who control so much of the rhetoric in Juvenal’s early books; and his exploitation of epic motifs from the [End Page 474] heroic past in depicting the sordid realities of contemporary Rome. One could go further with this last point: it is a major purpose of the epicisms in Juvenal’s programmatic first poem to define satire as anti-epic and its topsy-turvy world and all its players—the satirist included—as utterly anti-heroic. The satirist’s Rome, quintessentially vicious, is on the brink of destruction (omne in praecipiti vitium stetit, 1.149), on the eve of another Great Flood, in fact, like that survived by only Deucalion and Pyrrha (this is the point, deliberately recalling through ring composition the flood sequence in 1.81–84, of utere velis, / totos pande sinus at 1.149–50, a point missed by commentators generally and not just Braund, who explains the phrase simply as a grandiloquent “nautical metaphor” with the sense of “off you go at full pelt”). And yet the best this latter-day Lucilius can do, as he whimpers in Satire 1’s closing verses, is to decline his predecessor’s battle-wagon, helmet, and sword and wage war only against Rome’s villainous dead.The most profitable section of Braund’s introduction is her “Overview of Book I” (30–36), which thoughtfully surveys “the persistence and development” of several dominant themes and images that recur throughout the book: the city of Rome itself, its palaces and alleyways seething with corruption (“the Book is a catalogue of Rome’s vices”); the “degradation of the patron-client relationship (amicitia),” which can be viewed as book 1’s major unifying theme (see Illinois Classical Studies 4 [1979] 158–77); the “day in the life” motif, advancing the action from morning to night both within Satire... (shrink)

So Hall and Geldart's text and critical note. The latter needs a correction and an addition: R gives (so, too, ΣR, which has ; γ is found only in B and the Aldine edition, R and V omit it. What is the object of Van Leeuwen says ‘mente suppl.xwhich seems to me inconsequent if not nonsensical. Starkie, printing a dash after the word, notes ‘as the sentence is interrupted by Philocleon, it is impossible to know what was meant to be (...) the object of this verb’. This does not seem very satisfactory. Rogers apparently takes the verb as used absolutely and translates ‘you'll strike by and by’. Coulon, not unnaturally dissatisfied with these explanations, reads and translates ‘tu vas te faire lapider’, adding a note ‘on jetait des pierres aux fous; cf. Otseaux 524’. Starkie also mentions this possibility and attributes its origin to the scholiast—wrongly, for the gloss shows that the scholiast did not take as meaning ‘will be pelted as a madman’. In any case all this is very far-fetched. And there is a further point: the strange future active, is found elsewhere only at line 222 of this same play and nowhere else in Greek. It is therefore rash to postulate an entirely unparalleled middle form of this, and that, too, in a passive sense. Had he intended this meaning Aristophanes would surely have written. (shrink)

Plants belonging to the genus Salsola (Family: Chenopodiaceae) are common in the arid and semiarid regions of our planet with no less than 69 different Salsola species found in Namibia and the Republic of South Africa. This genus is used as a traditional medicine and aqueous extracts of Salsola have been used by Bushmen women as an oral contraceptive. Ingestion of the Namibian shrub Salsola tuberculatiformis Botsch. by pregnant Karakul sheep leads to prolonged gestation and fetal post‐maturity and, as a (...) result, the pelts of the new‐born karakul lambs are worthless. This initiated an investigation into the active agents in the plant, using the terminal enzyme in adrenal corticosteroidogenesis, cytochrome P450‐dependent 11β‐hydroxylase (P450c11), as a bioassay. Although the active fraction, S2, was extremely labile, partial structure determination suggested the presence of synephrine and a highly reactive aziridine. Therefore a more stable analogue, 2‐(4‐acetoxyphenyl)2‐chloro‐N‐methylethylammonium‐chloride (compound A), was synthesised, which, like the active plant extracts, inhibited adrenal steroidogenesis and acted as a contraceptive. In addition, compound A was stabilised by interaction with steroid‐binding globulins in plasma thus enhancing biological activity in vivo. These findings provided explanations for the complex biological effects of the shrub as well as a new insight into the mode of action of chemically labile plant products in vivo. BioEssays 25:612–619, 2003. © 2003 Wiley Periodicals, Inc. (shrink)

This is a work that is extremely interesting, instructive--and problematic. Its authors are two architectural historians and theoreticians who are dissatisfied with both the modern notion of historical progress and the postmodern notion of sheer historical flux as they impact architectural theory and practice. For both moderns and postmoderns, the past is a matter of antiquarian curiosity at best. The authors aim at securing, from the study of the past, principles for the education of "citizen-architects" who will connect person to (...) person and human beings to the world. Both stand in some way under the acknowledged influence of Leo Strauss, who viewed "Western civilization in its premodern integrity" as the creative tension between Athens and Jerusalem. They embody this tension in the structure of the book, where the odd chapters display van Pelt's orientation toward Jerusalem and its prophetic tradition, while the even chapters show Westphal's orientation toward Athens and the philosophic tradition. (shrink)