Coiled‐coils are found in proteins throughout all three kingdoms of life. Coiled‐coil domains of some proteins are almost invariant in sequence and length, betraying a structural and functional role for amino acids along the entire length of the coiled‐coil. Other coiled‐coils are divergent in sequence, but conserved in length, thereby functioning as molecular spacers. In this capacity, coiled‐coil proteins influence the architecture of organelles such as centrioles and the Golgi, as well as (...) permit the tethering of transport vesicles. Specialized coiled‐coils, such as those found in motor proteins, are capable of propagating conformational changes along their length that regulate cargo binding and motor processivity. Coiled‐coil domains have also been identified in enzymes, where they function as molecular rulers, positioning catalytic activities at fixed distances. Finally, while coiled‐coils have been extensively discussed for their potential to nucleate and scaffold large macromolecular complexes, structural evidence to substantiate this claim is relatively scarce. (shrink)

One of the most celebrated Talmudic parables begins with a remarkably dry legal issue debated among a group of rabbis. A modern reader should think of the rabbis as a collegial court, very much like a secular appellate court, because the purpose of their debate is to generate edicts that will bind the community. The issue under debate concerns the ritual cleanliness of a baked earthenware stove, sliced horizontally into rings and cemented back together with unbaked mortar. Do the laws (...) of purity that apply to uncut stoves apply to this one as well? This stove is the so-called "oven of Akhnai". Presumably, its horizontal bands separated by mortar made it look like a coiled serpent; but according to the Talmud, it is the oven of Akhnai because the legal debate coiled the rabbis in serpentine arguments. Therein lies a remarkable tale. (shrink)

Faraday demonstrated electromagnetic induction in 1831 using an iron ring wound with two wire coils; on interrupting battery current in one coil, momentary currents arose in the other. Between Faraday's ring and the induction coil, coiled instruments developed via meandering paths. This paper explores the opening phase of that work in the late 1830s, as the iron core, primary wire coil, and secondary wire coil were researched and differentiated. ‘Working knowledge’ gained with materials and phenomena (...) was crucial to innovations. To understand these material-based interactions, I experimented with hand-wound coils, along with examining historical texts, drawings, and artefacts. My experience recovered the historical dead-end of two-wire coils and ensuing work with long-coiled single conductors initiated by Faraday and Henry. The shock and spark heightened in these coils provided feedback to the many instrumental configurations tested by Page, Callan, Sturgeon, Bachhoffner, and others. The continuous conductor differentiated into two segments soldered together: a thick short wire carrying battery current and a long thin wire for elevating shocks . The joined wires eventually separated, yet their transitional connection documents belief that the induced effects depend on continuity. These coiled instruments, with their intertwined histories, show experimental work and understandings in the process of developing. Seeing the nonlinear paths by which these instruments developed deepens our understanding of historical experiences, and of how people learn. (shrink)

Polyglutamine (polyQ) diseases are genetically inherited neurodegenerative disorders. They are caused by mutations that result in polyQ expansions of particular proteins. Mutant proteins form intranuclear aggregates, induce cytotoxicity and cause neuronal cell death. Protein interaction data suggest that polyQ regions modulate interactions between coiled‐coil (CC) domains. In the case of the polyQ disease spinocerebellar ataxia type‐1 (SCA1), interacting proteins with CC domains further enhance aggregation and toxicity of mutant ataxin‐1 (ATXN1). Here, we suggest that CC partners interacting with (...) the polyQ region of a mutant protein, increase its aggregation while partners that interact with a different region reduce the formation of aggregates. Computational analysis of genetic screens revealed that CC‐rich proteins are highly enriched among genes that enhance pathogenicity of polyQ proteins, supporting our hypothesis. We therefore suggest that blocking interactions between mutant polyQ proteins and their CC partners might constitute a promising preventive strategy against neurodegeneration. (shrink)

The story of the body. Fay Bound Alberti takes the human body apart in order to put it back anew, telling the cultural history of our key organs and systems from the inside out, from blood to guts, brains to sex organs.

Background In February, 2015, the Supreme Court of Canada struck down the ban on medical assistance in dying. In June, 2016, the federal government passed Bill C-14, permitting MAiD. Current medical students will be the first physician cohort to enter a system permissive of MAiD, and may help to ensure equitable access to care. This study assessed medical student views on MAiD, factors influencing these views, and opportunities for medical education. Methods An exploratory cross-sectional survey was developed and distributed to (...) medical students across all years of a three-year Canadian undergraduate medical program. The investigators administered the survey to participants during academic sessions from November to December, 2015. Analysis of the results included summary descriptive statistics, Pearson’s chi-square test of independence to identify differences between participants by year of study, logistic regression to identify factors that influence students’ stances on MAiD, and Wilcoxon signed rank test to measure changes in student support for MAiD and comfort discussing MAiD. Results There were 405 participants for a response rate of 87%. The majority of students supported the Supreme Court’s decision, 61% would provide the means for a patient to end their life, and 38% would personally administer a lethal medication. Students who were more willing to provide the means for MAiD found medical education/clinical experience and patient autonomy to be important contributors to their stances on MAiD. Those students who were less willing to provide the means for MAiD found religious/spiritual beliefs and teachings, as well as concern about potential negative consequences, to be important contributors to their stances on MAiD. Educational training desired by participants included medicolegal, communication skills, technical skills, and religious. Conclusions Medical students generally supported and would provide the means for MAiD to patients. They also indicated a desire for directed medical education on MAiD. (shrink)

This commentary article outlines and explores the key problem that faces anyone interested in researching and understanding what might be thought of as a recursive society. It reflects on the problem that is posed by the layering of multiple feedback loops as a result of algorithmic sorting and data processes. This article is concerned with the difficulties of understanding the social where recursive algorithmic processes have repeatedly shaped outcomes, practices, relations and actions over time. This is not just about the (...) sinking of algorithms into the everyday, it is about the way that loop-upon-loop of data processes lead to the social world itself being recursive. This repeated looping is described here as a kind of data coiling. The article argues for a focus on recursivity and for an engagement with the conceptual problems and questions that this notion implies. (shrink)

In the industrial context, steel is a broadly-used raw material with applications in many different fields. Due to its high impact in the activity of many industries all over the world, forecasting its price is of utmost importance for a huge amount of companies. In this work, non-linear neural models are applied for the first time to different datasets in order to validate their suitability when predicting the price of this commodity. In particular, the NAR, NIO and NARX neural network (...) models are innovatively applied for the first time to forecast the price of hot rolled steel in Spain. Besides these variety of models, different datasets consisting of a set of heterogenous variables from the last seven years and related to the price of this commodity are benchmarked and analyzed. The results showed that NARX is the best performing model when the price of raw materials used to produce steel and the stock market prices of three major global steel producing companies are employed as input to this predictive model. Consequently, this result may boost the application of Machine Learning in companies, in order to schedule the supplying operations according to the price forecasting. (shrink)

A new high‐resolution structure of a pain‐sensing ion channel, TRPA1, provides a molecular scaffold to understand channel function. Unexpected structural features include a TRP‐domain helix similar to TRPV1, a novel ligand‐binding site, and an unusual C‐terminal coiled coil stabilized by inositol hexakisphosphate (IP6). TRP‐domain helices, which structurally act as a nexus for communication between the channel gates and its other domains, may thus be a feature conserved across the entire TRP family and, possibly, other allosterically‐gated channels. Similarly, the (...) TRPA1 antagonist‐binding site could also represent a druggable location in other ion channels. Combined with known TRPA1 functional properties, the structural role for IP6 leads us to propose that polyphosphate unbinding could act as a molecular kill switch for TRPA1 inactivation. Finally, although packing of the TRPA1 membrane‐proximal region hints at a mechanism for electrophile sensing, the details of how TRPA1 responds to noxious reactive electrophiles and temperature await future studies.Also watch the Video Abstract. (shrink)

"Nothingness lies coiled in the heart of being like a worm."The John Donne of "A Valediction: Of Weeping" prefers the picture to the real. For Donne and for Jean-Paul Sartre, with whom he is aligned in this essay, the preference principally involves issues of control. As Sartre writes, "It's not enough that a certain picture which I have in mind should exist; it is necessary as well that it exist through me."1 While the more conventional predilection for the virtual (...) over the actual assumes the durability of art, Donne's sequential portraits in the poem confirm, as Sartre puts it, that "man's relation with being is that he can modify it". The vanishing... (shrink)

Formal spaces have become commonplace conceptual and computational tools in a large array of scientific disciplines, including both the natural and the social sciences. Morphological spaces are spaces describing and relating organismal phenotypes. They play a central role in morphometrics, the statistical description of biological forms, but also underlie the notion of adaptive landscapes that drives many theoretical considerations in evolutionary biology. We briefly review the topological and geometrical properties of the most common morphospaces in the biological literature. In contemporary (...) geometric morphometrics, the notion of a morphospace is based on the Euclidean tangent space to Kendall’s shape space, which is a Riemannian manifold. Many more classical morphospaces, such as Raup’s space of coiled shells, lack these metric properties, e.g., due to incommensurably scaled variables, so that these morphospaces typically are affine vector spaces. Other notions of a morphospace, like Thomas and Reif’s skeleton space, may not give rise to a quantitative measure of similarity at all. Such spaces can often be characterized in terms of topological or pretopological spaces. (shrink)

ABSTRACTThe wishes of the dead seem to have normative significance. We not only respect last wills and testaments, but we take seriously what the dead loved, what they valued, even after they have long escaped this mortal coil. But this presents a philosophical puzzle. Is this a normatively justified practice? Why should the fact that some dead person preferred state of affairs x to state of affairs y be a reason to bring about x rather than y—especially if there (...) is otherwise reason to promote y rather than x? In this paper, I argue that extant solutions to this problem are inadequate and propose an alternative. I argue that the normative significance of the wishes of the dead is to be found not in the dead's well-being or interests, but instead in the relations of friendship we bear to the dead. (shrink)

Humans experience various phenomena as threats to their biophysical integrity. Airborne viruses, leaking radioactivity, or extreme weather conditions are three examples for this. In these scenarios the focus is not unilaterally directed towards the vulnerable body but also towards a world that can potentially become hazardous and out of balance. At the same time, technology comes into play, enabling us to access such an obtruding world including its activities, forces, and agents but also to shield humans and their vulnerable bodies (...) from potential injuries and harm. The contribution develops an approach to investigate human-technology-world relations based on Merleau-Ponty’s concept of _Enroulement_ unfolded in _The Visible and the Invisible_. This concept releases a non-linear, dynamic _multi-relationality_ in which world, human, and technology become relevant as situating as well as situated co-constitutors of such relations enveloped in a permanent process of coiling. We discuss our approach as an alternative to a linear relational perspective as found in the postphenomenological concept of technological mediation. With the approach of _Enroulement_ it becomes evident that the situated-situating world is more than something to be technologically mediated, while technology situated in the world but also co-constituting our world is more than a mediator. First, the article emphasizes the notion of the world based on Merleau-Ponty’s phenomenology and in a critical examination of postphenomenological approaches. Second, it unfolds the concept of _Enroulement_ involving human, world, and technology. Third, it focuses on shielding technologies required by vulnerable bodies and an intervening world. Fourth, it illustrates the suggested approach with two examples in which humans and technologies are exposed to extreme forces and material activities: combat flying and dealing with radioactivity. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Sophocles’ Trachiniae: Some ObservationsD. J. ConacherIn several ways Trachiniae seems almost a textbook of Sophoclean tragedy, so many elements of plot, theme, and even formal structure does it have in common with one or another (sometimes with several other) of the playwright’s works. The deceptive quality of oracles and prophecies, 1 the equally illusory nature of human happiness, the alternation between the familiar, even the domestic (insofar as Greek (...) tragedy can ever be “domestic”) and “the wild country”—the lonely, unknown, and sometimes feral areas of experience “out there”—, 2 even the curious, “diptych” structure of the play, involving the disappearance of a major tragic figure from the action: 3 all these features, so prominent in Trachiniae, are to be found in various other Sophoclean tragedies. Yet in all cases Sophocles uses what appear to be common features in different combinations and contexts to produce strikingly different tragic effects. It [End Page 21] should not surprise us, then, that Trachiniae, despite all these typically “Sophoclean” elements, 4 should turn out to be, if not the most baffling, at least among the most mysterious of his extant works.The key to the full appreciation and understanding of this tragedy lies, I think, in recognizing precisely how the poet interweaves these different elements of plot and theme to achieve, ultimately, a single tragic effect. Ironically, it is the constant alternation of human fortunes, apparent good fortune arising from ill and vice versa, which supplies the cohesive, “sequential” element to the plot. 5 Two essential thematic elements lie behind this alternation. One is the repeated misunderstanding of oracles and other prophetic utterances; the other is the repeated interaction between the protected, domestic sphere and the mysterious, natural (and sometimes magical) world, which threatens its existence. In the deployment of both these elements, the characterization of Deianira, the central figure though not the ultimate focus of this tragedy, is essential. It is through the gentle Deianira that Heracles is twice brought in contact with the savage “outside world” which leads ultimately to his undoing. Thus (as is usual in Sophocles) are the play’s prophecies fulfilled in unexpected and tragic ways. Thus, too, do the gods fulfill the destinies which they have planned through the unwitting cooperation of their pawns.Deianira sounds, as it were, the keynote of the play with her opening words in the Prologue:There is an ancient saying that one may not know the fate of any man, whether it be good or bad, until that man has died. But I, for my part, know, before I come to Hades’ house, that my lot is both grievous and unfortunate.(1–5) 6 [End Page 22]Deianira’s fear of life has begun (as she tells us in her Prologue account) in her maidenhood, with the courtship of the river-god Achelous. Here the three forms in which her monstrous suitor appears—first as a bull, then as a snake with shimmering coils, finally as a man with brow of ox and beard dripping with river’s springs—provide our introduction to the horrors of the untamed world. Heracles, a properly heroic suitor, appears to rescue her. It is significant, however, that the gentle heroine cannot bring herself to watch the struggle between the hero and Achelous, as she sits wrapped in terror lest her beauty should prove to be her bane (24–25). Thus, though threatened, Deianira remains untouched by—and ignorant of—the dangerous world outside.Deianira’s joy (18) at her rescue by Heracles is short-lived. As Heracles’ wife, and mother of his children, she is in constant fear for her absent husband (“each night dispelling last night’s terror with terror of its own,” 30–31) and these very fears are themselves fresh encounters, at one remove, with the savage world of Heracles’ labours. Her wandering husband, too (“like a tiller of a distant field, who sees it only when he sows and when he reaps,” 32–33), must himself seem like a visitor from a distant clime.The opening choral ode confirms the contrast between the world of the wandering Heracles and that of the waiting Deianira. Only the sun can tell... (shrink)

The TRIM/RBCC proteins are defined by the presence of the tripartite motif composed of a RING domain, one or two B‐box motifs and a coiled‐coil region. These proteins are involved in a plethora of cellular processes such as apoptosis, cell cycle regulation and viral response. Consistently, their alteration results in many diverse pathological conditions. The highly conserved modular structure of these proteins suggests that a common biochemical function may underlie their assorted cellular roles. Here, we review recent data (...) indicating that some TRIM/RBCC proteins are implicated in ubiquitination and propose that this large protein family represents a novel class of ‘single protein RING finger’ ubiquitin E3 ligases. BioEssays 27:1147–1157, 2005. © 2005 Wiley Periodicals, Inc. (shrink)

The wave-particle dualism becomes very obvious in matter wave interference experiments. Neutron interferometers based on wave front and amplitude division have been developed in the past. Most experiments have been performed with the perfect crystal neutron interferometer, which provides widely separated coherent beams allowing new experiments in the field of fundamental, nuclear, and solid-state physics. A nondispersive sample arrangement and the difference of stochastic and deterministic absorption have been investigated. In case of a deterministic absorption process the attenuation of the (...) interference pattern is proportional to the beam attenuation, whereas in case of stochastic absorption it is proportional to the square root of the attenuation. This permits the formulation of Bell-like inequalities which will be discussed in detail. The verification of the4π symmetry of spinors and of the quantum mechanical spin-superposition experiment on a macroscopic scale are typical examples of interferometry in spin space. These experiments were continued with two resonance coils in the beams, where the results showed that coherence persists, even if an energy exchange between the neutron and the resonator system occurs with certainty. A quantum beat effect was observed when slightly different resonance frequencies were applied to both beams. In this case, the extremely high energy sensitivity of2.7×10 −19 eV was achieved. This effect can be interpreted as a magnetic Josephson-effect analog. Phase echo systems and experiments with pulsed beams show how interference phenomena can be made visible by a proper beam handling inside and behind the interferometer. All the results obtained until now are in agreement with the formalism of quantum mechanics but stimulate the discussion about the interpretation of this basic theory. (shrink)

The article is devoted to the problem of changing stylistic paradigm in the Persian poetry of XVI-XVII centuries and reflection of this process in self-consciousness of outstanding authors of the period. Parallel with preserving stable norms of traditional poetics literary practice demonstrates flexibility and forms new range of popular poetic strategies. New aesthetic criteria if ideal poetic language, expressed with epithet ‘colourful’, appears alongside with criteria of previous period, expressed with epithet ‘sweet’ and step by step gets leadership. Lyric poetry (...) of three famous authors of the period of formation and golden age of Indian style served the object of analyses. The phenomena of visualization of imagery connected with perfect poetic language illustrated by examples of ‘Poet and Poetry’ motifs located in ‘frame text’ in end of the qhazal. These motifs serve one of the regular contexts of author’s name and show author’s attitude to his creation, including stylistic preferences. Refinement of poetic fantasy being declared basic condition of creating perfect poetry described visually as coiling lasso, poetry itself as flourishing garden, fountain or European house decorated with painting. Such characteristic of word creation has analogies in the works of Baroque style theorist Giambattista Marino. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Thinking Mortal ThoughtsDebra SanThere is something quite odd about the ancient Greek advice to “think mortal thoughts” (or “think of mortal things”), for what human being past the flush of youth has not trembled at the thought of mortality? Consciousness of our mortal condition is considered a hall-mark of the human species, and is no doubt the reason we alone among the species on the planet entertain notions of (...) divinity. Why then are we counseled to think about what we cannot help thinking about anyway? And what purpose does the advice serve: are those who tender it eager to promote their own fearful frame of mind? Or, on the contrary, are they urging us to be courageous in the face of death? Perhaps the advice intended is to eat, drink, and be merry, for tomorrow we die. Or perhaps “mortal thoughts” are suicidal thoughts, and the object is to shuffle off this mortal coil in a manner, time, and place of our own choosing.Clearly, taken out of context, the injunction “think mortal thoughts” can mean any number of things. But in the context of ancient Greek culture, “think mortal thoughts” means roughly this:“Since you are not one of the immortal gods, be mindful of your limits as a human being. Consciousness of the inevitability of your death should inform the way you live your life, for just as your lifespan is limited by your mortality, so too are your capacities for understanding, for action, and for achievement. This is the truth of your condition; if you don’t accept it, you’ll be frustrated at best, and at worst you’ll incur divine wrath and retribution for attempting to push past your proper human boundaries into sacred turf where you don’t belong and aren’t wanted. Don’t trespass. Don’t even think about it. Don’t assume, in a futile exercise of hubris, that you’re a special case whose transgression [End Page 16] (huperbasia) will be exempt from dire consequences. Gnothi sauton, know yourself as a mortal being, and meden agan, do nothing to excess, or you will suffer the fate of Icarus, who aimed too high and died for it, or the fate of Phaethon, who was destroyed by forces which he thought he could control.”The advice presented here echoes throughout classical Greek drama, whose tragic protagonists are the theatrical descendants of Icarus and Phaethon. When Antigone compares herself to Niobe, the Chorus must remind her that “she was a god, born of gods, and we are only mortals born to die” (925–26). 1 In her failure to think mortal thoughts, Antigone resembles her father, whose refusal to acknowledge his limits is so profound that even after mutilating himself in horror at the discovery of his own transgressions, he must still be reminded that he is no longer “the master of all things” (1675). 2 Pentheus in the Bacchae lacks the stature of either Oedipus or Antigone, but like them he has pretensions beyond the limits befitting a mortal; he fails to exercise the “simple wisdom [that] shuns the thoughts of proud, uncommon men and all their god-encroaching dreams” (427–29). 3 In his arrogant and unrealistic attempt to pit his own puny powers against the incomparable force of the immortal Dionysus, Pentheus suffers the fate of those whose hubris overcomes the temperate virtue of sōphrosunē, “the wisdom that accepts” (390). Even the bloodthirsty, pre-Eumenides Furies of the Eumenides accept the limits which moderation entails: they understand that Zeus “appointeth the mean as the master in all things” (531). 4One might expect that this cautionary, temperate strain in Greek thinking would appeal to Aristotle, whose doctrine of the mean in Book II of the Nicomachean Ethics might have come straight out of the Oresteia. And yet, when the caution is expressed in the maxim “think mortal thoughts,” Aristotle rejects it, claiming that human beings should try to aim their thoughts at a level so high it cannot really be reached by mortals, which is to say a level as high as that of the immortal gods, whose contemplative, intellectual activity (theōria) soars far above... (shrink)

Transcranial magnetic stimulation is a relatively non-invasive technique to interfere with the function of small cortical areas through currents induced by alternating magnetic fields emanating from a handheld coil placed directly above the targeted area. This technique has clear effects on a whole range of measures of brain function and has become an important research tool in neuropsychiatry. More recently, TMS has been studied in psychiatry mainly to assess its putative therapeutic effects in the treatment of refractory major depression. (...) Most studies indicate that both low-frequency TMS and higher frequency repetitive TMS may have some antidepressant properties. This is most interesting and opens a whole new avenue of low invasive techniques to stimulate the brain in major depression. However, definite therapeutic effects of clinical significance still remain to be demonstrated. (shrink)

continent. 1.2 (2011): 136-140. In early 2011, Cow Heavy Books published The Official Catalog of the Library of Potential Literature , a compendium of catalog 'blurbs' for non-existent desired or ideal texts. Along with Erinrose Mager, I edited the project, in a process that was more like curation as it mainly entailed asking a range of contemporary writers, theorists, and text-makers to send us an entry. What resulted was a creative/critical hybrid anthology, a small book in which each page opens (...) to a new iteration of textual desire. These texts explore the material possibilities of the book. Somewhat parallel to the call of N. Katherine Hayles who, in her book Writing Machines , urges literary theorists to take up the practice of Medium Specific Analysis (to account for the way the medium in which it is presented conditions or at least bears on a literary text). I see in the imagined works of The Official Catalog a call for the innovative writers of today to become Medium-Responsive. This would mean thinking through the specific (materially constrained) possibilities offered by the media in which texts are presented, and in thinking of the literary text as a kind of art in the greater context of other arts and the book as a medium situated within the context of many other media. In doing so, the contemporary writer refutes the chorus of critics who lament the death of the book by consistently reinvigorating literary innovation. The following are selections from The Official Catalog of the Library of Potential Literature that show possible paths for (thinking about) new writing that engages with its medium. —Ben Segal, Editor THE CUBE Even the most radical non-linear texts have tended to exploit or subvert only the sequential possibilities of print—from the continuous loop of Joyce's Finnegans Wake to the shuffled cards of Marc Saporta's Composition No. 1 —but The Cube takes such multiplicities to an entirely new level. Set in a grid, the book's words can be read conventionally, across the page, as well as down each column—with either route making complete grammatical sense. But they can also be read as stacked strata and mined like lexical core samples through the layered pages of the book. Each path tells the same story from a different perspective (the narrative, naturally, hinges on the potential outcomes of a throw of cubed dice). By opening up the z-axis to reading in this way, The Cube recognizes the book as a three-dimensional sculptural space. Taking its lead from Armand Schwerner's (If Personal) and Raymond Queneau's Cent mille milliards de poèmes , The Cube reads like a experiment by Christian Bök precision printed by Emily McVarish. Craig Dworkin is the editor, most recently, of The Consequence of Innovation: 21st Century Poetics (Roof Books, 2008), The Sound of Poetry/The Poetry of Sound , with Marjorie Perloff (U. Chicago Press, 2009), and Against Expression: An Anthology of Conceptual Writing , with Kenneth Goldsmith (Northwestern UP, 2010). He teaches at the University of Utah. HE GOES In He Goes , we read notes, letters and e-mails from a scholar father to his novelist daughter. We read of the father's musings on Beckett, on Pinter, on Anne Frank; his description of a woman hanging laundry from a line. We read about his journey toward dying, followed by a brief, third person account of his death, and his obituary. Then a long series of blank pages that demand to be read in real time, non-sentence by non-sentence, blank page by blank page. Finally—and it is here that this peculiar little book begins to soar—the dead father writes to his as-of-yet-still-living daughter. He does not write from death. He does not write from life. The words unprint, unstamp, unkindle. Still, they require no translation. The father "writes" (for lack of a better word) about the serendipitous, the commonplace; he recommends another book. He jokes. He asks his daughter how her stomach is. He says forget about presence in absence, darling; screw words as memorial and the guys in garbage cans and loss as redemption and I can't go on I must go on. He goes, "Love, Fodder." He goes, "incidentally." He goes, "I thought you might like to know." Elizabeth Graver is the author of a story collection, Have You Seen Me? , and three novels: Unravelling ; The Honey Thief ; and Awake . Her work has been anthologized in Best American Short Stories , Best American Essays , and Prize Stories: the O. Henry Awards . She teaches at Boston College. THE PAPER ARCHIVIST A stunning package and a triumph of imagination, The Paper Archivist at times looks to be less a book than an abstract expressionist painting. Softly bound, its contents unfold to a single sheet of uneven thickness and texture—a canvas splattered with colored lines, stickers, broken sentences, and nonsense pictographs. But by following the directions to fold, dip, smell, rub, scratch, and tear the sheet according to the contingencies of the weather and using only the objects at hand, the reader slowly brings the forces hidden in the noise into a glorious sculptural convergence, processing a different story and shape each time. This is the rare book that continues to stir, whirl, and pop on every new reading. Sean Higgins blogs at BOMBlog where he is responsible for the column Volumes and Territories, as well as Ghost Island , a fledgling collaborative intellectual collective. THE SLOW BOOK The Slow Book , written by an anonymous author at the dawn of literacy, on a minor planet (otherwise notable only as the source of that exceptionally hardy, not very tasty grain called “shef” sowed on hostile planets as an early step to colonization), and encoded into a series of punctures on a strip of copper coiled inside a clever device, something between a player piano and an old-fashioned film projector, is being released into print, as was the author’s intention, at a rate of one word per century (local time). Each word is, across the Forty Galaxies, agreed to be uncannily apt for the century in which it appears—even “of,” in a century during which the highest value was attached to fidelity, whether to ideals, worlds, or romantic love; even “the,” which governed two centuries, one extraordinarily materialistic, during which advances in propulsion and navigation accelerated the exchange of exceptional objects between the remotest planets of the Forty, and one in which the central concern, both of philosophers and the common man, was whether, in an age of rapidly proliferating hypothetical worlds, anyone or anything concretely existed at all. Even those words published long before interstellar contact can be seen in retrospect to have transgalactic pertinence. As a result, attempts to abstract the machine from its publishers, Hobson & Hui, in order to “predict the future” for insight or gain by “fast- forwarding” the copper strip have been many and ingenious. While, in centuries of skepticism (“maybe”), or of unrest (“go”) the book has been nearly forgotten, in others it seems to haunt every thought, every deed, despite the fact that the subject of The Slow Book is still unclear. So far only a few sentences exist in print; everyone knows them, can quote them, offer the standard exegeses and assorted heresies; yet certainties are the stuff of adolescence; mature readers are forced to acknowledge that these sentences are probably only a preamble to the main argument. They contain no proper nouns, nor can we identify any definite theme. There is even disagreement about their tone, whether coolly ironic, as some insist, or ardent. The appearance of an unusual grammatical case, sometimes called the future pluperfect continuous, used to describe events that at some future point will have always been true (but are not yet)—hitherto known to appear only in the synthetic dogmas of the Thanatographical Society, and in certain highly circumscribed religious contexts—has suggested to some scholars that the Slow Book was originally intended for ritual use, but the proximity of the usage to a term designating a small hand plow that, as Pott and Mielcke have convincingly shown, would have borne a distinctly obscene double meaning in its culture of origin in the author’s time, argues otherwise. It is likewise unclear whether the situation that seems to be—with teasing incompleteness—sketched out in these few lines is intended as an illustration of general principles, a case study, a dramatic scene, or an extended metaphor. In short, we have no idea what The Slow Book is about. In our own time, we believe that it is almost certainly a work of fiction, but that may be because we live in the century of “if”. In each age, perhaps, we see the book we most need to read. Some have dared to suggest that the metal strip is blank until, with millennial fanfare, it advances into its new position, that no ur-text exists, that the book itself is brought into being—written—by our need. But that is exactly the sort of thing we would believe, in 7645. Shelley Jackson is the author of the story collection The Melancholy of Anatomy , the novel Half Life , and hypertexts including Patchwork Girl . The recipient of a Howard Foundation grant, a Pushcart Prize, and the 2006 James Tiptree Jr Award, she has also written and illustrated several children's books, including The Old Woman and the Wave ; Sophia, the Alchemist's Dog ; and Mimi's Dada Catifesto . Her stories and essays have appeared in Conjunctions , McSweeney's , The Paris Review , and Cabinet Magazine . In 2004 she launched her project SKIN , a story published in tattoos on 2095 volunteers. THE BOOK OF SOUNDS The Book of Sounds is just that: a book of sounds made when letters are construed in new ways to bring forth out of the alphabet new forms of speech. A book meant to be read out loud, The Book of Sounds is not unlike Laurie Anderson's O Superman or Brian Eno's Music for Airports in its attempt to make music out of the most primary and simplest of methods. It breaks language down to its barest bones and makes out of the page a drum that has never before been beaten upon. Peter Markus is the author of a novel, Bob, or Man on Boat (Dzanc Books) as well as two books of short fiction, Good, Brother and The Singing Fish , both of which were published by Calamari Press. A new collection of stories, We Make Mud , is now available from Dzanc Books. PARADISE OF THE BLIND by Celan Solen Although the reclusive Celan Solen published his first and only book in 1963—paying out-of-pocket for a limited edition of the slim collection No One May Have the Same Knowledge Again —he remained in American obscurity for almost three decades. In 1992 a micro-press in Istanbul brought out No One in Turkish. A German translation followed in 1995. Soon it became clear in literary circles Solen was a world-class (if highly unclassifiable) artist—lyrical, dense, enigmatic—who could undo the conventional short story in 397 words by inventing impossible worlds housed in impossible whirls (in “Small Sadnesses,” a single chartreuse tree frog in Borneo unknowingly holds time together by its very presence in the universe, while each letter of its tale refers, not to itself, but to the one preceding it in the alphabet). By his disappearance last year, Solen was considered master by a generation of writers and critics (except, alas, for those gentlemen in the Swedish Academy). Imagine, then, that generation’s delight at the discovery, locked away in the author’s safe-deposit box, of his second and final composition. Had Lynch’s Lost Highway been book instead of film, and had it been penned by Beckett at his least certain, revised by Barthelme at his most formally deranged, and typeset by Derrida at his most semiotically catastrophic, the result might have been something like Paradise of the Blind : interlacing narratives of a man composed of borrowed organs (whose most cheerless and difficult to locate, god, could only have been invented by an empty heart), a nonexistent medieval painting blamed for the ruin of future hope, and the spread of a philosophy that holds earth a mistake constantly recurring in the dream of a fish lying on the floor of the Atlantic (if the fish wakes, our world winks off)—all contained in a text packed with typed-over passages, torn postcards, poems that can be deciphered only when held up to a mirror, pages ornamented with trompe-l'œil paperclips and coffee stains and buzzing houseflies, some busy with illegible runes that dissolve when exposed to light, three that smell like roses or lemons (depending on whether a man or woman is reading), two that stain with the bloody fingerprints of the those who handle them, one that ignites when brushed with breath, thirteen sewn from baby skin, one that moans when touched, and one that screams—yet all without mass, unimaginable, and invisible. Lance Olsen is author of more than 20 books of and about innovative fiction, including, most recently, the novels Calendar of Regrets (2010) and Head in Flames (2009). He teaches experimental narrative theory and practice at the University of Utah. SUPERSTRUCTURE! by Barbara D'Albi As soon as I opened the third drawer of Barbara D'Albi's wooden novel, everything became hopeless. Now in Ithaca, there was no going back. And it wasn't just the intricate series of shelves, hinged doors and locked drawers which D'Albi layered into the book, no, lo, I was constructed anew by the story. Who else but D'Albi to imagine a God who becomes a carpenter and gets killed?! And makes it good! You want stories? D'Albi is a skyscraper, built with planes and levers. Momentarily I wondered where I could shelve this book, and then I thought: no matter; I couldn't put it down. Adam Robinson lives in Baltimore, where he runs Publishing Genius. He is the author of Adam Robison and Other Poems and Say, Poem. 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This paper examines how practical intentionality is described by Husserl and Heidegger respectively, and looks at the phenomenological and sociological issues of these descriptions. In Husserl, the phenomenological reduction reveals that the practices of the world involve two intentionalities which wrap one inside the other. The foundation of this dynamic is a theoretical intentionality: there are always reasons which make it possible to understand why such and such an object is surrounded by such and such a value. In the early (...) Heidegger’s work, life is not expressed by means of judgments, and it coils around itself, perpetuating itself in the ordinary practices of the world. We show that this phenomenological immanentism is put in question by Heidegger himself, and in particular in connection to the issue of the social source of intentionality. We consider the question of the compatibility between immanentism and normativity, which involve a dialectic that sheds new light on the phenomenological project. (shrink)

Loop regions in proteins have traditionally been described as ‘random coil’, although they are known to adopt well‐defined conformations in most globular proteins. In this contribution we summarize the results of detailed analysis of the structures and sequences of these loop regions in proteins of known three‐dimensional structure. We also describe how these results can be used as an aid to protein design, modification and modelling.

There are two questions I would like to address in this article. The first and main question is whether there are rules of recognition, along the lines suggested by H.L.A. Hart. The second question concerns the age-old issue of the autonomy of law. One of the main purposes of this article is to show how these two issues are closely related. The concept of a social convention is the thread holding these two points tightly knit in one coil. Basically, (...) I will argue that a novel account of social conventions can be employed to reestablish Hart's thesis about the rules of recognition, and that this same account shows why, and to what extent, law is partly an autonomous practice. (shrink)

Introduction: Motor evoked potentials (MEPs) to transcranial magnetic stimulation are known to be susceptible to several sources of variability. However, conflicting evidences on individual characteristics in relatively small sample sizes have been reported. We investigated the effect of age, height, and sex on MEPs of the motor cortex and spinal roots in a large cohort. Methods: A total of 587 subjects clinically and neuroradiologically intact were included. MEPs were recorded during mild tonic contraction through a circular coil applied over (...) the “hot spot” of the first dorsal interosseous and tibialis anterior muscles, bilaterally. Central motor conduction time (CMCT) was estimated as the difference between MEP cortical latency and the peripheral motor conduction time by cervical or lumbar magnetic stimulation. Peak-to-peak MEP amplitude to cortical stimulation and right-to-left difference of each parameter were also measured. Results: After Bonferroni correction, general linear (multiple) regression analysis showed that both MEP cortical latency and peripheral motor conduction time at four limbs positively correlated with age and height. At lower limbs, an independent effect of sex on the same measures was also observed (with females showing smaller values than males). CMCT correlated with both age (negatively) and height (positively) when analyzed by a single regression; however, with a multiple regression analysis this significance disappeared, due to the correction for the multicollinearity within the dataset. Conclusions: Physical individual features need to be considered for a more accurate and meaningful MEPs interpretation. Both in clinical practice and in research setting, patients and controls should be matched for age, height, and sex. (shrink)

Not so long ago, people had a very different concept of the mind and human nature. Our European heritage is a vision of the body as our mortal coil which we feel and command with our soul. The soul was thought to be immortal and exempt from the laws of nature so that our actions are not determined by anything outside of the boundaries of the soul. Souls of all sorts, of angels and spirits in addition to humans, permeated (...) the universe. The universe was an ordered cosmos with human beings at the center of it with a very special role to play in it. It was commonly held that only the soul can truly exhibit creativity and intelligence which no mere mechanism could replicate. Dreams and visions were considered important messengers. All this is quite intuitive; and its remnants are probably deeply ingrained in the everyday manner in which we still think about ourselves. -/- There is not much about the premodern conception that has survived these changes, except the view that we are conscious beings, i.e., that there is, in Thomas Nagel’s expression, something it is like to be us. Illusionists deny that there consciousness is real; this strange view is spreading from the halls of academia to popular media. I investigate the causes and consequences of this latest development in our conception of the mind. (shrink)

continent. 1.1 : 3-13. / 0/ – Introduction I want to propose, as a trajectory into the philosophically weird, an absurd theoretical claim and pursue it, or perhaps more accurately, construct it as I point to it, collecting the ground work behind me like the Perpetual Train from China Mieville's Iron Council which puts down track as it moves reclaiming it along the way. The strange trajectory is the following: Kant's critical philosophy and much of continental philosophy which has followed, (...) has been a defense against horror and madness. Kant's prohibition on speculative metaphysics such as dogmatic metaphysics and transcendental realism, on thinking beyond the imposition of transcendental and moral constraints, has been challenged by numerous figures proceeding him. One of the more interesting critiques of Kant comes from the mad black Deleuzianism of Nick Land stating, “Kant’s critical philosophy is the most elaborate fit of panic in the history of the Earth.” And while Alain Badiou would certainly be opposed to the libidinal investments of Land's Deleuzo-Guattarian thought, he is likewise critical of Kant's normative thought-bureaucracies: Kant is the one author for whom I cannot feel any kinship. Everything in him exasperates me, above all his legalism—always asking Quid Juris? Or ‘Haven’t you crossed the limit?’—combined, as in today’s United States, with a religiosity that is all the more dismal in that it is both omnipresent and vague. The critical machinery he set up has enduringly poisoned philosophy, while giving great succour to the academy, which loves nothing more than to rap the knuckles of the overambitious [….] That is how I understand the truth of Monique David-Menard’s reflections on the properly psychotic origins of Kantianism. I am persuaded that the whole of the critical enterprise is set up to to shield against the tempting symptom represented by the seer Swedenborg, or against ‘diseases of the head’, as Kant puts it. An entire nexus of the limits of reason and philosophy are set up here, namely that the critical philosophy not only defends thought from madness, philosophy from madness, and philosophy from itself, but that philosophy following the advent of the critical enterprise philosophy becomes auto-vampiric; feeding on itself to support the academy. Following Francois Laruelle's non-philosophical indictment of philosophy, we could go one step further and say that philosophy operates on the material of what is philosophizable and not the material of the external world. [1] Beyond this, the Kantian scheme of nestling human thinking between our limited empirical powers and transcendental guarantees of categorical coherence, forms of thinking which stretch beyond either appear illegitimate, thereby liquefying both pre-critical metaphysics and the ravings of the mad in the same critical acid. In rejecting the Kantian apparatus we are left with two entities – an unsure relation of thought to reality where thought is susceptible to internal and external breakdown and a reality with an uncertain sense of stability. These two strands will be pursued, against the sane-seal of post-Kantian philosophy by engaging the work of weird fiction authors H.P. Lovecraft and Thomas Ligotti. The absolute inhumanism of the formers universe will be used to describe a Shoggothic Materialism while the dream worlds of the latter will articulate the mad speculation of a Ventriloquil Idealism. But first we must address the relation of philosophy to madness as well as philosophy to weird fiction. /1/ – Philosophy and Madness There is nothing that the madness of men invents which is not either nature made manifest or nature restored. Michel Foucault. Madness and Civilization. The moment I doubt whether an event that I recall actually took place, I bring the suspicion of madness upon myself: unless I am uncertain as to whether it was not a mere dream. Arthur Schopenhauer. The World as Will and Idea, Vol. 3. Madness is commonly thought of as moving through several well known cultural-historical shifts from madness as a demonic or otherwise theological force, to rationalization, to medicalization psychiatric and otherwise. Foucault's Madness and Civilization is well known for orientating madness as a form of exclusionary social control which operated by demarcating madness from reason. Yet Foucault points to the possibility of madness as the necessity of nature at least prior to the crushing weight of the church. Kant’s philosophy as a response to madness is grounded by his humanizing of madness itself. As Adrian Johnston points out in the early pages of Time Driven pre-Kantian madness meant humans were seized by demonic or angelic forces whereas Kantian madness became one of being too human. Madness becomes internalized, the external demonic forces become flaws of the individual mind. Foucault argues that, while madness is de-demonized it is also dehumanized during the Renaissance, as madmen become creatures neither diabolic nor totally human reduced to the zero degree of humanity. It is immediately clear why for Kant, speculative metaphysics must be curbed – with the problem of internal madness and without the external safeguards of transcendental conditions, there is nothing to formally separate the speculative capacities for metaphysical diagnosis from the mad ramblings of the insane mind – both equally fall outside the realm of practicality and quotidian experience. David-Menard's work is particularly useful in diagnosing the relation of thought and madness in Kant's texts. David-Menard argues that in Kant's relatively unknown “An Essay on the Maladies of the Mind” as well as his later discussion of the Seer of Swedenborg, that Kant formulates madness primarily in terms of sensory upheaval or other hallucinatory theaters. She writes: “madness is an organization of thought. It is made possible by the ambiguity of the normal relation between the imaginary and the perceived, whether this pertains to the order of sensation or to the relations between our ideas” Kant's fascination with the Seer forces Kant between the pincers of “aesthetic reconciliation” – namely melancholic withdrawal – and “a philosophical invention” – namely the critical project. Deleuze and Guattari's schizoanalysis is a combination and reversal of Kant's split, where an aesthetic over engagement with the world entails prolific conceptual invention. Their embrace of madness, however, is of course itself conceptual despite all their rhizomatic maneuvers. Though they move with the energy of madness, Deleuze and Guattari save the capacity of thought from the fangs of insanity by imbuing materiality itself with the capacity for thought. Or, as Ray Brassier puts it, “Deleuze insists, it is necessary to absolutize the immanence of this world in such a way as to dissolve the transcendent disjunction between things as we know them and as they are in themselves”. That is, whereas Kant relied on the faculty of judgment to divide representation from objectivity Deleuze attempts to flatten the whole economy beneath the juggernaut of ontological univocity. Speculation, as a particularly useful form of madness, might fall close to Deleuze and Guattari’s shaping of philosophy into a concept producing machine but is different in that it is potentially self destructive – less reliant on the stability of its own concepts and more adherent to exposing a particular horrifying swath of reality. Speculative madness is always a potential disaster in that it acknowledges little more than its own speculative power with the hope that the gibbering of at least a handful of hysterical brains will be useful. Pre-critical metaphysics amounts to madness, though this may be because the world itself is mad while new attempts at speculative metaphysics, at post-Kantian pre-critical metaphysics, are well aware of our own madness. Without the sobriety of the principle of sufficient reason we have a world of neon madness: “we would have to conceive what our life would be if all the movements of the earth, all the noises of the earth, all the smells, the tastes, all the light – of the earth and elsewhere, came to us in a moment, in an instant – like an atrocious screaming tumult of things”. Speculative thought may be participatory in the screaming tumult of the world or, worse yet, may produce its spectral double. Against theology or reason or simply commonsense, the speculative becomes heretical. Speculation, as the cognitive extension of the horrorific sublime should be met with melancholic detachment. Whereas Kant's theoretical invention, or productivity of thought, is self -sabotaging, since the advent of the critical project is a productivity of thought which then delimits the engine of thought at large either in dogmatic gestures or non-systematizable empirical wondrousness. The former is celebrated by the fiction of Thomas Ligotti whereas the latter is espoused by the tales of H.P. Lovecraft. /2/ – Weird Fiction and Philosophy. Supernatural horror, in all its eerie constructions, enables a reader to taste treats inconsistent with his personal welfare. Thomas Ligotti Songs of a Dead Dreamer. I choose weird stories because they suit my inclination best—one of my strongest and most persistent wishes being to achieve,momentarily, the illusion of some strange suspension or violation of the galling limitations of time, space, and natural law which forever imprison us and frustrate our curiosity about the infinite cosmic spaces beyond the radius of our sight and analysis H.P. Lovecraft. “Notes on Writing Weird Fiction” Lovecraft states that his creation of a story is to suspend natural law yet, at the same time, he indexes the tenuousness of such laws, suggesting the vast possibilities of the cosmic. The tension that Lovecraft sets up between his own fictions and the universe or nature is reproduced within his fictions in the common theme of the unreliable narrator; unreliable precisely because they are either mad or what they have witnessed questions the bounds of material reality. In “The Call of Cthulhu” Lovecraft writes: The most merciful thing in the world, I think, is the inability of the human mind to correlate all its contents. We live on a placid island of ignorance in the midst of black seas of infinity, and it was not meant that we should voyage far. The sciences, each straining in its own direction, have hitherto harmed us little; but some day the piecing together of dissociated knowledge will open up such terrifying vistas of reality, and of our frightful position therein, that we shall either go mad from the revelation or flee from the deadly light into the peace and safety of a new dark age. Despite Lovecraft's invocations of illusion, he is not claiming that his fantastic creations such as the Old Ones are supernatural but, following Joshi, are only ever supernormal. One can immediately see that instead of nullifying realism Lovecraft in fact opens up the real to an unbearable degree. In various letters and non-fictional statements Lovecraft espoused strictly materialist tenets, ones which he borrowed from Hugh Elliot namely the uniformity of law, the denial of teleology and the denial of non-material existence. Lovecraft seeks to explore the possibilities of such a universe by piling horror upon horror until the fragile brain which attempts to grasp it fractures. This may be why philosophy has largely ignored weird fiction – while Deleuze and Guattari mark the turn towards weird fiction and Lovecraft in particular, with the precursors to speculative realism as well as contemporary related thinkers have begun to view Lovecraft as making philosophical contributions. Lovecraft's own relation to philosophy is largely critical while celebrating Nietzsche and Schopenhauer. This relationship of Lovecraft to philosophy and philosophy to Lovecraft is coupled with Lovecraft's habit of mercilessly destroying the philosopher and the figure of the academic more generally in his work, a destruction which is both an epistemological destruction and an ontological destruction. Thomas Ligotti's weird fiction which he has designated as a kind of “confrontational escapism” might be best described in the following quote from one of his shortstories, “The human phenomenon is but the sum of densely coiled layers of illusion each of which winds itself on the supreme insanity. That there are persons of any kind when all there can be is mindless mirrors laughing and screaming as they parade about in an endless dream”. Whereas Lovecraft's weirdness draws predominantly from the abyssal depths of the uncharted universe, Ligotti's existential horror focuses on the awful proliferation of meaningless surfaces that is, the banal and every day function of representation. In an interview, Ligotti states: We don't even know what the world is like except through our sense organs, which are provably inadequate. It's no less the case with our brains. Our whole lives are motored along by forces we cannot know and perceptions that are faulty. We sometimes hear people say that they're not feeling themselves. Well, who or what do they feel like then? This is not to say that Ligotti sees nothing beneath the surface but that there is only darkness or blackness behind it, whether that surface is on the cosmological level or the personal. By addressing the implicit and explicit philosophical issues in Ligotti's work we will see that his nightmarish take on reality is a form of malevolent idealism, an idealism which is grounded in a real, albeit dark and obscure materiality. If Ligotti's horrors ultimately circle around mad perceptions which degrade the subject, it takes aim at the vast majority of the focus of continental philosophy. While Lovecraft's acidic materialism clearly assaults any romantic concept of being from the outside, Ligotti attacks consciousness from the inside: Just a little doubt slipped into the mind, a little trickle of suspicion in the bloodstream, and all those eyes of ours, one by one, open up to the world and see its horror [...] Not even the solar brilliance of a summer day will harbor you from horror. For horror eats the light and digests it into darkness. Clearly, the weird fiction of Lovecraft and Ligotti amount to a anti-anthrocentric onslaught against the ramparts of correlationist continental philosophy. /3/ – Shoggothic Materialism or the Formless Formless protoplasm able to mock and reflect all forms and organs and processes—viscous agglutinations of bubbling cells—rubbery fifteen-foot spheroids infinitely plastic and ductile—slaves of suggestion, builders of cities—more and more sullen, more and more intelligent, more and more amphibious, more and more imitative—Great God! What madness made even those blasphemous Old Ones willing to use and to carve such things? H.P. Lovecraft. “At the Mountains of Madness” On the other hand, affirming that the universe resembles nothing and is only formless amounts to saying that the universe is something like a spider or spit. Georges Bataille. “Formless”. The Shoggoths feature most prominently in H.P. Lovecraft's shortstory “At the Mountains of Madness” where they are described in the following manner: It was a terrible, indescribable thing vaster than any subway train – a shapeless congeries of protoplasmic bubbles, faintly self -luminous, and with myriads of temporary eyes forming and un-forming as pustules of greenish light all over the tunnel-filling front that bore down upon us, crushing the frantic penguins and slithering over the glistening floor that it and its kind had swept so evilly free of all litter. The term is a litmus test for materialism itself as the Shoggoth is an amorphous creature. The Shoggoths were living digging machines bio engineered by the Elder Things, and their protoplasmic bodies being formed into various tools by their hypnotic powers. The Shoggoths eventually became self aware and rose up against their masters in an ultimately failed rebellion. After the Elder Ones retreated into the oceans leaving the Shoggoths to roam the frozen wastes of the Antarctic. The onto-genesis of the Shoggoths and their gross materiality, index the horrifyingly deep time of the earth a concept near and dear to Lovecraft's formulation of horror as well as the fear of intelligences far beyond, and far before, the ascent of humankind on earth and elsewhere. The sickly amorphous nature of the Shoggoths invade materialism at large, where while materiality is unmistakably real ie not discursive, psychological, or otherwise overly subjectivist, it questions the relation of materialism to life. As Eugene Thacker writes: The Shoggoths or Elder Things do not even share the same reality with the human beings who encounter them—and yet this encounter takes place, though in a strange no-place that is neither quite that of the phenomenal world of the human subject or the noumenal world of an external reality. Amorphous yet definitively material beings are a constant in Lovecraft's tales. In his tale “The Dream-Quest of Unknown Kadatth” Lovecraft describes Azathoth as, “that shocking final peril which gibbers unmentionably outside the ordered universe,” that, “last amorphous blight of nethermost confusion which blashphemes and bubbles at the centre of all infinity,” who, “gnaws hungrily in inconceivable, unlighted chambers beyond time”. Azathoth's name may have multiple origins but the most striking is the alchemy term azoth which is both a cohesive agent and a acidic creation pointing back to the generative and the decayed. The indistinction of generation and degradation materially mirrors the blur between the natural and the unnatural as well as life and non-life. Lovecraft speaks of the tension between the natural and the unnatural is his short story “The Unnameable.” He writes, “if the psychic emanations of human creatures be grotesque distortions, what coherent representation could express or portray so gibbous and infamous a nebulousity as the spectre of a malign, chaotic perversion, itself a morbid blasphemy against Nature?”. Lovecraft explores exactly the tension outlined at the beginning of this chapter, between life and thought. At the end of his short tale Lovecraft compounds the problem as the unnameable is described as “a gelatin—a slime—yet it had shapes, a thousand shapes of horror beyond all memory”. Deleuze suggests that becoming-animal is operative throughout Lovecraft's work, where narrators feel themselves reeling at their becoming non-human or of being the anomalous or of becoming atomized. Following Eugene Thacker however, it may be far more accurate to say that Lovecraft's tales exhibit not a becoming-animal but a becoming-creature. Where the monstrous breaks the purportedly fixed laws of nature, the creature is far more ontologically ambiguous. The nameless thing is an altogether different horizon for thought. The creature is either less than animal or more than animal – its becoming is too strange for animal categories and indexes the slow march of thought towards the bizarre. This strangeness is, as aways, some indefinite swirling in the category of immanence and becoming. Bataille begins “The Labyrinth” with the assertion that being, to continue to be, is becoming. More becoming means more being hence the assertion that Bataille's barking dog is more than the sponge. This would mean that the Shoggotth is altogether too much being, too much material in the materialism. Bataille suggests that there is an immanence between the eater and the eaten, across the species and never within them. That is, despite the chaotic storm of immanence there must remain some capacity to distinguish the gradients of becoming without reliance upon, or at least total dependence upon, the powers of intellection to parse the universe into recognizable bits, properly digestible factoids. That is, if we undo Deleuze's aforementioned valorization of sense which, for his variation of materialism, performed the work of the transcendental, but refuse to reinstate Kant's transcendental disjunction between thing and appearance, then it must be a quality of becoming-as-being itself which can account for the discernible nature of things by sense. In an interview with Peter Gratton, Jane Bennett formulates the problem thusly: What is this strange systematicity proper to a world of Becoming? What, for example, initiates this congealing that will undo itself? Is it possible to identify phases within this formativity, plateaus of differentiation? If so, do the phases/plateaus follow a temporal sequence? Or, does the process of formation inside Becoming require us to theorize a non-chronological kind of time? I think that your student’s question: “How can we account for something like iterable structures in an assemblage theory?” is exactly the right question. Philosophy has erred too far on the side of the subject in the subject-object relation and has furthermore, lost the very weirdness of the non-human. Beyond this, the madness of thought need not override. /4/ - Ventriloquial Idealism or the Externality of Thought My aim is the opposite of Lovecraft's. He had an appreciation for natural scenery on earth and wanted to reach beyond the visible in the universe. I have no appreciation for natural scenery and want the objective universe to be a reflection of a character. Thomas Ligotti. “Devotees of Decay and Desolation.” Unless life is a dream, nothing makes sense. For as a reality, it is a rank failure [….] Horror is more real than we are. Thomas Ligotti. “Professor Nobody's Little Lectures on Supernatural Horror”. Thomas Ligotti's tales are rife with mannequins, puppets, and other brainless entities which of replace the valorized subject of philosophy – that of the free thinking human being. His tales such as “The Dream of the Manikin” aim to destroy the rootedness of consciousness. James Trafford has connected the anti-egoism of Ligotti to Thomas Metzinger – where the self is at best an illusion and we plead desperately for someone else to acknowledge that we are real. Trafford has stated it thus, “Life is played out as an inescapable puppet show, an endless dream in which the puppets are generally unaware that they are trapped within a mesmeric dance of whose mechanisms they know nothing and over which they have no control”. An absolute materialism, for Ligotti, implies an alienation of the idea which leads to a ventriloquil idealism. As Ligotti notes in an interview, “the fiasco and nightmare of existence, the particular fiasco and nightmare of human existence, the sense that people are puppets of powers they cannot comprehend, etc.” And then further elaborates that,“[a]ssuming that anything has to exist, my perfect world would be one in which everyone has experienced the annulment of his or her ego. That is, our consciousness of ourselves as unique individuals would entirely disappear”. The externality of the idea leads to the unfortunate consequence of consciousness eating at itself through horror which, for Ligotti, is more real than reality and goes beyond horror-as-affect. Beyond this, taking together with the unreality of life and the ventriloquizing of subjectivity, Ligotti's thought becomes an idealism in which thought itself is alien and ultimately horrifying. The role of human thought and the relation of non-relation of horror to thought is not completely clear in Ligotti's The Conspiracy Against the Human Race. Ligotti argues in his The Conspiracy Against the Human Race,that the advent of thought is a mistake of nature and that horror is being in the sense that horror results from knowing too much. Yet, at the same time, Ligotti seems to suggest that thought separates us from nature whereas, for Lovecraft, thought is far less privileged – mind is just another manifestation of the vital principal, it is just another materialization of energy. In his brilliant “Prospects for Post-Copernican Dogmatism” Iain Grant rallies against the negative definition of dogmatism and the transcendental, and suggests that negatively defining both over-focuses on conditions of access and subjectivism at the expense of the real or nature. With Schelling, who is Grant's champion against the subjectivist bastions of both Fichte and Kant, Ligotti's idealism could be taken as a transcendental realism following from an ontological realism. Yet the transcendental status of Ligotti's thought move towards a treatment of the transcendental which may threaten to leave beyond its realist ground. Ligotti states: Belief in the supernatural is only superstition. That said, a sense of the supernatural, as Conrad evidenced in Heart of Darkness, must be admitted if one's inclination is to go to the limits of horror. It is the sense of what should not be- the sense of being ravaged by the impossible. Phenomenally speaking, the super-natural may be regarded as the metaphysical counterpart of insanity, a transcendental correlative of a mind that has been driven mad. Again, Ligotti equates madness with thought, qualifying both as supernatural while remaining less emphatic about the metaphysical dimensions of horror. The question becomes one of how exactly the hallucinatory realm of the ideal relates to the black churning matter of Lovecraft's chaos of elementary particles. In his tale “I Have a Special Plan for This World” Ligotti formulates thus: A: There is no grand scheme of things. B: If there were a grand scheme of things, the fact – the fact – that we are not equipped to perceive it, either by natural or supernatural means, is a nightmarish obscenity. C: The very notion of a grand scheme of things is a nightmarish obscenity. Here Ligotti is not discounting metaphysics but implying that if it does exist the fact that we are phenomenologically ill-equipped to perceive that it is nightmarish. For Ligotti, nightmare and horror occur within the circuit of consciousness whereas for Lovecraft the relation between reality and mind is less productive on the side of mind. It is easier to ascertain how the Kantian philosophy is a defense against the diseases of the head as Kant armors his critical enterprise from too much of the world and too much of the mind. The weird fiction of both Lovecraft and Ligotti demonstrates that there is too much of both feeding into one another in a way that corrodes the Kantian schema throughly, breaking it down into a dead but still ontologically potentiated nigredo. The haunting, terrifying fact of Ligotti's idealism is that the transcendental motion which brought thought to matter, while throughly material and naturalized, brings with it the horror that thought cannot be undone without ending the material that bears it either locally or completely. Thought comes from an elsewhere and an elsewhen being-in-thought. The unthinkable outside thought is as maddening as the unthought engine of thought itself within thought which doesn't exist except for the mind, the rotting décor of the brain. /5/ - Hyperstitional Transcendental Paranoia or Self -Expelled Thought Weird fiction has been given some direct treatment in philosophy in the mad black Deleuzianism of Nick Land. Nick Land along with others in the 1990s created the Cyber Culture Research Unit as well as the research group Hyperstition. The now defunct hyperstitional website, an outgrowth of the Cyber Culture Research Unit, defined hyperstition in the following fourfold: 1-Element of effective culture that makes itself real. 2-Fictional quantity functional as a time-traveling device. 3-Coincidence intensifier. 4-Call to the Old Ones. The distinctively Lovecraftian character of hyperstition is hard to miss as is its Deleuzo-Guattarian roots. In the opening pages of A Thousand Plateaus Deleuze and Guattari write, “We have been criticized for over-quoting literary authors. But when one writes, the only question is which other machine the literary machine can be plugged into”. The indisinction of literature and philosophy mirrors the mess of being and knowing as post-correlationist philosophy, where philosophy tries to make itself real where literature, especially the weird, aims itself at the brain-circuit of horror. The texts of both Lovecraft and Ligotti work through horror as epistemological plasticity meeting with proximity as well as the deep time of Lovecraft and the glacially slow time of paranoia in Ligotti. Against Deleuze, and following Brassier, we cannot allow the time of consciousness, the Bergsonian time of the duree, to override natural time, but instead acknowledge that it is an unfortunate fact of existence as a thinking being. Horror-time, the time of consciousness, with all its punctuated moments and drawn out terrors, cannot compare to the deep time of non-existence both in the unreachable past and the unknown future. The crystalline cogs of Kant's account of experience as the leading light for the possibility of metaphysics must be throughly obliterated. His gloss of experience in Prolegomena to any Future Metaphysics could not be more sterile: Experience consists of intuitions, which belong to the sensibility, and of judgments, which are entirely a work of the understanding. But the judgments which the understanding makes entirely out of sensuous intuitions are far from being judgments of experience. For in the one case the judgment connects only the perceptions as they are given in sensuous intuition [....] Experience consists in the synthetic connection of appearances in consciousness, so far as this connection is necessary. Here it is difficult to dismiss the queasiness that Kant's legalism induces upon sight for both Badiou and David-Menard. Kant's thought becomes, as Foucault says when reflecting on Sade's text in relation to nature, “the savage abolition of itself”. For Badiou, Kant's philosophy simply closes off too much of the outside, freezing the world of thought in an all too limited formalism. Critical philosophy is simply the systematized quarantine on future thinking, on thinking which would threaten the formalism which artificially grants thought its own coherency in the face of madness. Even the becoming-mad of Deleuze, while escaping the rumbling ground, makes grounds for itself, mad grounds but grounds which are thinkable in their affect. The field of effects allows for Deleuze's aesthetic and radical empiricism, in which effects and/or occasions make up the material of the world to be thought as a chaosmosis of simulacra. Given a critique of an empiricism of aesthetics, of the image, it may be difficult to justify an attack on Kantian formalism with the madness of literature, which does not aim to make itself real but which we may attempt to make real. That is, how do Lovecraft's and Ligotti's materials, as materials for philosophy to work on, differ from either the operative formalisms of Kant or the implicitly formalized images of Deleuzian empiricism? It is simply that such texts do not aim to make themselves real, and make claims to the real which are more alien to us than familiar, which is why their horror is immediately more trustworthy. This is the madness which Blanchot discusses in The Infinite Conversation through Cervantes and his knight – the madness of book-life, of the perverse unity of literature and life a discussion which culminates in the discussion of one of the weird's masters, that of Kafka. The text is the knowing of madness, since madness, in its moment of becoming-more-mad, cannot be frozen in place but by the solidifications of externalizing production. This is why Foucault ends his famous study with works of art. Furthermore extilligence, the ability to export the products of our maligned brains, is the companion of the attempts to export, or discover the possibility of intelligences outside of our heads, in order for philosophy to survive the solar catastrophe. To borrow again from Deleuze, writing is inseparable from becoming. The mistake is to believe that madness is reabsorbed by extilligence, by great works, or that it could be exorcised by the expelling of thought into the inorganic or differently organic. Going out of our heads does not guarantee we will no longer mean we cannot still go out of our minds. This is simply because of the outside, of matter, or force, or energy, or thing-in-itself, or Schopenhauerian Will. In Lovecraft’s “The Music of Erich Zahn” an “impoverished student of metaphysics” becomes intrigued by strange viol music coming from above his room. After meeting the musician the student discovers that each night he plays frantic music at a window in order to keep some horridness at bay, some “impenetrable darkness with chaos and pandemonium”. The aesthetic defenses provided by the well trained brain can bear the hex of matter for so long, the specter of unalterability within it which too many minds obliterate, collapsing everything before the thought of thought as thinkable or at least noetically mutable on our own terms. Transcendental paranoia is the concurrent nightmare and promise of Paul Humphrey's work, of being literally out of our minds. It is the gothic counterpart of thinking non-conceptually but also of thinking never belonging to any instance of purportedly solid being. As Bataille stated, “At the boundary of that which escapes cohesion, he who reflects within cohesion realizes there is no longer any room for him” Thought is immaterial only to the degree that it is inhuman, it is a power that tries, always with failure, to ascertain its own genesis. Philosophy, if it can truly return to the great outdoors, if it can leave behind the dead loop of the human skull, must recognize not only the non-priority of human thought, but that thought never belongs to the brain that thinks it, thought comes from somewhere else. To return to the train image from the beginning “a locomotive rolling on the surface of the earth is the image of continuous metamorphosis” this is the problem of thought, and of thinking thought, of being no longer able to isolate thought, with only a thought-formed structure. [1] One of the central tenets of Francois Laruelle's non-philosophy is that philosophy has traditionally operated on material already presupposed as thinkable instead of trying to think the real in itself. Philosophy, according to Laruelle, remains fixated on transcendental synthesis which shatters immanence into an empirical datum and an a prori factum which are then fused by a third thing such as the ego. For a critical account of Laruelle's non-philosophy see Ray Brassier's Nihil Unbound. (shrink)

Cilia are slender, micrometer‐long organelles present on the surface of eukaryotic cells. They function in signaling and locomotion and are constructed by intraflagellar transport (IFT). The assembly of IFT complexes into so‐called IFT trains to initiate ciliary entry at the base of the cilium remains a matter of debate. Here, we use structural modeling to provide an architectural framework for how RabL2 is anchored at the ciliary base via CEP19 before being handed over to IFT trains for ciliary entry. Our (...) models suggest that the N‐terminal domain of CEP43 forms a homo‐dimer to anchor at the subdistal appendages of cilia through a direct interaction with CEP350. A long linker region separates the N‐terminal domain of CEP43 from the C‐terminal domain, which captures CEP19 above the subdistal appendages and close to the distal appendages. Furthermore, we present a structural model for how RabL2‐CEP19 associates with the IFT‐B complex, providing insight into how RabL2 is handed over from CEP19 to the IFT complex. Interestingly, RabL2 association with the IFT‐B complex appears to induce a significant conformational change in the IFT complex via a kink in the coiled‐coils of the IFT81/74 proteins, which may prime the IFT machinery for entry into cilia. (shrink)

Constantius, as though the Temple of Janus had been closed and all enemies had been laid low, was longing to visit Rome and, following the death of Magnentius, to hold a triumph, without a victory title and after shedding Roman blood. For he did not himself defeat any belligerent nation or learn that any had been defeated through the courage of his commanders, nor did he add anything to the empire, and in dangerous circumstances he was never seen to lead (...) from the front, nor even to be among the front ranks. But he wanted to display an exaggeratedly long procession, standards stiff with gold and the beauty of his attendants, to a population who were living more peacefully, neither anticipating nor wishing to see this or anything like it. For perhaps he was unaware that some earlier emperors had been content with lictors in peacetime, but when the heat of battle could not allow inactivity, one of them had entrusted himself to a small fishing boat, blasted by raging gales, another had followed the example of the Decii and offered up his life in a vow for the state, and another had himself explored the enemy camp alongside the regular soldiers; that, in short, various of them had won renown for magnificent deeds, and so committed their glories to the distinguished memory of posterity. …When he was approaching the city, observing with a serene expression the respectful attendance of the Senate, and the venerable likenesses of the patrician families, he thought, not like Cineas, the legate of Pyrrhus, that a multitude of kings had been assembled together, but rather that this was the refuge of the whole world [cumque urbi propinquaret, senatus officia, reuerendasque patriciae stirpis effigies, ore sereno contemplans, non ut Cineas ille Pyrrhi legatus, in unum coactam multitudinem regum, sed asylum mundi totius adesse existimabat]. Next, when he turned his gaze to the general populace, he was astonished at the speed with which every type of men from everywhere had flowed into Rome. As though he were trying to terrify the Euphrates or the Rhine with the sight of arms, with the standards in front of him on each side, he sat alone in a golden chariot, glittering with the shimmer of many different precious stones, whose flashes seemed to produce a flickering light. After many others had preceded him, he was surrounded by dragons, woven from purple cloth and affixed to the golden, bejewelled tips of spears, open to the wind with their broad mouths and so hissing as though roused with anger, trailing the coils of their tails in the wind [eumque post antegressos multiplices alios, purpureis subtegminibus texti, circumdedere dracones, hastarum aureis gemmatisque summitatibus illigati, hiatu uasto perflabiles, et ideo uelut ira perciti sibilantes, caudarumque uolumina relinquentes in uentum]. Then there came a twin column of armed men, with shields and plumed helmets, shining with glittering light, clothed in gleaming cuirasses, with armoured horsemen, whom they call clibanarii, arranged among them, masked and protected by breastplates, encircled with iron bands, so that you might have thought them to be statues finished by the hand of Praxiteles, not men [sparsique catafracti equites, quos clibanarios dictitant, personati thoracum muniti tegminibus, et limbis ferreis cincti, ut Praxitelis manu polita crederes simulacra, non uiros]. Slender rings of metal plates, fitted to the curves of the body, clothed them, spread across all their limbs, so that, in whatever direction necessity moved their joints, their clothing moved likewise, since the joins had been made to fit so well.When he was hailed as Augustus with favourable cries, [Constantius] did not shudder at the din that thundered from hills and shores, but showed himself unmoved, as he appeared in his provinces. For, when passing through high gates, he stooped his short body, and, keeping his gaze straight, as though his neck were fixed, he turned his head neither right nor left, as though an image of a man, and he was never seen to nod when the wheel shook, or to spit or wipe or rub his face or nose, or to move his hand [nam et corpus perhumile curuabat portas ingrediens celsas, et uelut collo munito, rectam aciem luminum tendens, nec dextra uultum nec laeua flectebat, tamquam figmentum hominis, nec, cum rota concuteret, nutans, nec spuens, aut os aut nasum tergens uel fricans, manumue agitans uisus est umquam]. Although this behaviour was an affectation, it, and other aspects of his more private life, were however indications of extraordinary endurance, granted to him alone, as it was given to be supposed. This passage, which describes the aduentus of Constantius II into Rome in 357, is one of the best-known episodes in the Res Gestae of Ammianus Marcellinus. This historical work was completed by the retired military officer in around 390, with the surviving books covering the period from 353 to the aftermath of the Battle of Adrianople in 378. Unsurprisingly, this passage is also one of the most debated. Throughout his work, Ammianus regularly criticized Constantius as a weak, vicious ruler, influenced by women and, in particular, eunuchs, and so contrasted him with his cousin and successor Julian, the emperor who receives the most favourable treatment within this text. The degree and nature of criticism within this particular passage has, however, been the subject of a variety of wildly differing interpretations. It is clear that, at the outset, Ammianus is inveighing against the notion of holding a triumph for victory in a civil war, but there has been debate over whether Constantius was actually celebrating a triumph or merely the anniversary of his accession. Similarly, the description of the Senate as ‘the refuge of the whole world’ has been read in contrasting ways, being regarded as derogatory by Johannes Straub, as neutral, or even positive, by Pierre Dufraigne, and as respectful by R.C. Blockley. While this passage as a whole is generally read as an attack on Constantius for his pretentions to ill-deserved military glory, it also raises the question of whether Ammianus was also criticizing Constantius for the way in which he performed his aduentus, emphasizing his pompous and autocratic behaviour in order to contrast him with Julian, who preferred to behave more like a ciuilis princeps in public. Of course, such a reading almost inevitably produces a portrait of Ammianus as an impractically nostalgic figure, harking back to a style of rule which was anachronistic in the post-Diocletianic Later Roman Empire. In addition, Ammianus also presented Julian as performing an aduentus into Constantinople in 361, employing some phrases that were similar to those used to describe Constantius’ procession in 357. Furthermore, as John Matthews has illustrated, Ammianus’ presentations of the occasions when Julian eschewed late-antique imperial protocol are not without tinges of criticism, and his judgement on the propriety of different modes of imperial behaviour varied dependent on the context. (shrink)

Two tapestry medallions from Byzantine Egypt decorated with interlaces are examined here with a view to teasing out the meanings they conveyed to the persons who saw and used them. Originally adorning domestic apparel or furnishings, the textiles now are held in the collections of the Textile Museum in Washington, D.C. and of the Louvre Museum in Paris. The interlaces served either as protective devices meant to obstruct and bind evil spirits through the coils of their knots, or as metaphors (...) for the entanglements of the devil that had to be overcome to attain a good end. Floor mosaics in Cyprus, North Africa, and Jordan – especially those depicting labyrinths, in which the ideas that underlie the designs are more clearly expressed through inscriptions – provide a route to understanding the interlaces depicted in the textiles. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Philosophy and Rhetoric 35.2 (2002) 153-174 [Access article in PDF] LSDNA: Rhetoric, Consciousness Expansion, and the Emergence of Biotechnology Richard Doyle I had to struggle to speak intelligibly. —Albert Hofmann on his self-experiment with LSD-25 Finding a place to start is of utmost importance. Natural DNA is a tractless coil, like an unwound and tangled audio tape on the floor of the car in the dark. —Kary Mullis (...) on the invention of Polymerase Chain Reaction 1. Undoing life What happened is this: Once upon a time there was a narrative of vitality. Ok, not a narrative, but an apprehension, a fear, a vision. It didn't have a beginning, middle, or end. It was. Its contours were no more determinable than those of consciousness. Indeed, our consciousness, as humans, was our sole alleged difference from it. From something called "life." We were more than life, but were also, tragically, confined to it. You know the story all too well. Some of its major authors were Cuvier, Lamarck, Darwin, Bichat. Even Shelley.Just because this sudden transformation happened on paper doesn't mean it was easy to endure. Enormous numbers of humans went on tranquilizers just to deal with the effects. Others, elsewhere, knew nothing but rumors. Nonetheless, they became increasingly implicated in its effects, the effects of understanding and experiencing both "life" and "consciousness" as informatic events. Suddenly—and it is sudden, a real surprise—both our vitality and our thought were distributed, scattered across a network and nowhere in particular. Timothy Leary and Francis Crick were speaking the same language, the language of information where the organic and the machinic enfold each other helically and, sometimes, the capacity for replication goes through the ceiling. This new language of information would [End Page 153] introduce a novel response and abyss: the pleasures and hells of eternal replication. The distribution of both life and consciousness enabled a dream of immortality from which we have not yet awakened, as the mere specter of infinite clonal replicants provokes entropies of identity even as it preserves the self from onslaughts of decay. 1In at least one of its characteristics this shift toward an informatic understanding of life is perhaps not really so novel. The seductions of control are hardly, historians of science tell us, foreign to the practices and effects of technoscience. Evelyn Fox Keller makes this point concisely and precisely in her not-quite eponymous essay, "From Secrets of Life to Secrets of Death," itself a self-professed sequel to her 1986 "Making Gender Visible." Here the scientific "impulse" is underwritten by a perennial motif that underlies much of scientific creativity, namely, the urge to fathom the secrets of nature and the collateral hope that, in fathoming the secrets of nature, we will fathom (and hence gain control of) our own mortality (Secrets, 29).Surely Keller is correct that the nascent practices of molecular biology were cryptographic in character, an espionage project unknowingly launched by Erwin Schrodinger during the Second World War. Surely it is crucial to this moment that while Schrodinger's 1943 Dublin lectures were introducing audiences to the concept of the code-script, Alan Turing again brilliantly decrypted a modified U-boat code, giving the Allies code superiority for the remainder of the war. 2 But in this segment on that strange growth called "biotechnology," I want to focus on what Keller has called the "collateral" of hope in this cryptographic impulse, namely the collateral equation between inquiry and control, specifically the control of mortality.For is "fathoming" a secret identical to the exercise of control? The very cadence and rhetorical encryption of Keller's formulation here, a general parenthetical syllogistic conclusion within and alongside a hyphenated invocation of particularity, suggest that concepts and practices of secrecy are more unstable than Keller implies with her invocation of Feynman's "disease" of lock picking: "One of my diseases, one of my things in life, is that anything that is secret, I try to undo" (40).For Keller, Feynman's confession is emblematic of a desire to control life and death... (shrink)

Although the centrosome was first described over 100 years ago, we still know relatively little of the molecular mechanisms responsible for its functions. Recently, members of a novel family of centrosomal proteins have been identified in a wide variety of organisms. The transforming acidic coiled‐coil‐containing (TACC) proteins all appear to play important roles in cell division and cellular organisation in both embryonic and somatic systems. These closely related molecules have been implicated in microtubule stabilisation, acentrosomal spindle assembly, translational (...) regulation, haematopoietic development and cancer progression. In this review, I summarise what we already know of this protein family and will use the TACC proteins to illustrate the many facets that centrosomes have developed during the course of evolution. BioEssays 24:915–925, 2002. © 2002 Wiley Periodicals, Inc. (shrink)

I quote Griffiths' translation: ‘A crown of many designs with all kinds of flowers had girt her lofty head; in its centre a flat disk above the forehead shone with a clear light in the manner of a mirror or indeed the moon, while on its right and left it was embraced by coils of uprising snakes; from above it was adorned also with outstretched ears of corn’. This is the detailed description of the crown worn by Isis in her (...) epiphany to Lucius at Cenchreae. ‘Sulcis’ is strange; it can only refer to the tracks or furrows left by snakes, a notion wholly irrelevant here – we require a noun referring to actual physical parts of the two snakes which border Isis' moon-disk on either side, preferably a reference to their hanging coils – so Griffiths' translation runs ‘on its right and left it was embraced by coils of uprising snakes’, though this does not render his text, which keeps ‘sulcis’. Read ‘spiris’, a word of similar shape to ‘sulcis’; ‘spirae’ is twice used of the coils of snakes by Vergil, at Aen. 2.217 and 12.848; ‘serpentum spiris’ in the latter passage may influence Apuleius’ ‘spiris…viperarum’. The alliteration and assonance of ‘spins’ and ‘spicis’ would be very much in Apuleius' manner as a jingle involving the change of a single consonant between two words – cf. Florida 3 ‘ita Marsyas in poenam cecinit et cecidit’, Apologia 85 ‘acerbiores morsus viventi et videnti offeruntur’ and H. Koziol, Der Stil des L. Apuleius, 204–5. (shrink)