Genomes are defined by their primary sequence. The functional properties of genomes, however, are determined by far more complex mechanisms and depend on multiple layers of regulatory control processes. A key emerging contributor to genome function is the architectural organization of the cell nucleus. The spatial and temporal behavior of genomes and their regulatory proteins are now being recognized as important, yet still poorly understood, control mechanisms in genome function. Combined cell biological, molecular and computational analysis of architectural aspects of (...) genome function has added a further dimension to the investigation of some of the most fundamental cellular processes including transcription and maintenance of genome integrity. The complete elucidation of the contribution that nuclear architecture makes to gene expression will be required to fully understand physiological processes such as differentiation, development and disease at the cellular level. Here I give an overview of some of the emerging concepts in the study of in vivo genome organization and function. BioEssays 27:477–487, 2005. Published 2005 Wiley Periodicals, Inc. (shrink)

The ability to recognise others’ emotions from nonverbal cues is measured with performance-based tests and has many positive correlates. Although researchers have...

Significant criticisms have been raised regarding the ethical and psychological basis of living wills. Various solutions to address these criticisms have been advanced, such as the use of surrogate decision makers alone or data science‐driven algorithms. These proposals share a fundamental weakness: they focus on resolving the problems of living wills, and, in the process, lose sight of the underlying ethical principle of advance care planning, autonomy. By suggesting that the same sweeping solutions, without opportunities for choice, be applied to (...) all, individual patients are treated as population‐level groups—as a theoretical patient who represents a population, not the specific patient crafting his or her individualized future care plans. Instead, advance care planning can be improved through a multimodal approach that both mitigates cognitive biases and allows for customization of the decision‐making process by allowing for the incorporation of a variety of methods of advance care planning. (shrink)

concepts like numbers or time are thought to be represented in the more concrete domain of space and the sensorimotor system. For example, thinking of past or future events has a physical manifestation in backward or forward body sway, respectively. In the present study, we investigated the reverse effect: can passive whole-body motion influence the processing of temporal information? Participants were asked to categorize verbal stimuli to the concepts future or past while they were displaced forward and backward , or (...) upward and downward . The results showed that future related verbal stimuli were categorized faster during forward as compared to backward motion. This finding supports the view that temporal events are represented along a mental time line and that the sensorimotor system is linked to that representation. We showed that body motion is not just an epiphenomenon of temporal thoughts. Passive whole-body motion can influence higher-order temporal cognition. (shrink)

Phase separation underlies the formation of biomolecular condensates. We hypothesize the cellular processes that occur within condensates shape their structural features. We use the example of transcription to discuss structure–function relationships in condensates. Various types of transcriptional condensates have been reported across the evolutionary spectrum in the cell nucleus as well as in mitochondrial and bacterial nucleoids. In vitro and in vivo observations suggest that transcriptional activity of condensates influences their supramolecular structure, which in turn affects their function. Condensate organization (...) thus becomes driven by differences in miscibility among the DNA and proteins of the transcription machinery and the RNA transcripts they generate. These considerations are in line with the notion that cellular processes shape the structural properties of condensates, leading to a dynamic, mutual interplay between structure and function in the cell. (shrink)

Our paper offers a contribution to the growing literature on the sociology of innovation rather than the still dominant economic theory of innovation. We suggest that innovation first and foremost represents a process of cognitive displacement whereby existing metaphorical frameworks are reconstituted to account for new phenomena in a process that changes both the metaphor’s and the new phenomenon’s compositions. We suggest that integral to this process is knowledgeability, or a bundle of social and cognitive competencies that emerge as one (...) of the main prerequisites for innovative thinking. We conclude by examining the most important social and cognitive competencies that structure the possibilities for invention and innovation in the contemporary knowledge economy. (shrink)

Recent research on visual mental imagery plays an important role for the study of visual hallucinations. Not only are mental images involved in various cognitive processes, but they also share many processes with visual perception. However, we rarely confuse mental images with percepts, and recent neuroimaging studies shed light on the mechanisms that are differently activated in imagery and perception.

If narrating—the feeling of stories, fictional or otherwise—is an inherent possibility of motion pictures , then Kracauer's distinction between the realist and formative tendencies must be questioned and, in effect, the two must be synthesized. Wasn't the practical problem for the earliest films how to construct a formative sequence of events within an absolutely real-looking visual context? Wasn't the paradox of film narrative the combination of an obviously unreal sequence of events with an obviously real visual and social setting? And (...) isn't that paradox the most intriguing and complex problem of narrative film today, when the visual and social setting have become increasingly real-seeming? And doesn't this paradox have something to do with the fact that narrative film today seems richer and more important than it did a decade ago, at a time when various admirers of both cinéma vérité and cinéma pur had announced the death of fictional filmed narrative? Kracauer's realist aesthetic, concentrating exclusively on the photographic surfaces of things in the material world , overlooks this paradox altogether. It overlooks the fact—extremely relevant to the cinema—that the term "realist" means one thing in its common application to a painting or photograph and quite another thing in its equally common application to a novel or play. A realistic visual image is one that is said to "look like," "resemble," "reproduce," "iconically represent" the surfaces of the visual world. We see—or think we see—in a painting what we see—or think we see—in the real world.1 But a realistic story is one that is said to chronicle "credibly," "probably," and "believably" the way we think people feel, think, or act, the way things happen, and the reasons they happen, all of which are consistent with the reader-audience-society's beliefs about psychology, motivation, and probability. The standard of one sense of realism is primarily visual while the standard of the other is primarily psychological. One might see the early films groping, then, toward a synthesis of the visual realism of late-nineteenth-century painting/photography with the psychological realism of late-nineteenth-century novel/drama. · 1. This equivocation deliberately avoids the question of whether there is anything actually real about what one sees in a painting or photograph. The fact is that a very large number of viewers operate in this assumption because they think there is something real about what they see, despite the theoretical imprecision of their holding such a belief. Gerald Mast is the author of, among other works, A Short History of the Movies, The Comic Mind: Comedy and the Movies, and Film/Cinema/Movie: A Theory of Experience. His previous contribution to Critical Inquiry, "What Isn't Cinema?," appeared in the Winter 1974 issue. (shrink)

One of the common and commonsensical ways to distinguish cinema from every other art and semiotic system, and to define the property of its uniqueness, is to claim that cinema is the only art/”language” that links images. This “linking” can imply three different yet complementary operations. First, cinema links individual still photographs into an apparently continuous sequence of movement by pushing the individual frames or photographs through a camera or projector at sixteen or twenty-four or however many frames per second. (...) Second, cinema links images by editing , by splicing together individual shots, which are continuous chains of linked frames. Finally, cinema links images with sounds, synchronously or otherwise. The only problem with such an apparently unrestrictive and unprescriptive definition of cinema and the “cinematic” is that it obscures an essentially cinematic operation that precedes the linking of cinema images: the image must first be framed before it can be linked with another.But is framing unique to cinema? Don’t paintings have frames? Aren’t photographs frames? Isn’t the theater’s proscenium arch a frame? A consequence of such perfectly sensible questions is a consistent undervaluing of the cinema frame as an essentially and uniquely cinematic tool, unlike that of any other art, producing serious errors in the writing of film theory and serious misunderstandings of the processes of film history. The goal of this article is to diagnose some of these errors so they might someday be cured. Gerald Mast is professor of English and general in the humanities at the University of Chicago. Among his many books are A Short History of the Movies, The Comic Mind: Comedy and the Movies, Film/Cinema/Movie, The Movies in Our Midst, and Howard Hawks, Storyteller. His previous contributions to Critical Inquiry are “What Isn’t Cinema?” and “Kracauer’s Two Tendencies and the Early History of Film Narrative”. (shrink)

When Andre Bazin's most important essays on film were collected together in a single volume and titled What is Cinema? they raised a question that Bazin did not answer. Nor did he intend to. Nor has it been answered by any of the other theorists who have written what now seem to be the major works on film theory and who now seem the most influential spokesmen for the art. Rudolf Arnheim, Andre Bazin, Stanley Cavell, S. M. Einstein, Siegfried Kracauer, (...) Christian Metz, Hugo Munsterberg, Erwin Panofsky, and Gene Youngblood have failed to define what cinema essentially is.1 Unlike Ionesco's comically methodical Logician, they have been less than careful about posing the problem correctly. As a result they have been less than successful and less than precise with a deceptively difficult and complicated issue. They have defined some kinds of cinema, they have defined some of the qualities unique to those kinds of cinema, they have defined the characteristics and devices they find most valuable in some of those kinds of cinema, they simply have not defined cinema. · 1. Relevant sections of all these theorists can be found in Gerald Mast and Marshall Cohen, eds., Film Theory and Criticism: Introductory Readings . Gerald Mast, associate professor of humanities at Richmond College of the City University of New York, has written A Short History of the Movies, The Comic Mind: Comedy and the Movies, Filmguide to the Rules of the Game, and Film Theory and Criticism: Introductory Readings . This article is part of a forthcoming book, What Isn't Cinema? He has also contributed "Kracauer's Two Tendencies and the Early History of Film Narrative" to Critical Inquiry. (shrink)

This article approaches the topics of invention and innovation by way of cultural theory. Building on the works of Ferdinand de Saussure and John Austin, the article offers definitions of invention and innovation in semiotic and performative terms. It conceptualizes invention as a process of resignification, and frames innovation as a felicitous performative. Structuralist theory appears to foreclose the potential for these two terms to exist in the empirical world. This article explores these barriers but also locates conceptual spaces for (...) invention and innovation, and identifies these phenomena as they occur in contemporary empirical sites. (shrink)

With the development of wireless technology, two basic wireless network models that are commonly used, known as infrastructure and wireless ad hoc networks, have been developed. In the literature, it has been observed that channel contention is one of the main reasons for packet drop in WANETs. To handle this problem, this paper presents a routing protocol named CCBR. CCBR tries to determine a least contended path between the endpoints to increase packet delivery ratio and to reduce packet delay and (...) normalized routing overhead. Moreover, throughout the active data section, each intermediate node computes its channel contention value. If an intermediate node detects an increase in channel contention, it notifies the source node. Then the source node determines another least contended route for transmission. The advantages of CCBR are verified in our NS2-based performance study, and the results show that CCBR outperforms ad hoc on-demand distance vector in terms of packet delivery ratio, end-to-end delay, and routing overhead by 4% to 9%. (shrink)

People often make use of a spatial “mental time line” to represent events in time. We investigated whether the eyes follow such a mental time line during online language comprehension of sentences that refer to the past, present, and future. Participants' eye movements were measured on a blank screen while they listened to these sentences. Saccade direction revealed that the future is mapped higher up in space than the past. Moreover, fewer saccades were made when two events are simultaneously taking (...) place at the present moment compared to two events that are happening in different points in time. This is the first evidence that oculomotor correlates reflect mental looking along an abstract invisible time line during online language comprehension about time. Our results support the idea that observing eye movements is likely to “detect” invisible spatial scaffoldings which are involved in cognitively processing abstract meaning, even when the abstract meaning lacks an explicit spatial correlate. Theoretical implications of these findings are discussed. (shrink)

Research in cognitive neuroscience and spatial presence suggests that human mental self-localization is tied to one place at a given point in time. In this study, we examined whether it is possible to feel localized at two distinct places at the same time. Participants were exposed to a virtual rollercoaster and they continuously judged to what extent they felt present in the immediate environment and in the mediated environment, respectively. The results show that participants distributed their self-localization to both environments, (...) and the two values added up to closely 100% over time. In addition, even though the judgments are highly idiosyncratic, they were almost perfectly inversely related. This indicates that individuals can distribute their self over two distinct places. These findings provide important insights about understanding of the human self-localization. (shrink)

Presents a plethora of approaches to developing human potential in areas not conventionally addressed. Organized in two parts, this international collection of essays provides viable educational alternatives to those currently holding sway in an era of high-stakes accountability.

This lavishly illustrated book highlights the conservation importance of congregatory animals species--those which gather in vast groups. It also focuses on the irreplaceability of the congregation sites which are able to support such large gatherings of animals, fish, or birds.

Recent research put forward the hypothesis that eye movements are integrated in memory representations and are reactivated when later recalled. However, “looking back to nothing” during recall might be a consequence of spatial memory retrieval. Here, we aimed at distinguishing between the effect of spatial and oculomotor information on perceptual memory. Participants’ task was to judge whether a morph looked rather like the first or second previously presented face. Crucially, faces and morphs were presented in a way that the morph (...) reactivated oculomotor and/or spatial information associated with one of the previously encoded faces. Perceptual face memory was largely influenced by these manipulations. We considered a simple computational model with an excellent match that expresses these biases as a linear combination of recency, saccade, and location. Surprisingly, saccades did not play a role. The results suggest that spatial and temporal rather than oculomotor information biases perceptual face memory. (shrink)