Zeitschriftenartikel zum Thema „Tat imprints“

ABSTRACT The human cytotoxic T-lymphocyte (CTL) response to human immunodeficiency virus type 1 (HIV-1) has been intensely studied, and hundreds of CTL epitopes have been experimentally defined, published, and compiled in the HIV Molecular Immunology Database. Maps of CTL epitopes on HIV-1 protein sequences reveal that defined epitopes tend to cluster. Here we integrate the global sequence and immunology databases to systematically explore the relationship between HIV-1 amino acid sequences and CTL epitope distributions. CTL responses to five HIV-1 proteins, Gag p17, Gag p24, reverse transcriptase (RT), Env, and Nef, have been particularly well characterized in the literature to date. Through comparing CTL epitope distributions in these five proteins to global protein sequence alignments, we identified distinct characteristics of HIV amino acid sequences that correlate with CTL epitope localization. First, experimentally defined HIV CTL epitopes are concentrated in relatively conserved regions. Second, the highly variable regions that lack epitopes bear cumulative evidence of past immune escape that may make them relatively refractive to CTLs: a paucity of predicted proteasome processing sites and an enrichment for amino acids that do not serve as C-terminal anchor residues. Finally, CTL epitopes are more highly concentrated in alpha-helical regions of proteins. Based on amino acid sequence characteristics, in a blinded fashion, we predicted regions in HIV regulatory and accessory proteins that would be likely to contain CTL epitopes; these predictions were then validated by comparison to new sets of experimentally defined epitopes in HIV-1 Rev, Tat, Vif, and Vpr.

In a transcriptual approach to the literary discourse, the text as artefact is regarded as a creation of the scriptor. The artificiality of the poetics implies conscious or unconscious structuring - Cloete terms it dreamful thinking (“die dromende denke”) - by inevitably exploiting language conventions and the poetic devices, the sole purpose being that the organised composition can be the only (as well as measurable) indication of authorial intention. Likewise, in as far as language presents the relevant possibilities, authorial intention is imprinted upon the textual composition or is transposed lingually. Moreover, a transcriptual reading of Cloete texts has shown clearly that the text as language presentation exhibits a wilfulness, a creative language potency or energy which has to be activated by the reader. This dynamic, significatory potency is not constricted by the authorial intention; rather, it offers a framework within which language may claim to determinate actualisation. Realisation by the reader is therefore nothing more than a transcript of the possibilities and presentation of language. Added to this is the following qualification that this transcriptual process brings about an aesthetically realised object which is the imprint of the reader’s understanding. By reading Cloete’s poetry through transcriptually tinted glasses, the richness of this reading strategy becomes clear.

Sleep posture plays a crucial role in maintaining good morpheus quality and overall health. As a result, long-term monitoring of 3D sleep postures is significant for sleep analysis and chronic disease prevention. To recognize sleep postures, traditional methods either use cameras to record image data or require the user to wear wearable devices or sleep on pressure mattresses. However, these methods could raise privacy concerns and cause discomfort during sleep. Accordingly, the RF (Radio Frequency) based method has emerged as a promising alternative. Despite most of these methods achieving high precision in classifying sleep postures, they struggle to retrieve 3D sleep postures due to difficulties in capturing 3D positions of static body joints. In this work, we propose TagSleep3D to resolve all the above issues. Specifically, inspired by the concept of RFID tag sheets, we explore the possibility of recognizing 3D sleep posture by deploying an RFID tag array under the bedsheet. When a user sleeps in bed, the signals of some tags could be blocked or reflected by the sleep posture, which can produce a body imprint. We then propose a novel deep learning model composed of the attention mechanism, convolutional neural network, and together with two data augmentation methods to retrieve the 3D sleep postures by analyzing these body imprints. We evaluate TagSleep3D with 43 users and we totally collect 27,300 sleep posture samples. Our extensive experiments demonstrate that TagSleep3D can recognize each joint on the human skeleton with a median MPJPE (Mean Per Joint Position Error) of 4.76 cm for seen users and 7.58 cm for unseen users.

FLAG® tag (DYKDDDDK) is a small epitope peptide employed for the purification of recombinant proteins such as immunoglobulins, cytokines, and gene regulatory proteins. It provides superior purity and recoveries of fused target proteins when compared to the commonly used His-tag. Nevertheless, the immunoaffinity-based adsorbents required for their isolation are far more expensive than the ligand-based affinity resin used in combination with the His-tag. In order to overcome this limitation we report herein the development of molecularly imprinted polymers (MIPs) selective to the FLAG® tag. The polymers were prepared by the epitope imprinting approach using a four amino acids peptide, DYKD, including part of the FLAG® sequence as template molecule. Different kinds of magnetic polymers were synthesised in aqueous and organic media also using different sizes of magnetite core nanoparticles. The synthesised polymers were used as solid phase extraction materials with excellent recoveries and high specificity for both peptides. The magnetic properties of the polymers confer a new, effective, simple, and fast method in the purification using FLAG® tag.

Motor nerves can only modify the phenotype of muscle fibres within a myogenically determined range. The particular range of a given fibre is an intrinsic property of that fibre, depending on the type of muscle (limb or jaw) and the specific tag imprinted upon it during development.

Straipsnyje aptariami ir įvertinami Antano Maceinos (1908–1987) ir Juozo Girniaus (1915–1994) veikalai, skirti lietuvių tautos kultūrinio ir politinio išliekamumo klausimams sovietų okupacijos ir tautinės emigracijos sąlygomis. Parodoma, jog šiame darbe cituojami minėtų lietuvių filosofų darbai tebėra vieni reikšmingiausių ir teoriškai brandžiausių veikalų, parašytų ne tik emigracijoje, bet ir per visą Lietuvos filosofijos istoriją. Tai reiškia, kad jie neprarado savo konceptualiojo – teorinio ir praktinio – aktualumo ir mūsų laikais, nes Lietuvos istorija, kaip žinoma, turi didesnių abejonių nekeliančių cikliškumo bruožų – ir tai nėra būdinga vien XX amžiui. Agresyvėjanti dabartinės Rusijos politika – jos strategija ir taktika Baltijos valstybių atžvilgiu rodo, jog minėtuosius pokario laikų lietuvių filosofų, gyvenusių ir dirbusių emigracijos sąlygomis, teorinius veikalus dar pernelyg anksti priskirti tik istorinei lietuvių tautos kovų už savąjį valstybingumą ir laisvę praeičiai. Tai reiškia, tad jie tebeturi ir didesnių abejonių nekeliančio amžinojo šiuolaikiškumo žymę. Pagrindiniai žodžiai: tauta, tautinė ištikimybė, kultūra, moralinė atsakomybė.Nation and National Loyalty in the Works of A. Maceina and J. GirniusJonas Balčius Summary The article focuses on discussing and evaluating works by Antanas Maceina (1908–1987) and Juozas Girnius (1915–1994) dwelling on questions of the cultural and political survival of the Lithuanian nation under harsh conditions of Soviet occupation and NATIONAL emigration. It is demonstrated that works by the Lithuanian philosophers cited here remain among the most significant and theoretically mature contributions not only in the context of emigration, but also in terms of the whole history of Lithuanian philosophy. These works have not lost their conceptual relevance (both in theory and practice) in the modern times as well, because Lithuanian history may be more or less reasonably characterized by certain cyclical traces, and this assertion holds true not only for the 20th century. The increasingly aggressive policy of modern Russia (ruled by the Putin regime), particularly its strategy and tactics in dealing with the Baltic states, clearly indicate it being far too early to attribute these theoretical works by the above mentioned postwar Lithuanian philosophers living and working in the exile to the historical past of the Lithuanian people’s struggle for its national independence and freedom only. On the contrary, this indicates them being undoubtedly marked with the imprint of eternal modernity. Keywords: nation, national loyalty, culture, resistance, moral responsibility.>

Professor Josefina Zoraida Vázquez has made an indelible imprint on the discipline of the history of Mexico. Her publications have provided an analysis of the Mexican experience through such diverse themes as the U.S. invasion (1846-1848), the evolution of national education programs, and the struggles to establish federalism and republicanism in the first decades of independence. She has written official textbooks used by all Mexican school children, appeared on numerous television programs, taught dozens of doctoral students, and assisted many scholars in both Mexico and the United States. She has been an active member of the historical profession; she organized the Congress of Mexican Historians from Mexico, the United States, and Canada in Patzcuaro in 1977 and served as the President of the same organization in Monterrey in 2003.

Autophagy can protect cancer cells from acute starvation and enhance resistance to chemotherapy. Previously, we reported that autophagy plays a critical role in the survival of dormant, drug resistant ovarian cancer cells using human xenograft models and correlated the up-regulation of autophagy and DIRAS3 expression in clinical samples obtained during “second look” operations. DIRAS3 is an imprinted tumor suppressor gene that encodes a 26 kD GTPase with homology to RAS that inhibits cancer cell proliferation and motility. Re-expression of DIRAS3 in ovarian cancer xenografts also induces dormancy and autophagy. DIRAS3 can bind to Beclin1 forming the Autophagy Initiation Complex that triggers autophagosome formation. Both the N-terminus of DIRAS3 (residues 15–33) and the switch II region of DIRAS3 (residues 93–107) interact directly with BECN1. We have identified an autophagy-inhibiting peptide based on the switch II region of DIRAS3 linked to Tat peptide that is taken up by ovarian cancer cells, binds Beclin1 and inhibits starvation-induced DIRAS3-mediated autophagy.

The rice endosperm, consisting of an outer single-cell layer aleurone and an inner starchy endosperm, is an important staple food for humans. While starchy endosperm stores mainly starch, the aleurone is rich in an array of proteins, vitamins, and minerals. To improve the nutritional value of rice, we screened for mutants with thickened aleurones using a half-seed assay and identified thick aleurone 2–1 (ta2-1), in which the aleurone has 4.8 ± 2.2 cell layers on average. Except for starch, the contents of all measured nutritional factors, including lipids, proteins, vitamins, minerals, and dietary fibers, were increased in ta2-1 grains. Map-based cloning showed that TA2 encodes the DNA demethylase OsROS1. A point mutation in the 14th intron of OsROS1 led to alternative splicing that generated an extra transcript, mOsROS1, with a 21-nt insertion from the intron. Genetic analyses showed that the ta2-1 phenotype is inherited with an unusual gametophytic maternal effect, which is caused not by imprinted gene expression but rather by the presence of the mOsROS1 transcript. Five additional ta2 alleles with the increased aleurone cell layer and different inheritance patterns were identified by TILLING. Genome-wide bisulfite sequencing revealed general increases in CG and CHG methylations in ta2-1 endosperms, along with hypermethylation and reduced expression in two putative aleurone differentiation-related transcription factors. This study thus suggests that OsROS1-mediated DNA demethylation restricts the number of aleurone cell layers in rice and provides a way to improve the nutrition of rice.

Long before I became a committed academic, long before I was a college professor teaching dance history, long before terminal degrees and professional titles, I chanced upon an exhibition of early dance photographs at the Rodin Museum in Paris. I bought the small catalogue, and from time to time I would page through the striking black and white images searching for dancing inspiration. I always paused at a certain one of Loïe Fuller. There she is, radiant in the sunlight of Rodin's garden, chest open, arms spread like great wings, running full force towards the camera. It is an image of a strong, mature woman, one who exudes a joyful, yet earthy energy. A copy of this photograph taken in 1900 by Eugène Druet currently hangs above my desk.With a nod to the meanings embedded in historical study, Walter Benjamin once wrote: “To dwell means to leave traces” (1999, 9). Indeed, traces are the material artifacts that constitute the stuff of historical inquiry, the bits and pieces of a life that scholars follow, gather up, and survey. The word itself suggests the actual imprint of a figure who has passed, the footprint, mark or impression of a person or event. These kinds of traces are omnipresent in the case of Loie Fuller. Some traces are more visible than others, some more easily located. But all traces—once noticed—draw us into another reality.

Identification of full-length transmitted HIV-1 genomes could be instrumental in HIV-1 pathogenesis, microbicide, and vaccine research by enabling the direct analysis of those viruses actually responsible for productive clinical infection. We show in 12 acutely infected subjects (9 clade B and 3 clade C) that complete HIV-1 genomes of transmitted/founder viruses can be inferred by single genome amplification and sequencing of plasma virion RNA. This allowed for the molecular cloning and biological analysis of transmitted/founder viruses and a comprehensive genome-wide assessment of the genetic imprint left on the evolving virus quasispecies by a composite of host selection pressures. Transmitted viruses encoded intact canonical genes (gag-pol-vif-vpr-tat-rev-vpu-env-nef) and replicated efficiently in primary human CD4+ T lymphocytes but much less so in monocyte-derived macrophages. Transmitted viruses were CD4 and CCR5 tropic and demonstrated concealment of coreceptor binding surfaces of the envelope bridging sheet and variable loop 3. 2 mo after infection, transmitted/founder viruses in three subjects were nearly completely replaced by viruses differing at two to five highly selected genomic loci; by 12–20 mo, viruses exhibited concentrated mutations at 17–34 discrete locations. These findings reveal viral properties associated with mucosal HIV-1 transmission and a limited set of rapidly evolving adaptive mutations driven primarily, but not exclusively, by early cytotoxic T cell responses.

Developing sensitive and effective methods to monitor oxytetracycline residues in food is of great significance for maintaining public health. Herein, a fluorescent sensor (NH2-UIO-66 (Zr)@MIP) based on a molecularly imprinted polymer-coated amino-functionalized zirconium (IV) metal–organic framework was successfully constructed and first used for the ultrasensitive determination of oxytetracycline. NH2-UIO-66 (Zr), with a maximum emission wavelength of 455 nm under 350 nm excitation, was prepared using a microwave-assisted heating method. The NH2-UIO-66 (Zr)@MIP sensor with specific recognition sites for oxytetracycline was then acquired by modifying a molecularly imprinted polymer on the surface of NH2-UIO-66 (Zr). The introduction of NH2-UIO-66 (Zr) as both a signal tag and supporter can strengthen the sensitivity of the fluorescence sensor. Thanks to the combination of the unique characteristics of the molecularly imprinted polymer and NH2-UIO-66 (Zr), the prepared sensor not only exhibited a sensitive fluorescence response, specific identification capabilities and a high selectivity for oxytetracycline, but also showed good fluorescence stability, satisfactory precision and reproducibility. The fabricated sensor displayed a fluorescent linear quenching in the OTC concentration range of 0.05–40 μg mL−1, with a detection limit of 0.012 μg mL−1. More importantly, the fluorescence sensor was finally applied for the detection of oxytetracycline in milk, and the results were comparable to those obtained using the HPLC approach. Hence, the NH2-UIO-66 (Zr)@MIP sensor possesses great application potential for the accurate evaluation of trace oxytetracycline in dairy products.

I never saw a dead body until my first anatomy class. Today those who have willed their bodies to science receive letters of gratitude, visit with our students, and have their names put up on memorial plaques; but 37 years ago our subjects were derelicts and anonymous old men found dead in flop house hotels. George C, his name written on a tag tied to one toe, lay stretched out on one of the six dissecting tables in the anatomy laboratory that autumn morning when 1 was 22 and beginning medical school. I remember hesitating at the door and then joining my four partners at Mr. C.'s side, trepidation giving way to curiosity, the moment imprinted forever in my memory by the smell of formalin.

Abstract. The marine CaCO3 cycle is an important component of the oceanic carbon system and directly affects the cycling of natural and the uptake of anthropogenic carbon. In numerical models of the marine carbon cycle, the CaCO3 cycle component is often evaluated against the observed distribution of alkalinity. Alkalinity varies in response to the formation and remineralization of CaCO3 and organic matter. However, it also has a large conservative component, which may strongly be affected by a deficient representation of ocean physics (circulation, evaporation, and precipitation) in models. Here we apply a global ocean biogeochemical model run into preindustrial steady state featuring a number of idealized tracers, explicitly capturing the model's CaCO3 dissolution, organic matter remineralization, and various preformed properties (alkalinity, oxygen, phosphate). We compare the suitability of a variety of measures related to the CaCO3 cycle, including alkalinity (TA), potential alkalinity and TA*, the latter being a measure of the time-integrated imprint of CaCO3 dissolution in the ocean. TA* can be diagnosed from any data set of TA, temperature, salinity, oxygen and phosphate. We demonstrate the sensitivity of total and potential alkalinity to the differences in model and ocean physics, which disqualifies them as accurate measures of biogeochemical processes. We show that an explicit treatment of preformed alkalinity (TA0) is necessary and possible. In our model simulations we implement explicit model tracers of TA0 and TA*. We find that the difference between modelled true TA* and diagnosed TA* was below 10% (25%) in 73% (81%) of the ocean's volume. In the Pacific (and Indian) Oceans the RMSE of A* is below 3 (4) mmol TA m−3, even when using a global rather than regional algorithms to estimate preformed alkalinity. Errors in the Atlantic Ocean are significantly larger and potential improvements of TA0 estimation are discussed. Applying the TA* approach to the output of three state-of-the-art ocean carbon cycle models, we demonstrate the advantage of explicitly taking preformed alkalinity into account for separating the effects of biogeochemical processes and circulation on the distribution of alkalinity. In particular, we suggest to use the TA* approach for CaCO3 cycle model evaluation.

Abstract. The marine CaCO3 cycle is an important component of the oceanic carbon system and directly affects the cycling of natural and the uptake of anthropogenic carbon. In numerical models of the marine carbon cycle, the CaCO3 cycle component is often evaluated against the observed distribution of alkalinity. Alkalinity varies in response to the formation and remineralisation of CaCO3 and organic matter. However, it also has a large conservative component, which may strongly be affected by a deficient representation of ocean physics (circulation, evaporation, and precipitation) in models. Here we apply a global ocean biogeochemical model run into preindustrial steady state featuring a number of idealized tracers, explicitly capturing the model's CaCO3 dissolution, organic matter remineralisation, and various preformed properties (alkalinity, oxygen, phosphate). We compare the suitability of a variety of measures related to the CaCO3 cycle, including alkalinity (TA), potential alkalinity and TA*, the latter being a measure of the time-integrated imprint of CaCO3 dissolution in the ocean. It can be diagnosed from any data set of TA, temperature, salinity, oxygen and phosphate. We demonstrate the sensitivity of total and potential alkalinity to the differences in model and ocean physics, which disqualifies them as accurate measures of biogeochemical processes. We show that an explicit treatment of preformed alkalinity (TA0) is necessary and possible. In our model simulations we implement explicit model tracers of TA0 and TA*. We find that the difference between modeled true TA* and diagnosed TA* was below 10% (25%) in 73% (81%) of the ocean's volume. In the Pacific (and Indian) Oceans the RMS error of TA* is below 3 (4) mmol TA m−3, even when using a global rather than regional algorithms to estimate preformed alkalinity. Errors in the Atlantic Ocean are significantly larger and potential improvements of TA0 estimation are discussed. Applying the TA* approach to the output of three state-of-the-art ocean carbon cycle models we demonstrate the advantage of explicitly taking preformed alkalinity into account for separating the effects of biogeochemical processes and circulation on the distribution of alkalinity. In particular, we suggest to use the TA* approach for CaCO3-cycle model evaluation.

Abstract This article investigates how sanqu composition modifies the social contract of poetic composition in how a text is mediated between authorship and social identity, through a close analysis of Jia Zhongming's sanqu songs written in the supplement to The Register of Ghosts. It challenges the conventional reading of Jia's songs as reliable sources of biographical information on individual playwrights to whom those songs are dedicated and argues instead that, if read together as a whole, they represent a catalog of various personas Jia constructs for the social role of playwright. The authorial figure that plays a central role in more polite poetic genres is reduced to a faceless and easily replaceable mannequin with a name tag on it—be it Guan Hanqing, Wang Shifu, or any other name—in Jia's sanqu songs, only to foreground the fashioning of the playwright's social role from his particular perspective. The role Jia Zhongming constructs for the playwright displays the imprint of urban commercial theater as well as the influence of the state and elite values. Therefore, the true value of Jia's songs lies in how they help us better understand the condition of playwrights in Jia's time. Moreover, a proper interpretation of Jia's songs also helps us better understand the performativeness of sanqu as a genre.

This article aimed to describe the education of children in the family based on Colossians 3:21. This study used a sociological criticism approach by conducting a study of the text of Colossians 3:21 to analyze the Bible's view of children's education in the family. The conclusion of this textual study is educating children without violence. Paul reminded fathers in educating children to prioritize love as the basis for education in the family. The love of a father will be reflected in the lives of every child through communication and imprinted in an attitude of obedience and respect for parents. AbstrakArtikel ini bertujuan untuk mendreskripsikan pendidikan anak dalam keluarga berdasarkan Kolose 3:21. Penelitian ini menggunakan metode pendekatan kritik sosiologis dengan melakukan kajian terhadap teks Kolose 3:21untuk meng-analisis pandangan Alkitab tentang pendidikan anak dalam keluarga. Kesimpulan dalam kajian terhadap teks tersebut adalah mendidik anak tanpa adanya kekerasan. Paulus mengingatkan para ayah dalam mendidik anak-anak lebih mengutamakan kasih sayang sebagai dasar pendidikan dalam keluarga. Kasih sayang seorang ayah akan tercermin dalam kehidupan setiap anak melalui komunikasi dan terpatri dalam sikap taat dan menghormati orang tua.

Abstract Simmental–Angus calves [n = 135; 72 steers and 63 heifers; body weight (BW) = 212.4 kg ± 36.1] were early weaned (~5 mo) to evaluate multiple feeding regimens (conventional vs. aggressive energy diets ± Megasphaera elsdenii NCIMB 41125 (M. elsdenii culture (MEC); Lactipro Advance; MS Biotec Inc., Wamego, KS) in order to elucidate the optimal development strategy. Objectives were measured by tracking the effects of caloric density and oral drenching of growing phase performance and subsequent carcass traits. The 72-d experiment featured three groups: 1) control (CON), fed exclusively a 35% roughage diet; 2) aggressive (AGR), fed a blend of a 10% and 35% roughage diets; 3) MEC, fed the same diet as AGR and drenched with 50 mL of M. elsdenii NCIMB 41125 on day 1. A subset of calves (n = 45) was equipped with wireless rumination tags (Allflex Flex Tag; SCR Engineers, Ltd; Netanya, Israel), which logged daily rumination and general activity. Skeletal growth variables were assessed by measuring wither and hip height pretrial and posttrial. Ultrasonography provided additional resolution concerning growing phase compositional gain, which was later verified by carcass data collection. Data were analyzed as a nested analysis of variance with BW and gender serving as blocking factors. The increased caloric density of the diets administered to MEC and AGR calves resulted in greater average daily gain and gain:feed values compared with CON even during the first 21 d of diet acclimation (P ≤ 0.05). Additional fiber concentration of CON diets led to increased rumination times in 9 of the 10 wk of trial (P ≤ 0.10). No differences amongst treatments were detected for skeletal variables or ultrasound 12th rib fat. Cattle fed CON diets posted 3.4% inferior BW at the end of the growing period trial and a 3.8% reduction in hot carcass weight (HCW), reinforcing the theory that intensifying caloric intake during the growing phase does not compromise future feedlot performance. Ultrasound marbling scores for MEC-treated cattle were 19° greater than AGR treated cattle (P ≤ 0.05) at the end of the growing phase trial. Nearly the exact same advantage (22°) was observed in the cooler 5 mo later (P = 0.42). Implying MEC metabolically imprinted cattle to favor marbling development. It appears that maximizing dietary caloric density in light-weight calves does not adversely affect the growth curve, while oral dosing of MEC during the growing period may be a precursor for enhanced quality grade.

The relevance of the topic is revealed through the definition of the essence of professional and personal development of future social workers. The author indicates the stages of professional development of an individual, defining this process as long and dynamic at the same time, which involves the individual passing through seven stages: growth; clarification; stages of professional adaptation and stabilization; stages of development of professionalism and pseudo-professionalism; as well as the final stage of post-professionalism. Among the mandatory qualities and skills of a social worker are the following: empathy, psychological competence, delicacy and tact, humanity, mercy, the presence of organizational and communicative abilities, as well as spiritual and moral culture. The article focuses on interactive training of students studying social work, it is indicated that training can be a successful form of training for modern students. Conducting classes in the form of training will allow classroom learning to be brought closer to situations, the course of which can be practiced practically. Training work, as the author emphasizes, has its advantages due to the fact that group interaction of students will allow them to acquire new skills. The training will enable experimentation with different styles of relationships among equal partners, which will be positive in gaining professional experience for the future social worker. It is emphasized that the group is an imprint of society in miniature, where participants in different ways gain the experience of identifying themselves with other people.

In this study, a novel fluorescent molecularly imprinted nanosensor (N, S-GQDs@ZIF-8@MIP) based on the nitrogen and sulfur co-doped graphene quantum dots decorated zeolitic imidazolate framework-8 was constructed for the detection of octopamine (OA). Herein, ZIF-8 with a large surface area was introduced as a supporter of the sensing system, which effectively shortened the response time of the sensor. Meanwhile, high green luminescent N, S-GQDs and a maximum emission wavelength of 520 nm under 460 nm excitation and a 12.5% quantum yield were modified on the surface of ZIF-8 as a signal tag that can convert the interactions between the sensor and OA into detectable fluorescent signals. Finally, N, S-GQDs@ZIF-8@MIP was acquired through the surface molecular imprinting method. Due to the synergy of N, S-GQDs, ZIF-8, and MIP, the obtained sensor not only demonstrated higher selectivity and sensitivity than N, S-GQDs@ZIF-8@NIP, but also displayed faster fluorescence response than N, S-GQDs@MIP. Under optimal conditions, the developed sensor presented a favorable linear relationship in the range of 0.1–10 mg L−1 with a detection limit of 0.062 mg L−1. Additionally, the proposed N, S-GQDs@ZIF-8@MIP strategy was effectively applied to the detection of OA in fermented samples, and the obtained results had a satisfactory correlation with those of HPLC.

Our ability to instantly read photographs is based on our sense of vision operating at a distance. Within the field of photographic processes however, co exists a very different representation: that of imprint and touch – namely the photogram. The decipherability of photographs to us is almost immediate but photograms work on a different level. They encapsulate the meeting of material and light-sensitive surface and incorporate the mark of authenticity, while producing an image which may not be immediately “read”. This paper constitutes a metaphysical inquiry into the perception and ontology of the photogram, which operates in a space which is visual and haptic at the same time – without physical contact in the act of creation, there would be no image. On the border between touch and vision, it makes the contact visible. Through this tactile connection, imaging processes such as the photogram and X-ray challenge the Cartesian hierarchy of the senses while invoking aspects of Gilles Deleuze's “fossil” and Walter Benjamin's “fetish” in their power to incite memory. This paper contains images from author's recent body of work Transitaria part of which consists of photograms of jellyfish, highlighting both the transformational character of the creatures and of the photogram process itself. Santrauka Mūsų gebėjimas akimirksniu suprasti fotografijas yra pagrįstas pojūčiu matyti iš toli. Tačiau fotografinių procesų srityje koegzistuoja labai skirtingos reprezentacijos: šiuo atveju fotograma – tai atspaudas ir prisilietimas. Fotografijos iššifruojamos kone tiesiogiai, tačiau fotogramos yra visai kas kita. Jos leidžia susiliesti materialiam ir šviesai jautriam paviršiui, o atvaizdas negali būti tiesiog „perskaitomas“. Šiame straipsnyje pateikiamas fotogramos suvokimo ir ontologijos metafizinis įvadas; fotograma veikia vizualiame kūrimo veiksme be jokio fizinio kontakto – čia negali būti jokio atvaizdo. Kontaktas tampa įmanomas ties riba, skiriančia prisilietimą ir regėjimą. Per šį taktilinį santykį vaizduotės procesai, tokie kaip fotograma ir rentgeno spinduliai, meta iššūkį karteziškajai pojūčių hierarchijai, remiantis Gillesio Deleuze'o „iškasenos“ ir Walterio Benjamino „fetišo“ galiomis stiprinti atmintį. Šiame straipsnyje pateikiama atvaizdų iš autorės darbų serijos „Tranzitarija“ dalies, sudarytos iš medūzos fotogramų, atskleidžiančų tiek kūrinių, tiek pačios fotogramos kaip proceso transformacinį pobūdį.

The aim: Our particular interest in this study is not only the ability to extrapolate the experience of orthodontics of humane medicine for effective orthodontic correction in representatives of the animal world, but also the possibility of using teleroentgenometry and craniometry to study the skull of rodents and hare-like animals for the early preclinical diagnosis of dental disease. Materials and methods. The data of teleroentgenography (TRG), cranio- and gnatometry, biochemistry of connective tissue (GAG, GP, HST), fluoroscopy, densitometric parameters for early subclinical detection of dental disease in chinchillas (Chinchilla lanigera (n=20)), guinea pigs (Cavia porcellus (n=48)) and rabbits (Oryctolagus cuniculus(n=52)) are presented. All stages of the effective correction of mesial occlusion of incisors in rabbits (N=5) and dystropia of premolars in guinea pigs (N=5) are described. The camputation of efforts and points of their application that are necessary to move the tooth of the ellodont type is carried out. There are given the sequential stages of creating a dental imprint or 3D models, as well as the manufacture of fixed orthodontic structures, including an elastophore, orthodontic buttons with an Enlight Ormco fixation for incisors; and individual extraoral devices with expanding screws for premolars are presented. Results. Namely, among animals with dental disease, the following anatomical characteristics reliably took place. The basal angle of inclination of the base of the jaws to each other characterizing the vertical position of the jaws increased by 11 %; the body of the lower jaw shortened by 18 %; the height of the branches of the jaw increased by 17.5, and the mandibular angle, which is measured between the tangents to the lower edge of the lower jaw and the back surface of its branches, increased by 6 %. These data must be considered together with a reliable densitometric decrease in bone density and changes of biochemical components of the connective tissue in the blood serum. An analysis of bone strength of rabbits and guinea pigs is given in Tab. 2, which shows that the bone marrow of animals with dental history is statistically significantly different from the strength of animal bones without such among patients of rabbits and guinea pigs (p = 0.012 and p = 0.024, respectively). Thus, the method of program densitometry can be used to quantify the severity of metabolic disorders in the bone tissue to predict the further course of the reparative process, to appoint adequate pharmacological correction and to control the evaluation of therapeutic measures. Conclusions. The study of dental pathology of rodents and hare-like animals using densitometric, craniometric and biochemical methods allows detection of disorders in the early preclinical stage. And the extrapolation of the experience of humane orthodontics solves the issue of correcting the occlusion of these types of animals to restore the possibility of self-feeding

Abstract Abstract 391 DNA methylation is a reversible epigenetic modification that is required for proper mammalian development and is proposed to contribute to the pathogenesis of hematologic diseases including leukemia and bone marrow failure syndromes. Elucidating the pathways and genes regulated by DNA methylation during hematopoiesis may reveal new therapeutic targets for disease. Because the phenotype and activity of hematopoietic stem cells (HSC) and hematopoietic progenitor cells of many different lineages have been defined by both in vitro and in vivo assays, hematopoiesis is an excellent model for investigating epigenomic changes during differentiation. HSCs have the ability to self-renew and to generate blood cells of all lineages, which allows them to repopulate recipients after stem cell transplantation. The common myeloid progenitor (CMP) gives rise to all myeloid cell types including neutrophils, monocytes, platelets, and red blood cells, but cannot self renew or repopulate. In contrast to the multipotent HSC and CMP, erythroblasts (ERY) are terminally committed cells that become mature enucleated red blood cells. These three cell types represent unique stages of lineage commitment with distinct transcriptional programs, and potentially unique epigenomic signatures. In contrast to human HSC, which are defined by the absence of several cell surface markers, mouse HSC have the cell surface phenotype of lineage marker negative (Lin-) c-kit+ Sca-1+ and can be positively selected. For this reason we chose the mouse model for genome-wide methylation profiling. Murine HSC and CMP (Lin- c-kit+ Sca-1-) cells were enriched from adult mouse bone marrow with flow cytometry. Erythroblasts (CD71+/Ter119+) were positively selected from E13.5 mouse fetal livers. Genomic DNA isolated from each enriched cell population was sheared to 200-300 bp fragments. MBD2, one of five endogenous mammalian methyl CpG binding domain proteins, binds methylated DNA sequences with broad affinity. Methylated DNA fragments were enriched from the genomic DNA using a tagged, recombinant MBD2 pulldown kit (Active Motif). After pulldown, enrichment of known methylated sequences regulating the imprints of Snrpn and Rasgrf was validated by qPCR. Two biological replicates of HSC, CMP, and ERY methylated sequences and negative control supernatant fractions were submitted for high-throughput sequencing with the Illumina Genome Analyzer platform. Raw sequence data containing 32-46 × 106 reads of 36-50 base pairs were obtained for each sample. The Eland program was used to map 41-59% of reads to unique sequences in the mouse genome. Model-based Analysis of ChIP-Seq (MACS) was used to estimate the mean and variance of the sequence tag distribution across the genome and define peaks below the significance threshold of p<10-5. The number of methylation peaks decreased as cells differentiated, with 64,000 peaks identified in HSC (24,000 unique), 41,000 peaks in CMP (2000 unique), and 23,000 peaks in ERY (1000 unique). Approximately 20,000 peaks were common between all cell types with 57% of these peaks residing in RefSeq genes, 8% in regions adjacent to RefSeq genes (<10 kb), and 35% of methylation peaks in intergenic regions. Comparison of HSC expression data from Akashi et al (Blood 101: 383, 2003) to our HSC genic methylation peaks revealed that 2/3 of HSC genic peaks are within transcriptionally silent genes while 1/3 of HSC genic peaks are within expressed genes. Although DNA methylation is often associated with gene silencing, the important developmental gene Gata2 contains methylation peaks in HSC and CMP, cells that express Gata2, that are absent in ERY, where Gata2 is repressed. A Gata1-Fog1-Mbd2 complex has been described by Rodriguez et al (EMBO 24: 2354, 2005), therefore providing a link between DNA methylation and proteins known to bind at the Gata2 locus. Grass et al (Mol. Cell. Biol. 26:7056, 2006) determined that Gata2 is regulated by long-range interactions of GATA protein complexes, and consistent with this observation, distinct methylation patterns are observed up to 100 kb upstream of the Gata2 gene. Our genome-wide analysis supports an association of methylation with gene silencing but also suggests that DNA methylation is a dynamic epigenetic mark that influences hematopoietic differentiation. The changes in DNA methylation we observe around Gata2 may also contribute to long-range chromatin organization. Disclosures: No relevant conflicts of interest to declare.

PurposeThe purpose of this study is to investigate how the congruence between predecessor and successor personality traits (PTs) with the values of their small family business (SFB) contributes to a successful succession transition across generations.Design/methodology/approachThe conceptual model method was employed in this investigation, which describes an entity and identifies issues that should be considered in a study (MacInnis, 2011). It involves a form of theorizing that seeks to create a nomological network around the focal concept, to examine and detail the causal linkages and mechanisms at play (Delbridge and Fiss, 2013).FindingsDrawing on the trait activation theory (TAT), this study conceptualizes that the congruence of the successor's PTs with those of the predecessor, as well as the values, transitions and nature of the assigned task, activates the successor's PTs and motivates him to work diligently for a successful succession transition while preserving the business's core values established by the founder.Research limitations/implicationsThis study is an eye-opener for strategists and SFB predecessors to ponder the successor's PTs disparities across generations. Additionally, it urges them to consider the congruence of SFB's values and nature of operations with the successor's PTs for successful succession transition. Thus, such awareness may contribute to stabilizing the SFB's survival rate.Originality/valueThis study contributed to the existing literature by answering how predecessor’s and successor's PTs congruence and SFB's values and nature of operations congruence with their PTs may contribute to successful succession transition across generations. This study contributed to the TAT by thematically explaining the organizational cues to bridge a relationship between entrepreneurial personality traits (EPT) and succession success of SFBs.

Abstract Background Genomic imprinting is essential for mammalian development and provides a unique paradigm to explore intra-cellular differences in chromatin configuration. So far, the detailed allele-specific chromatin organization of imprinted gene domains has mostly been lacking. Here, we explored the chromatin structure of the two conserved imprinted domains controlled by paternal DNA methylation imprints—the Igf2-H19 and Dlk1-Dio3 domains—and assessed the involvement of the insulator protein CTCF in mouse cells. Results Both imprinted domains are located within overarching topologically associating domains (TADs) that are similar on both parental chromosomes. At each domain, a single differentially methylated region is bound by CTCF on the maternal chromosome only, in addition to multiple instances of bi-allelic CTCF binding. Combinations of allelic 4C-seq and DNA-FISH revealed that bi-allelic CTCF binding alone, on the paternal chromosome, correlates with a first level of sub-TAD structure. On the maternal chromosome, additional CTCF binding at the differentially methylated region adds a further layer of sub-TAD organization, which essentially hijacks the existing paternal-specific sub-TAD organization. Perturbation of maternal-specific CTCF binding site at the Dlk1-Dio3 locus, using genome editing, results in perturbed sub-TAD organization and bi-allelic Dlk1 activation during differentiation. Conclusions Maternal allele-specific CTCF binding at the imprinted Igf2-H19 and the Dlk1-Dio3 domains adds an additional layer of sub-TAD organization, on top of an existing three-dimensional configuration and prior to imprinted activation of protein-coding genes. We speculate that this allele-specific sub-TAD organization provides an instructive or permissive context for imprinted gene activation during development.

Molecularly imprinted polymers (MIPs) are artificial receptors equipped with selective recognition sites for target molecules. One of the most promising‐strategies for protein MIPs relies on the exploitation of short surface‐exposed protein fragments, termed epitopes, as templates to imprint binding sites in a polymer scaffold for a desired protein. However, the lack of high‐resolution structural data of flexible surface‐exposed regions challenges the selection of suitable epitopes. Here, we addressed this drawback by developing a polyscopoletin‐based MIP that recognizes recombinant proteins via the widely used Strep‐tag II affinity peptide. Electrochemistry, surface‐sensitive spectroscopy, and molecular dynamics simulations were employed to ensure an utmost control of the Strep‐MIP electrosynthesis. The functionality of this novel platform was verified with two Strep‐tag labeled enzymes: an O2‐tolerant [NiFe]‐hydrogenase, and an alkaline phosphatase. The enzymes preserved their biocatalytic activities after multiple utilization confirming the efficiency of Strep‐MIP as a general biocompatible platform to confine recombinant proteins for exploitation in biotechnology.

Molecularly imprinted polymers (MIPs) are artificial receptors equipped with selective recognition sites for target molecules. One of the most promising‐strategies for protein MIPs relies on the exploitation of short surface‐exposed protein fragments, termed epitopes, as templates to imprint binding sites in a polymer scaffold for a desired protein. However, the lack of high‐resolution structural data of flexible surface‐exposed regions challenges the selection of suitable epitopes. Here, we addressed this drawback by developing a polyscopoletin‐based MIP that recognizes recombinant proteins via the widely used Strep‐tag II affinity peptide. Electrochemistry, surface‐sensitive spectroscopy, and molecular dynamics simulations were employed to ensure an utmost control of the Strep‐MIP electrosynthesis. The functionality of this novel platform was verified with two Strep‐tag labeled enzymes: an O2‐tolerant [NiFe]‐hydrogenase, and an alkaline phosphatase. The enzymes preserved their biocatalytic activities after multiple utilization confirming the efficiency of Strep‐MIP as a general biocompatible platform to confine recombinant proteins for exploitation in biotechnology.

Abstract Background Brother of regulator of imprinted sites (BORIS) is expressed in most cancers and often associated with short survival and poor prognosis in patients. BORIS inhibits apoptosis and promotes proliferation of cancer cells. However, its mechanism of action has not been elucidated, and there is no known inhibitor of BORIS. Methods A phage display library was used to find the BORIS inhibitory peptides and BTApep-TAT was identified. The RNA sequencing profile of BTApep-TAT-treated H1299 cells was compared with that of BORIS-knockdown cells. Antitumor activity of BTApep-TAT was evaluated in a non-small cell lung cancer (NSCLC) xenograft mouse model. BTApep-TAT was also used to investigate the post-translational modification (PTM) of BORIS and the role of BORIS in DNA damage repair. Site-directed mutants of BORIS were constructed and used for investigating PTM and the function of BORIS. Results BTApep-TAT induced DNA damage in cancer cells and suppressed NSCLC xenograft tumor progression. Investigation of the mechanism of action of BTApep-TAT demonstrated that BORIS underwent ADP ribosylation upon double- or single-strand DNA damage. Substitution of five conserved glutamic acid (E) residues with alanine residues (A) between amino acids (AAs) 198 and 228 of BORIS reduced its ADP ribosylation. Inhibition of ADP ribosylation of BORIS by a site-specific mutation or by BTApep-TAT treatment blocked its interaction with Ku70 and impaired the function of BORIS in DNA damage repair. Conclusions The present study identified an inhibitor of BORIS, highlighted the importance of ADP ribosylation of BORIS, and revealed a novel function of BORIS in DNA damage repair. The present work provides a practical method for the future screening or optimization of drugs targeting BORIS.

AbstractChiral discrimination is critical in environmental and life sciences. However, an ideal chiral discrimination strategy has not yet been developed because of the inevitable nonspecific binding entity of wrong enantiomers or insufficient intrinsic optical activities of chiral molecules. Here, we propose an “inspector” recognition mechanism (IRM), which is implemented on a chiral imprinted polydopamine (PDA) layer coated on surface-enhanced Raman scattering (SERS) tag layer. The IRM works based on the permeability change of the imprinted PDA after the chiral recognition and scrutiny of the permeability by an inspector molecule. Good enantiomer can specifically recognize and fully fill the chiral imprinted cavities, whereas the wrong cannot. Then a linear shape aminothiol molecule, as an inspector of the recognition status is introduced, which can only percolate through the vacant and nonspecifically occupied cavities, inducing the SERS signal to decrease. Accordingly, chirality information exclusively stems from good enantiomer specific binding, while nonspecific recognition of wrong enantiomer is curbed. The IRM benefits from sensitivity and versatility, enabling absolute discrimination of a wide variety of chiral molecules regardless of size, functional groups, polarities, optical activities, Raman scattering, and the number of chiral centers.

ABSTRACT The present study is an attempt to determine the lipid composition of Candida auris and to highlight if the changes in lipids can be correlated to high drug resistance encountered in C. auris. For this, the comparative lipidomics landscape between drug-susceptible (CBS10913T) and a resistant hospital isolate (NCCPF_470033) of C. auris was determined by employing high throughput mass spectrometry. All major groups of phosphoglycerides (PGL), sphingolipids, sterols, diacylglycerols (DAG) and triacylglycerols (TAG), were quantitated along with their molecular lipid species. Our analyses highlighted several key changes where the NCCPF_470033 showed an increase in PGL content, specifically phosphatidylcholine, phosphatidylglycerol, phosphatidylserine, phosphatidylinositol, and phosphatidylethanolamine; odd chain containing lipids and accumulation of 16:1-DAG and 16:0-DAG; depletion of 18:1-TAG and 18:0-TAG. The landscape of molecular species displayed a distinct imprint between isolates. For example, the levels of unsaturated PGLs, contributed by both odd and even-chain fatty acyls were higher in resistant NCCPF_470033 isolate, resulting in a higher unsaturation index. Notwithstanding, several commonalities of lipid compositional changes between resistant C. auris and other Candida spp., the study could also identify distinguishable changes in specific lipid species in C. auris. Together, the data highlights the modulation of membrane lipid homeostasis associated with drug-resistant phenotype of C. auris.

Au cours de mes recherches consacrées à l’analyse des discours sur la lecture, j’ai entrepris une analyse comparative des représentations évoquées dans des textes de la presse brésilienne écrite, de large diffusion, sur le profil de lecteur des anciens présidents Fernando Henrique Cardoso, Luiz Inácio Lula da Silva et Dilma Rousseff. L’analyse de ces représentations de lecteurs nous intéresse dans la mesure où elles correspondent à une métonymie qui actualise des discours sur cette pratique culturelle prestigieuse, lesquels servent à leur tour de vecteur pour la reproduction de valeurs et de stigmates supportant, en les justifiant et en les naturalisant, des hiérarchies de sujets au Brésil. Dans cet article, j’analyse les écrits des principaux journaux imprimés du pays à propos de Dilma Rousseff en tant que lectrice, de façon à décrire et à démontrer le fonctionnement de ces images diffuses, quotidiennes et de longue date, qui jouent en rôle décisif dans la reproduction de certaines valeurs chères à l’exercice du pouvoir, notamment celles fondées sur des préjugés sexistes.

Abstract Backgrounds Solid phase extraction (SPE) techniques based on computationally designed magnetic-based multi-targeting molecular imprinted polymer (MT-MIP) and combined with UV spectrophotometric approaches provide advantages in the examination of counterfeit samples. Objective The current work describes an innovative and sustainable methodology for the simultaneous determination of tadalafil (TAD) and dapoxetine hydrochloride (DAP) in counterfeited honey and instant coffee aphrodisiac products utilizing a SPE exploiting MT-MIP. Besides, an innovative UV spectrophotometric method capable of resolving TAD in its pharmaceutical binary mixtures with DAP was developed. A novel computational approach was implemented to tailor the synthesis and design of the MT-MIP particles. Methods Herein; we applied a newly developed UV spectrophotometric method which was based on Fourier self-deconvolution (FSD) method coupled with isoabsorptive point for determination of TAD and DAP in pharmaceutical dosage form. Besides we applied a SPE process based on the MT-MIP designed particles, assisting in the analysis of both drugs in counterfeited food samples. The SPE process and the UV spectroscopic methodology were assessed regarding their greenness using the pioneering GAPI, AGREEprep and AGREE greenness assessing tools. The synthesized MT-MIP particles were characterized by scanning electron microscopy and energy-dispersive X-ray spectroscopy. Results The suggested spectrophotometric methods revealed a wider linear concentration range of 2–50 µg/mL with lower limits of detection in the range of 0.604 –0.994 µg/mL. Additionally, the suggested method demonstrated the utmost sensitivity and eco-friendliness for their target in its mixed dosage form and counterfeited food products. Conclusion The SPE process and the developed analytical UV spectroscopic methodology were validated as per the ICH guidelines, and were found to be suitable for overseeing some counterfeiting activities in commercially available honey and instant coffee aphrodisiac products. Highlights An SPE based on MT-MIP magnetic-based polymer assisted with UV-spectroscopic method was successfully developed for analysis of tadalafil and dapoxetine hydrochloride in different matrices.

AbstractFerroelectric SrBi2(Ta1-xNbx)2O9 (SBTN) thin films are under evaluation for IC memory applications. It has been reported that SrBi2(Ta1-xNbx)2O9 has higher fatigue endurance and imprint resistance than other common ferroelectric materials such as lead zirconate titanate (PZT). One of the most important technical issues for integrating ferroelectric oxide materials into IC memory applications is the degradation of ferroelectric capacitor properties from the oxide reduction from hydrogen. Hydrogen annealing processes performed to terminate dangling bonds in silicon, or, elevated temperature processes, which dissociate hydrogen, are expected to reduce the ferroelectric oxide thereby degrading the dielectric properties. Therefore, in this work, we have investigated reducing degradation of Pt/SBTN/Pt capacitors due to hydrogen exposure by evaluating the compositional dependence of the Ta/Nb ratio and incorporating TiN as a hydrogen diffusion barrier. To investigate compositional dependence, the Pt/SBTN/Pt capacitors with the desired composition were fabricated from enhanced metal organic decomposition solutions that were spin deposited and delineated with a conventional patterning and etching techniques. Post annealing the samples in H2 (1%)-N2 ambient at 200°C for 10–60min, hysteresis and current-voltage measurements were conducted to evaluate any degradation to pre-anneal measurements. This experimental condition revealed that the best electrical characteristics were obtained with the Ta/Nb ratio of 1.5/0.5. Therefore, Pt/SBTN/Pt capacitors with a Ta/Nb ratio of 1.5/0.5 were evaluated using a TiN barrier and its effect characterized. After depositing a TiN film on the Pt/SBTN/Pt capacitors, the samples were annealed in H2 (5%)-N2 at 400°C for 10–60 min. The TiN was removed with NH4OH: H2O2: H2O = 1: 3: 1, respectively, at 60 - 70°C and the hysteresis and current-voltage characteristics of the capacitors measured. It was found that the degradation was extremely reduced by incorporating a TiN barrier. Moreover, the degradation effects decreased with increased density of the deposited TiN film. TiN densities greater than 3.8g/cm3 in these experiments kept the leakage current degradation to less than 10−6A/cm2 while the degradation in remanent polarization is less than 20%.

Abstract Large-scale genomic projects and ancient DNA innovations have ushered in a new paradigm for exploring human evolutionary history. However, the genetic legacy of spatiotemporally diverse ancient Eurasians within Chinese paternal lineages remains unresolved. Here, we report an integrated Y-chromosome genomic database encompassing 15,563 individuals from both modern and ancient Eurasians, including 919 newly reported individuals, to investigate Chinese paternal genomic diversity. The high-resolution, time-stamped phylogeny reveals multiple diversification events and extensive expansions in the early and middle Neolithic. We identify four major ancient population movements, each associated with technological innovations, that have shaped the Chinese paternal landscape. Firstly, the expansion of early East Asians and millet farmers from the Yellow River Basin, predominantly carrying O2/D subclades, significantly influenced the formation of the Sino-Tibetan people and facilitated the permanent settlement of the Tibetan Plateau. Secondly, the dispersal of rice farmers from the Yangtze River Valley, carrying O1 and certain O2 sublineages, reshapes the genetic makeup of southern Han Chinese, as well as the Tai-Kadai, Austronesian, Hmong-Mien, and Austroasiatic people. Thirdly, Neolithic Siberian Q/C paternal lineages originated and proliferated among hunter-gatherers on the Mongolian Plateau and the Amur River Basin, leaving a significant imprint on the gene pools of northern China. Fourthly, J/G/R paternal lineages derived from western Eurasia, which were initially spread by Yamnaya-related steppe pastoralists, maintain their presence primarily in northwestern China. Overall, our research provides comprehensive genetic evidence elucidating the significant impact of interactions with culturally distinct ancient Eurasians on the patterns of paternal diversity in modern Chinese populations.

Photograph by Gonzalo Echeverria (2010)Doubt has been my closest companion for several years as I struggle to make sense of certain hidden events from within my family’s history. The actual nature of such events, although now lost to us, can nevertheless be explored through the distorting lens of memory and academic research. I base such explorations in part on my intuition and sensitivity to emotional experience, which are inevitably riddled with doubt. I write from the position of a psychoanalytic psychologist who is also a creative writer and my doubts increase further when I use the autobiographical impulse as a driving force. I am not alone with such uncertainties. Ross Gibson, an historian and filmmaker, uses his doubts to explore empty spaces in the Australian landscape. He looks to see “what’s gone missing” as he endeavours with a team of colleagues to build up some “systematic comprehension in response to fragments” (Gibson, “Places” 1). How can anyone be certain as to what has transpired with no “facts” to go on? he asks. What can we do with our doubts? To this end, Gibson has collected a series of crime scene photographs, taken in post war Sydney, and created a display – a photographic slide show with a minimalist musical score, mostly of drumming and percussion, coupled with a few tight, poetic words, in the form of haiku, splattered across the screen. The notes accompanying the photographic negatives were lost. The only details “known” include the place, the date and the image. Of some two thousand photos, Gibson selected only fifty for display, by hunch, by nuance, or by whatever it was that stirred in him when he first glimpsed them. He describes each photo as “the imprint of a scream”, a gut reaction riddled with doubt (Gibson and Richards, Wartime). In this type of research, creative imaginative flair is essential, Gibson argues. “We need to propose ‘what if’ scenarios that help us account for what has happened…so that we can better envisage what might happen. We need to apprehend the past” (Gibson, “Places” 2). To do this we need imagination, which involves “a readiness to incorporate the unknown…when one encounters evidence that’s in smithereens”, the evidence of the past that lies rooted in a seedbed of doubt (Gibson, “Places” 2). The sociologist, Avery Gordon, also argues in favour of the imaginative impulse. “Fiction is getting pretty close to sociology,” she suggests as she begins her research into the business of ghosts and haunting (Gordon 38). As we entertain our doubts we tune in with our uncertain imaginations. “The places where our discourse is unauthorised by virtue of its unruliness…take us away from abstract questions of method, from bloodless professionalised questions, toward the materiality of institutionalised storytelling, with all its uncanny repetitions” (Gordon 39). If we are to dig deeper, to understand more about the emotional truth of our “fictional” pasts we must look to “the living traces, the memories of the lost and disappeared” (Gordon ix). According to Janice Radway, Gordon seeks a new way of knowing…a knowing that is more a listening than a seeing, a practice of being attuned to the echoes and murmurs of that which has been lost but which is still present among us in the form of intimations, hints, suggestions and portents … ghostly matters … . To be haunted is to be tied to historical and social effects. (x) And to be tied to such effects is to live constantly in the shadow of doubt. A photograph of my dead baby sister haunts me still. As a child I took this photo to school one day. I had peeled it from its corners in the family album. There were two almost identical pictures, side by side. I hoped no one would notice the space left behind. “She’s dead,” I said. I held the photo out to a group of girls in the playground. My fingers had smeared the photo’s surface. The children peered at the image. They wanted to stare at the picture of a dead baby. Not one had seen a dead body before, and not one had been able to imagine the stillness, a photographic image without life, without breath that I passed around on the asphalt playground one spring morning in 1962 when I was ten years old. I have the photo still—my dead sister who bears the same name as my older sister, still living. The dead one has wispy fine black hair. In the photo there are dark shadows underneath her closed eyes. She looks to be asleep. I do not emphasise grief at the loss of my mother’s first-born daughter. My mother felt it briefly, she told me later. But things like that happened all the time during the war. Babies were born and died regularly. Now, all these years later, these same unmourned babies hover restlessly in the nurseries of generations of survivors. There is no way we can be absolute in our interpretations, Gibson argues, but in the first instance there is some basic knowledge to be generated from viewing the crime scene photographs, as in viewing my death photo (Gibson, "Address"). For example, we can reflect on the décor and how people in those days organised their spaces. We can reflect on the way people stood and walked, got on and off vehicles, as well as examine something of the lives of the investigative police, including those whose job it was to take these photographs. Gibson interviewed some of the now elderly men from the Sydney police force who had photographed the crime scenes he displays. He asked questions to deal with his doubts. He now has a very different appreciation of the life of a “copper”, he says. His detective work probing into these empty spaces, digging into his doubts, has reduced his preconceptions and prejudices (Gibson, "Address"). Preconception and prejudice cannot tolerate doubt. In order to bear witness, Gibson says we need to be speculative, to be loose, but not glib, “narrativising” but not inventive, with an eye to the real world (Gibson, "Address"). Gibson’s interest in an interpretation of life after wartime in Sydney is to gather a sense of the world that led to these pictures. His interpretations derive from his hunches, but hunches, he argues, also need to be tested for plausibility (Gibson, Address). Like Gibson, I hope that the didactic trend from the past—to shut up and listen—has been replaced by one that involves “discovery based learning”, learning that is guided by someone who knows “just a little more”, in a common sense, forensic, investigative mode (Gibson, “Address”). Doubt is central to this heuristic trend. Likewise, my doubts give me permission to explore my family’s past without the paralysis of intentionality and certainty. “What method have you adopted for your research?” Gordon asks, as she considers Luce Irigaray’s thoughts on the same question. It is “a delicate question. For isn’t it the method, the path to knowledge, that has always also led us away, led us astray, by fraud and artifice” (Gordon 38). So what is my methodology? I use storytelling meshed with theory and the autobiographical. But what do you think you’re doing? my critics ask. You call this research? I must therefore look to literary theorists on biography and autobiography for support. Nancy Miller writes about the denigration of the autobiographical, particularly in academic circles, where the tendency has been to see the genre as “self indulgent” in its apparent failure to maintain standards of objectivity, of scrutiny and theoretical distance (Miller 421). However, the autobiographical, Miller argues, rather than separating and dividing us through self-interests can “narrow the degree of separation” by operating as an aid to remembering (425). We recognise ourselves in another’s memoir, however fleetingly, and the recognition makes our “own experience feel more meaningful: not ‘merely’ personal but part of the bigger picture of cultural memory” (Miller 426). I speak with some hesitation about my family of origin yet it frames my story and hence my methodology. For many years I have had a horror of what writers and academics call “structure”. I considered myself lacking any ability to create a structure within my writing. I write intuitively. I have some idea of what I wish to explore and then I wait for ideas to enter my mind. They rise to the surface much like air bubbles from a fish. I wait till the fish joggles my bait. Often I write as I wait for a fish to bite. This writing, which is closely informed by my reading, occurs in an intuitive way, as if by instinct. I follow the associations that erupt in my mind, even as I explore another’s theory, and if it is at all possible, if I can get hold of these associations, what I, too, call hunches, then I follow them, much as Gibson and Gordon advocate. Like Gordon, I take my “distractions” seriously (Gordon, 31-60). Gordon follows ghosts. She looks for the things behind the things, the things that haunt her. I, too, look for what lies beneath, what is unconscious, unclear. This writing does not come easily and it takes many drafts before a pattern can emerge, before I, who have always imagined I could not develop a structure, begin to see one—an outline in bold where the central ideas accrue and onto which other thoughts can attach. This structure is not static. It begins with the spark of desire, the intercourse of opposing feelings, for me the desire to untangle family secrets from the past, to unpack one form, namely the history as presented within my family and then to re-assemble it through a written re-construction that attempts to make sense of the empty spaces left out of the family narrative, where no record, verbal or written, has been provided. This operates against pressure from certain members of my family to leave the family past unexplored. My methodology is subjective. Any objectivity I glean in exploring the work and theories of others comes through my own perspective. I read the works of academics in the literary field, and academics from psychoanalysis interested in infant development and personality theory. They consider these issues in different ways from the way in which I, as a psychotherapist, a doubt-filled researcher, and writer, read and experience them. To my clinician self, these ideas evolve in practice. I do not see them as mere abstractions. To me they are living ideas, they pulse and flow, and yet there are some who would seek to tie them down or throw them out. Recently I asked my mother about the photo of her dead baby, her first-born daughter who had died during the Hongerwinter (Hunger winter) of 1945 in Heilo, Holland. I was curious to know how the photo had come about. My curiosity had been flamed by Jay Ruby’s Secure the Shadow: Death and Photography in America, a transcript on the nature of post-mortem photography, which includes several photos of dead people. The book I found by chance in a second-hand books store. I could not leave these photographs behind. Ruby is concerned to ask questions about why we have become so afraid of death, at least in the western world, that we no longer take photographs of our loved ones after death as mementos, or if we take such photos, they are kept private, not shared with the public, for fear that the owners might be considered ghoulish (Ruby 161). I follow in Gordon’s footsteps. She describes how one day, on her way to a conference to present a paper, she had found herself distracted from her conference topic by thoughts of a woman whose image she had discovered was “missing” from a photo taken in Berlin in 1901. According to Gordon’s research, the woman, Sabina Spielrein, should have been present in this photo, but was not. Spielrein is a little known psychoanalyst, little known despite the fact that she was the first to hypothesise on the nature of the death instinct, an unconscious drive towards death and oblivion (Gordon 40). Gordon’s “search” for this missing woman overtook her initial research. My mother could not remember who took her dead baby’s photograph, but suspected it was a neighbour of her cousin in whose house she had stayed. She told me again the story she has told me many times before, and always at my instigation. When I was little I wondered that my mother could stay dry-eyed in the telling. She seemed so calm, when I had imagined that were I the mother of a dead baby I would find it hard to go on. “It is harder,” my mother said, to lose an older child. “When a child dies so young, you have fewer memories. It takes less time to get over it.” Ruby concludes that after World War Two, postmortem photographs were less likely to be kept in the family album, as they would have been in earlier times. “Those who possess death-related family pictures regard them as very private pictures to be shown only to selected people” (Ruby 161). When I look at the images in Ruby’s book, particularly those of the young, the children and babies, I am struck again at the unspoken. The idea of the dead person, seemingly alive in the photograph, propped up in a chair, on a mother’s lap, or resting on a bed, lifeless. To my contemporary sensibility it seems wrong. To look upon these dead people, their identities often unknown, and to imagine the grief for others in that loss—for grief there must have been such that the people remaining felt it necessary to preserve the memory—becomes almost unbearable. It is tempting to judge the past by present standards. In 1999, while writing her historical novel Year of Wonders, Geraldine Brooks came across a letter Henry James had written ninety eight years earlier to a young Sarah Orne Jewett who had previously sent him a manuscript of her historical novel for comment. In his letter, James condemns the notion of the historical novel as an impossibility: “the invention, the representation of the old consciousness, the soul, the sense of horizon, the vision of individuals in whose minds half the things that make ours, that make the modern world,” are all impossible, he insisted (Brooks 3). Despite Brooks’s initial disquiet at James’s words, she realised later that she had heard similar ideas uttered in different contexts before. Brooks had worked as a journalist in the Middle East and Africa: “They don’t think like us,” white Africans would say of their black neighbours, or Israelis of Arabs or upper class Palestinians about their desperately poor refugee-camp brethren … . “They don’t value life as we do. They don’t care if their kids get killed—they have so many of them”. (Brookes 3) But Brooks argues, “a woman keening for a dead child sounds exactly as raw in an earth-floored hovel as it does in a silk-carpeted drawing room” (3). Brooks is concerned to get beyond the certainties of our pre-conceived ideas: “It is human nature to put yourself in another’s shoes. The past may be another country. But the only passport required is empathy”(3). And empathy again requires the capacity to tolerate doubt. Later I asked my mother yet again about what it was like for her when her baby died, and why she had chosen to have her dead baby photographed. She did not ask for the photograph to be taken, she told me. But she was glad to have it now; otherwise nothing would remain of this baby, buried in an unfamiliar cemetery on the other side of the world. Why am I haunted by this image of my dead baby sister and how does it connect with my family’s secrets? The links are still in doubt. Gibson’s creative flair, Gordon’s ideas on ghostly matters and haunting, the things behind the things, my preoccupation with my mother’s dead baby and a sense that this sister might mean less to me did I not have the image of her photograph planted in my memory from childhood, all come together through parataxis if we can bear our doubts. Certainty is the enemy of introspection of imagination and of creativity. Yet too much doubt can paralyse. Here I write about tolerable levels of doubt tempered with an inquisitive mind that can land on hunches and an imagination that allows the researcher to follow such hunches and then seek evidence that corroborates or disproves them. As Gibson writes elsewhere, I tried to use all these scrappy details to help people think about the absences and silences between all the pinpointed examples that made up the scenarios that I presented in prose that was designed to spur rigorous speculation rather than lock down singular conclusions. (“Extractive” 2) Ours is a positive doubt, one that expects to find something, however “unexpected”, rather than a negative doubt that expects nothing. For doubt in large doses can paralyse a person into inaction. Furthermore, a balanced state of doubt fosters connectivity. As John Patrick Shanley’s character, the parish priest, Father Flynn, in the film Doubt, observes, “there are these times in our life when we feel lost. It happens and it’s a bond” (Shanley). References Brooks, Geraldine. "Timeless Tact Helps Sustain a Literary Time Traveller." New York Times, 2001. 14 Jan. 2011 ‹http://www.nytimes.com/2001/07/02/arts/writers-on-writing-timeless-tact-helps-sustain-a-literary-time-traveler.html?pagewanted=3&src=pm›. Doubt. Shanley, Dir. J. P. Shanley. Miramax Films, 2008. Gibson, Ross, and Kate Richards. “Life after Wartime.” N.d. 25 Feb. 2011. ‹http://www.lifeafterwartime.com/›. Gibson, Ross. “The Art of the Real Conference.” Keynote address. U Newcastle, 2008. Gibson, Ross. “Places past Disappearance.” Transformations 13-1 (2006). 22 Feb. 2007 ‹http://www.transformationsjournal.org/journal/issue_13/article_01.shtml›. ———. “Extractive Realism.” Australian Humanities Review 47 (2009). 25 Feb. 2011 ‹http://www.australianhumanitiesreview.org/archive/Issue-November-2009/gibson.html›. Gordon, Avery F. Ghostly Matters: Haunting and the Sociological Imagination. Minneapolis: U Minnesota P, 2008. Miller, Nancy K. “But Enough about Me, What Do You Think of My Memoir?” The Yale Journal of Criticism 13.2 (2000): 421-536. Ruby, Jay. Secure the Shadow: Death and Photography in America. Cambridge, MA: MIT P, 1995.

In the aftermath of Donald Trump’s election victory in 2016, feminist and online craft communities responded with a call to arms (or needles) aimed at resistance through collective action in thread, yarn, and textiles. One such project, Diana Weymar’s Tiny Pricks Project, records the incessant barrage of Trump’s media coverage: tweets, journalist reportage, and statements in stitched thread. Weymar started Tiny Pricks Project on 8 January 2018, stitching the 45th President’s bluster of a 6 January tweet, “I AM A VERY STABLE GENIUS”, in yellow thread across a field of tapestry flowers. Issuing an invitation for contributions from stitchers around the world, Weymar accrued a vast archive of over 5,000 individual textile works which transform political rhetoric into thread. Although the project has been exhibited in its material form in galleries around the United States (particularly in the lead-up to the 2020 election), its primary display is online, where the textured and tactile objects are imaged and uploaded to Instagram. Drawing on the associations of a medium associated with intimacy and femininity, @tinypricksproject traces Trump’s presidency, rejecting the immediacy of the 24-hour media cycle with careful, time-consuming stitching that bears the imprint of its makers. As an attempt to reshape Trump’s violent utterances as a material symbol of resistance, Tiny Pricks Project has a close parallel in the bright pink hand-knitted “pussyhats” that became the symbol of the 2017 Women’s March. With a pattern distributed online through platforms such as Ravelry and sold on online marketplaces such as Etsy, the Pussyhat Project exemplifies the ambitions of twentyfirst-century craftivism, that “creativity can be a catalyst for change” (Greer, 183), but also the neoliberal commodification of these ideals. The contested legacy of the Pussyhat Project, lauded as a means of participatory politics but criticised for the whiteness and transphobic essentialism of its chosen symbol, demonstrates the challenges in harnessing craft as collective activism (Black), and suggests the need for individualised, responsive ways of connecting politics and hand-making. The same phrase that inspired the Pussyhats, Trump’s recording of 2005 admitting sexual assault (“They let you do it. You can do anything. Grab ’em by the pussy.”) also appears across the Tiny Pricks Project as an embroidered text where it performs a very different role. In contrast to the performative use of knitted projects as a garment to wear in action, Weymar describes Tiny Pricks Project as a “stitched material record” and as “testimony”. Both acts, of stitching and posting, are acts of memory-making and communication, and as such, the cumulative posts of Tiny Pricks Project function as a feminist vernacular temporary memorial. Initially focussed exclusively on Trump, the project has expanded in both territory (with a dedicated Tiny Pricks Project UK) and politically to encompass direct statements of opposition. The intimacy and history of needlework in Tiny Pricks Project punctures distance, drawing the violence of Trump’s political rhetoric (against women, immigrants, the disabled, and the vulnerable) into a direct, affective contact with the bodies of stitchers and viewers. This article proposes the contact of Tiny Pricks Project as a form of haunting, where threads pierce through memories of the past and bodies in the present. Embroiderers have a term for stitching which follows a pattern from the other side – ghost stitching – allowing for the thread to create a pattern which is elsewhere but not visible, a tracing through to the inverse and across multiple layers of textile. To consider threads as conveying presence recognises the powerful affective charge of stitching. As Roszika Parker asserts in her influential work of feminist art history, The Subversive Stitch, “embroiderers … transform materials to produce sense” (6), making complex embodied meaning through thread and fabric. A digital ghost stitch, the tracing of online content in needlework that records the sense of its maker, which is then reposted elsewhere, draws out the affective quality of the material that “pricks” the user. Ghosts here are defined through the work of Avery Gordon, where they are “that special instance of the merging of the visible and the invisible, the dead and the living, the past and the present” (25). In their production of material effects, ghosts are the manifestation of haunting, which for Gordon is a particular form of mediation that breaks down distance: in haunting, organized forces and systemic structures that appear removed from us make their impact felt in everyday life in a way that confounds our analytic separations and confounds the social separations themselves. (19) A ghost stitch, then, is the specific quality of stitched thread in a digital post to puncture mediatised politics, drawing together otherwise invisible bodies and histories. To draw out the haunted nature of thread this article locates the affective quality of the stitched politics of Tiny Pricks Project in the context of contemporary memorial cultures, rather than the field of craftivism or digital activism. Focussing on the histories and politics of needlework, I begin by understanding the material use of thread and stitching in Tiny Pricks Project as a connection to intimate forms of memory-making, specifically American traditions of quilting. I then locate the specific form of @tinypricksproject, cumulative posts on Instagram in response and reaction to historical events, as a form of vernacular memorial that punctures the screen with the presence of stitchers, framing this discussion in relationship to new forms of public memory-making in both public spaces and online. Finally, I consider the combination of these forms, threaded stitches and digital memorials, as a “ghost stitch” that “pricks” me when I scroll through the feed, forcing an embodied relationship with its haunted political texts. The stitched thread has a powerful emotional charge that intimately traces the body, through the gestural mark of a hand, and evokes memory, through a connection to family heirlooms and domestic material culture. This nostalgic embodiment is exploited in the material form of Tiny Pricks Project, where Trump’s words in are stitched into vintage textiles, such as lace-edged napkins or printed children’s handkerchiefs, each carrying sentimental associations. Items of clothing sometimes appear as the support – as Trump’s response to the 2019 Senate inquiry that “I did nothing wrong” stitched in red on the front of a child’s dress decorated with red, white, and blue ric-rac and stars. The technical skill on display varies across the project, but most text is rendered in simple back stitch, creating a punctuated and punctured line that wobbles and reveals its handmade quality. Weymar’s own hand is evident in the use of bold, block lettering, often layered over tapestry – such in a repeat of “I AM A VERY STABLE GENIUS” in blue and yellow thread stitched over a stag tapestry by her grandmother. Some have the addition of more elaborative embroidered imagery or applique in the form of anachronistic illustrations and decorative motifs. Whilst information on individual panels (the stitcher, the source of the quote, and sometimes an account of the work’s production) is available in the Instagram caption in the feed and tag, each individual painstakingly stitched post is understood in relationship to the surrounding images. The combination of the individual panels of repurposed fabric of Tiny Pricks Project evokes the iconic American form of the patchwork quilt that pieces together textiles with their own histories and memories to make new form that is both fragmented and connected. On @tinyprickproject the visual similarity to a quilt is striking, as an image of each textile panel is joined to the next via Instagram’s gridded interface. In the individualised feeds of the account’s followers, each Tiny Pricks Project post is stitched together with other algorithmically selected images, generating a unique piecing together of politics with the personal, as a digital quilt. Although the image of quilting in the popular imagination remains dominated by images of white femininity (as in the 1996 film How to Make an American Quilt), quilts have historically also been a site of expression and memory-making for bodies otherwise effaced in American culture. The tradition of Black quilting, for example, has a complicated history, as bell hooks describes, where quilts were produced out of basic material need but were also a powerful form of aesthetic expression. Remembering her grandmother’s quilting, hooks identifies the way that the reuse of the family’s tattered and worn clothing in crazy quilts results in “bits and pieces of my mama’s life, held and contained there” (121). Peter Stallybrass similarly articulates the powerful communication of presence and absence of using worn garments for quilting, where “a network of cloth can trace the connection of love across the boundaries of absence, of death, because cloth is able to carry the absent body, memory, genealogy” (36-37). In their material and form, quilts have a powerful connection to memories outside dominant narratives as an assertion of the bodies who laboured on them, those bodies whose worn garments have been transformed into pattern, and the bodies they symbolically cover. This quality of intimacy, memory, and embodiment has a political potentiality, as exploited in the cumulative, community NAMES project AIDS Memorial Quilt. Founded by Cleve Jones and first displayed in 1987 in Washington D.C., each individual panel approximates the size of a body (or coffin) and is stitched with the name and memory of someone lost in the AIDS crisis. In its public display through the late 1980s and early 1990s, with the panels spread out on the ground in public spaces, AIDS quilts (both the original NAMES project and subsequent localised versions around the world) controversially drew individual memory into public politics, deploying feeling as a form of activism. At the height of AIDS crisis, Queer art theorist and ACT UP member Douglas Crimp, for example, positioned the spectacle of mourning in opposition to militancy, where “public mourning rituals may of course have their own political force, but they nevertheless often seem, from an activist perspective, indulgent, sentimental, defeatist” (5). Countering this position, Peter Hawkins argued that the quilt “made intimacy its object; it has enabled quite private reality (sometimes sentimental and homey, sometimes kinky and erotic) to ‘come out’ in public” (770), a powerful personification of social and political ambitions. The recent digitisation of the 50,000 panels of the quilt on the National AIDS Memorial Website makes more direct the connect between the intimate feeling of mourning and the “stitching” ability of digital memory. Beyond the specific form of the quilt, on a broader social level the nostalgic quality of Tiny Pricks Project’s accumulation of hand-stitched textiles draws together the past and the present. The rise of craft culture is underpinned by online platforms (including Instagram) that have facilitated DIY and craftivist communities, where historical material processes such as knitting, crocheting, needlework, and sewing provide powerful affective and political points of connection. Addressing the relationship of contemporary artists working in textiles to the economic, political, and social context of globalised late capitalism, Kirsty Robertson argues that such works are “haunted by their passages through time and space”, specifically the “ghosts of textile artists and workers” (195). This connection to bodies across history is wrapped up in the materiality and gestural process of needlework. These are the ghosts of those whose presence is rendered invisible in twentyfirst-century deindustrialised countries, where textile industries have largely disappeared and where feminism has fundamentally changed the ubiquity of domestic crafts in the home. Their return, either in art or the “hobby” sphere, carries both a radical political legacy and a complicated nostalgic charge. In the context of the United States, a further material trace in the stitched and embroidered works of Tiny Pricks Project is in the fibres of the materials themselves, in the bleached history of cotton’s brutal past that connects enslavement and contemporary capitalism (Beckert). The threads of handmade embroidery, quilt, and woven crafts move across time, as art historian Julia Bryan Wilson argues: textiles warp between the past and the present: relentlessly recruited for pressing contemporary concerns they are also tasked with reminding us of, and are often pulled back to, the traditions from which they sprung. (261) Ironically, then, the popularity of online textile and needlecraft projects such as Tiny Pricks Project can then be mapped alongside the rhetoric of Trump’s populist “recruitment” of America’s industrial history (Making America Great Again) as an emotive “pull” to an imagined past within contemporary politics more broadly (Kenny). This deployment of sentimentality untethered from facts is one part of what Lauren Berlant described as the “noise” of Trump, the concentration of feeling as the substance of his politics: Trump is sound and fury and garble. Yet—and this is key—the noise in his message increases the apparent value of what’s clear about it. The ways he’s right seem more powerful, somehow, in relief against the ways he’s blabbing. Rather than communicating a political messaging, Trump’s bluster exemplifies a mediatised politics that has taken on the logic of social media and 24-hour news cycles, fragmenting and dissipating attention (Crary). The disconnection of noisy mediatised politics makes it always just in the past, endlessly present in its digital archive, but evasive in its meaning. Tiny Pricks Project is just one example of drawing affective attention to Trump’s words through this same medium, recontextualising them as an act of memorial-making. Certain key quotes are recovered again and again in different hands alongside “I am a very stable genius” and “grab ‘em by the pussy”. Some are ironic, such as “I know words, I have the best words” (from a speech about Barack Obama in 2015) and “I don’t have a racist bone in my body” (a tweet in 2019); but many capture the most misogynist and racist records of Trump’s speech including “Nasty Woman” (directed at Hillary Clinton in 2016); and “send her back” (a rally chant about Ilhan Omar, 2019). Embroidering Trump’s tweets and soundbites into material form, then preserving these on a digital wall for all to see, Tiny Pricks Project appropriates into thread the American tradition of hagiographic presidential monuments that immortalise political actors through their speech made material. Across Washington D.C., epigraphs are carved into stone and cast in steel, as at the Lincoln Memorial (1922), which fixes its subject’s meaning in historical place with select quotations that evade the mention of slavery. The dominance of these forms of monument to America’s past efface the complex racial violence of the country’s past, as Kirk Savage has argued, and it is only when encountered with living bodies that this becomes legible again as in the iconic use of the Lincoln Memorial for Martin Luther King Jr.’s “I have a dream” speech (1963). Indicative of a shift in the culture of memory-making and memorials, this visible contest between vulnerable bodies and symbols of state power played out during Trump’s administration in sites across the country, most notably at Charlottesville in 2017, where conflict over the fate of the city’s Robert E. Lee statue boiled over into fatal white supremacist violence. Tiny Prick Project’s function as a collectively generated memorial is part of this broader cultural shift: what Erica Doss has described as America’s “memorial mania”, an explosion in fragmentary memory-making where an ever-growing number of official monuments are joined by individualised commemoration and contestation. Inscribing Trump’s words on repurposed materials, Tiny Pricks Project reshapes presidential monuments through the aesthetics of temporary memorials. Examples such as the spontaneous memorials around the city of New York in the wake of September 11 and mementos left in the chain fence near the 1995 Oklahoma City bombing site “embod[y] the faith that Americans place in things to negotiate complex moments and events” (Doss, 71). Such memorials rely upon stable and commodified ideas of identity such as teddy bears and American flags to assert the “comfort culture” (Sturken, Tourists of History, 6) of American consumerism in the midst of trauma and loss. This has created a visual lexicon for traumatic events that is predicated on the accumulation of the mundane and everyday of material culture. In the sheer scale of posts on the @tinypricksproject Instagram feed the effect is of a cumulative vernacular memorial where the stitched posts accrue over time like mementoes on a wall, each with an affective connection both individual and collective. In many ways the process of memory-making online mirrors the assertion of presence on physical sites, most directly in the convergence of selfies and social media posts at memorial sites: what Kate Douglas describes as “dark selfies” where the act of photographing and sharing is a form of witnessing that locates the self in relationship to the past. Like temporary memorials, on platforms such as Instagram the emphasis is on individualised traces of memories constituted through a shared use of a platform and set of recognisable imagery. The participatory function of digital culture connects memory to identity and communication, through “mediated memories”: media theorist José van Dijck’s term for "the activities and objects we produce and appropriate by means of media technology for creating and re-creating a sense of past, present, and future of ourselves in relation to others” (21). The specific agency of Instagram to hold memory (a capacity built into functionality such as “on this day” or “Memories” features) casts all its posts into memory, but with the potential to return as “mediatised ghosts to haunt participants” (Garde-Hansen et al., 6). There is a distancing effect facilitated by the mediation of digital memory, a re-directing of absence into the presence of participation in social media consumption, echoing the participatory consumption of memorial culture more broadly. As Martin Pogačar argues, digital memorials online facilitate the “exteriorization of intimate and affective … practices of memory and remembering”, but he claims there is still a subversive potential here, “to elude these constraints by negotiating and revising the institutionalized forms and canons of memory and remembering” (33). Similarly, despite official intentions or commoditisation, physical memorials are also sites of feeling that can rupture any containment: they are “haunted” as Marita Sturken describes in her analysis of the Ground Zero Memorial in New York as an official memorial that cannot “contain the ghosts that live there” (“Containing Absence”, 314). In her analysis, Sturken is drawing on Gordon, who argues that haunting has the capacity to produce counter-memory by allowing for unexpected and potentially contradictory connections to be formed that challenge official structures. For Sturken it is the direct embodied trace of individual experience, such as recordings of victims’ voices, that is the ghost here. The difference between the official, intended meaning of a memorial and the haunted counter-memory is akin to the distinction between Roland Barthes’s studium and punctum in a photograph. Where the studium is the communication of conventionalised forms of meaning across a surface, the punctum pierces the viewer’s body, it is “that accident which pricks me (but also bruises me, is poignant to me)” (27). The “prick” of the punctum is, in the context of haunted memorials, the ghost making its presence felt as a material impact. The “prick” of the stitched thread in the posts of Tiny Pricks Project is a similar form of haunting, a ghost stitch that allows direct feeling through in the externalised context of mediatised politics and digital memory as followers scroll and touch each post in close and intimate contact or see the works exhibited in a gallery. As Weymar has said of the project as a site of feeling, “if you can stay present long enough to read what he’s saying, you will become politically active. You will feel a sense of urgency” (Chernick). With its ironic use of nostalgia, the ghost stitch of the Tiny Prick Project posts also punctures through contemporary political rhetoric, exposing the artifice and contradictions of sentimentality for an American past. Instead, Tiny Pricks Project proposes a counter-memorial of Trump’s presidency. A counter-memory of stitched thread runs through American political history, and when introduced to the space of digital memory this thread has a capacity to “prick” by bringing with it an affective connection to the familiar, intimate, and embodied presence distinct to hand-stitching. Defying the fragmentary nature of digital culture, thread sutures and connects, but also punctures and pierces, bringing together but also allowing points of escape. Considering Tiny Pricks Project as an example of digital ghost stitching opens up possibilities for the active role of thread as a way to “prick” the viewer and pull through connections across and between bodies and social systems as a form of political resistance. References Barthes, Roland. Camera Lucida: Reflections on Photography. Trans. Richard Howard. Hill and Wang, 1981. Beckert, Sven. Empire of Cotton: A Global History. Alfred A. Knopf, 2014. Berlant, Lauren. “Trump. Or Political Emotions.” Supervalent Thought Blog, 4 Aug. 2016. <https://supervalentthought.com/2016/08/04/trump-or-political-emotions/#more-964>. Black, Shannon. “KNIT RESIST: Placing the Pussyhat Project in the Context of Craft Activism.” Gender, Place and Culture: A Journal of Feminist Geography 24.5 (2017): 696–710. Bryan-Wilson, Julia. Fray: Art + Textile Politics. U of Chicago P, 2017. Chernick, Karen. “US President Donald Trump’s Angry Tweets Recorded in Tiny Pricks.” The Art Newspaper, 20 Sep. 2020. <https://www.theartnewspaper.com/2020/09/21/us-president-donald-trumps-angry-tweets-recorded-in-tiny-pricks>. Crary, Jonathan. Scorched Earth beyond the Digital Age to a Post-Capitalist World. Verso, 2022. Crimp, Douglas. “Mourning and Militancy.” October 51 (1989): 3-18. Douglas, Kate. “Youth, Trauma and Memorialisation: The Selfie as Witnessing.” Memory Studies 13.4 (2020): 384–399. Doss, Erika. Memorial Mania: Public Feeling in America. U of Chicago P, 2010. Garde-Hansen, Joanne, et al. Save As... Digital Memories. Palgrave Macmillan, 2009. Gordon, Avery. Ghostly Matters: Haunting and the Sociological Imagination. 2nd ed. U of Minnesota P, 2008. Greer, Betsy. “Craftivist History.” Extra/Ordinary: Craft and Contemporary Art. Ed. Maria Elena Buszek. Duke UP, 2011. 175-183. Hawkins, Peter S. “The Art of Memory and the NAMES Project AIDS Quilt.” Critical Inquiry 19.4 (1993): 752-779. hooks, bell. ‘Aesthetic Inheritances: History Worked by Hand.” Yearning. 2nd ed. Routledge, 2015. 115-122. Kenny, Michael. “Back to the Populist Future?: Understanding Nostalgia in Contemporary Ideological Discourse.” Journal of Political Ideologies 22.3 (2017): 256-273. Parker, Rozsika. The Subversive Stitch: Embroidery and the Making of the Feminine. New ed. I.B. Tauris, 2010. Pogačar, Martin. “Culture of the Past: Digital Connectivity and Dispotentiated Futures.” Digital Memory Studies: Media Pasts in Transition. Ed. Andrew Hoskins. Taylor & Francis, 2017. 27-47. Robertson, Kirsty. “Rebellious Doilies and Subversive Stitches: Writing a Craftivist History.” Extra/Ordinary: Craft and Contemporary Art. Ed. Maria Elena Buszek. Duke UP, 2011. 184-203. Savage, Kirk. Standing Soldiers, Kneeling Slaves: Race, War, and Monument in Nineteenth-Century America. New ed. Princeton UP, 2018. Stallybrass, Peter. “Worn Worlds: Clothes, Mourning, and the Life of Things.” Cultural Memory and the Construction of Identity. Eds. Liliane Weissberg and Dan Ben-Amos. Wayne State UP, 1999. 27-45. Sturken, Marita. Tourists of History: Memory, Kitsch, and Consumerism from Oklahoma City to Ground Zero. Duke UP, 2007. ———. “Containing Absence, Shaping Presence at Ground Zero.” Memory Studies 13.3 (2020): 313–321. Van Dijck, José. Mediated Memories in the Digital Age. Stanford UP, 2007.

'He did what the cipher could not, he rescued himself.' -- Alfred Bester, The Stars My Destination (23) On many levels, the new Nine Inch Nails album The Fragile is a gritty meditation about different types of End: the eternal relationship cycle of 'fragility, tension, ordeal, fragmentation' (adapted, with apologies to Wilhelm Reich); fin-de-siècle anxiety; post-millennium foreboding; a spectre of the alien discontinuity that heralds an on-rushing future vastly different from the one envisaged by Enlightenment Project architects. In retrospect, it's easy for this perspective to be dismissed as jargon-filled cyber-crit hyperbole. Cyber-crit has always been at its best too when it invents pre-histories and finds hidden connections between different phenomena (like the work of Greil Marcus and early Mark Dery), and not when it is closer to Chinese Water Torture, name-checking the canon's icons (the 'Deleuze/Guattari' tag-team), texts and key terms. "The organization of sound is interpreted historically, politically, socially ... . It subdues music's ambition, reins it in, restores it to its proper place, reconciles it to its naturally belated fate", comments imagineer Kodwo Eshun (4) on how cyber-crit destroys albums and the innocence of the listening experience. This is how official histories are constructed a priori and freeze-dried according to personal tastes and prior memes: sometimes the most interesting experiments are Darwinian dead-ends that fail to make the canon, or don't register on the radar. Anyone approaching The Fragile must also contend with the music industry's harsh realities. For every 10 000 Goth fans who moshed to the primal 'kill-fuck-dance' rhythms of the hit single "Closer" (heeding its siren-call to fulfil basic physiological needs and build niche-space), maybe 20 noted that the same riff returned with a darker edge in the title track to The Downward Spiral, undermining the glorification of Indulgent hedonism. "The problem with such alternative audiences," notes Disinformation Creative Director Richard Metzger, "is that they are trying to be different -- just like everyone else." According to author Don Webb, "some mature Chaos and Black Magicians reject their earlier Nine Inch Nails-inspired Goth beginnings and are extremely critical towards new adopters because they are uncomfortable with the subculture's growing popularity, which threatens to taint their meticulously constructed 'mysterious' worlds. But by doing so, they are also rejecting their symbolic imprinting and some powerful Keys to unlocking their personal history." It is also difficult to separate Nine Inch Nails from the commercialisation and colossal money-making machine that inevitably ensued on the MTV tour circuit: do we blame Michael Trent Reznor because most of his audience are unlikely to be familiar with 'first-wave' industrial bands including Cabaret Voltaire and the experiments of Genesis P. Orridge in Throbbing Gristle? Do we accuse Reznor of being a plagiarist just because he wears some of his influences -- Dr. Dre, Daft Punk, Atari Teenage Riot, Pink Floyd's The Wall (1979), Tom Waits's Bone Machine (1992), David Bowie's Low (1977) -- on his sleeve? And do we accept no-brain rock critic album reviews who quote lines like 'All the pieces didn't fit/Though I really didn't give a shit' ("Where Is Everybody?") or 'And when I suck you off/Not a drop will go to waste' ("Starfuckers Inc") as representative of his true personality? Reznor evidently has his own thoughts on this subject, but we should let the music speak for itself. The album's epic production and technical complexity turned into a post-modern studio Vision Quest, assisted by producer Alan Moulder, eleventh-hour saviour Bob Ezrin (brought in by Reznor to 'block-out' conceptual and sonic continuity), and a group of assault-technicians. The fruit of these collaborations is an album where Reznor is playing with our organism's time-binding sense, modulating strange emotions through deeply embedded tonal angularities. During his five-year absence, Trent Reznor fought diverse forms of repetitious trauma, from endogenous depression caused by endless touring to the death of his beloved grandmother (who raised him throughout childhood). An end signals a new beginning, a spiral is an open-ended and ever-shifting structure, and so Reznor sought to re-discover the Elder Gods within, a shamanic approach to renewal and secular salvation utilised most effectively by music PR luminary and scientist Howard Bloom. Concerned with healing the human animal through Ordeals that hard-wire the physiological baselines of Love, Hate and Fear, Reznor also focusses on what happens when 'meaning-making' collapses and hope for the future cannot easily be found. He accurately captures the confusion that such dissolution of meaning and decline of social institutions brings to the world -- Francis Fukuyama calls this bifurcation 'The Great Disruption'. For a generation who experienced their late childhood and early adolescence in Reagan's America, Reznor and his influences (Marilyn Manson and Filter) capture the Dark Side of recent history, unleashed at Altamont and mutating into the Apocalyptic style of American politics (evident in the 'Star Wars'/SDI fascination). The personal 'psychotic core' that was crystallised by the collapse of the nuclear family unit and supportive social institutions has returned to haunt us with dystopian fantasies that are played out across Internet streaming media and visceral MTV film-clips. That such cathartic releases are useful -- and even necessary (to those whose lives have been formed by socio-economic 'life conditions') is a point that escapes critics like Roger Scruton, some Christian Evangelists and the New Right. The 'escapist' quality of early 1980s 'Rapture' and 'Cosmocide' (Hal Lindsey) prophecies has yielded strange fruit for the Children of Ezekiel, whom Reznor and Marilyn Manson are unofficial spokes-persons for. From a macro perspective, Reznor's post-human evolutionary nexus lies, like J.G. Ballard's tales, in a mythical near-future built upon past memory-shards. It is the kind of worldview that fuses organic and morphogenetic structures with industrial machines run amok, thus The Fragile is an artefact that captures the subjective contents of the different mind produced by different times. Sonic events are in-synch but out of phase. Samples subtly trigger and then scramble kinaesthetic-visceral and kinaesthetic-tactile memories, suggestive of dissociated affective states or body memories that are incapable of being retrieved (van der Kolk 294). Perhaps this is why after a Century of Identity Confusion some fans find it impossible to listen to a 102-minute album in one sitting. No wonder then that the double album is divided into 'left' and 'right' discs (a reference to split-brain research?). The real-time track-by-track interpretation below is necessarily subjective, and is intended to serve as a provisional listener's guide to the aural ur-text of 1999. The Fragile is full of encrypted tones and garbled frequencies that capture a world where the future is always bleeding into a non-recoverable past. Turbulent wave-forms fight for the listener's attention with prolonged static lulls. This does not make for comfortable or even 'nice' listening. The music's mind is a snapshot, a critical indicator, of the deep structures brewing within the Weltanschauung that could erupt at any moment. "Somewhat Damaged" opens the album's 'Left' disc with an oscillating acoustic strum that anchor's the listener's attention. Offset by pulsing beats and mallet percussion, Reznor builds up sound layers that contrast with lyrical epitaphs like 'Everything that swore it wouldn't change is different now'. Icarus iconography is invoked, but perhaps a more fitting mythopoeic symbol of the journey that lies ahead would be Nietzsche's pursuit of his Ariadne through the labyrinth of life, during which the hero is steadily consumed by his numbing psychosis. Reznor fittingly comments: 'Didn't quite/Fell Apart/Where were you?' If we consider that Reznor has been repeating the same cycle with different variations throughout all of his music to date, retro-fitting each new album into a seamless tapestry, then this track signals that he has begun to finally climb out of self-imposed exile in the Underworld. "The Day the World Went Away" has a tremendously eerie opening, with plucked mandolin effects entering at 0:40. The main slashing guitar riff was interpreted by some critics as Reznor's attempt to parody himself. For some reason, the eerie backdrop and fragmented acoustic guitar strums recalls to my mind civil defence nuclear war films. Reznor, like William S. Burroughs, has some powerful obsessions. The track builds up in intensity, with a 'Chorus of the Damned' singing 'na na nah' over apocalyptic end-times imagery. At 4:22 the track ends with an echo that loops and repeats. "The Frail" signals a shift to mournful introspectiveness with piano: a soundtrack to faded 8 mm films and dying memories. The piano builds up slowly with background echo, holds and segues into ... "The Wretched", beginning with a savage downbeat that recalls earlier material from Pretty Hate Machine. 'The Far Aways/Forget It' intones Reznor -- it's becoming clear that despite some claims to the contrary, there is redemption in this album, but it is one borne out of a relentless move forward, a strive-drive. 'You're finally free/You could be' suggest Reznor studied Existentialism during his psychotherapy visits. This song contains perhaps the ultimate post-relationship line: 'It didn't turn out the way you wanted it to, did it?' It's over, just not the way you wanted; you can always leave the partner you're with, but the ones you have already left will always stain your memories. The lines 'Back at the beginning/Sinking/Spinning' recall the claustrophobic trapped world and 'eternal Now' dislocation of Post-Traumatic Stress Disorder victims. At 3:44 a plucked cello riff, filtered, segues into a sludge buzz-saw guitar solo. At 5:18 the cello riff loops and repeats. "We're in This Together Now" uses static as percussion, highlighting the influence of electricity flows instead of traditional rock instrument configurations. At 0:34 vocals enter, at 1:15 Reznor wails 'I'm impossible', showing he is the heir to Roger Waters's self-reflective rock-star angst. 'Until the very end of me, until the very end of you' reverts the traditional marriage vow, whilst 'You're the Queen and I'm the King' quotes David Bowie's "Heroes". Unlike earlier tracks like "Reptile", this track is far more positive about relationships, which have previously resembled toxic-dyads. Reznor signals a delta surge (breaking through barriers at any cost), despite a time-line morphing between present-past-future. At 5:30 synths and piano signal a shift, at 5:49 the outgoing piano riff begins. The film-clip is filled with redemptive water imagery. The soundtrack gradually gets more murky and at 7:05 a subterranean note signals closure. "The Fragile" is even more hopeful and life-affirming (some may even interpret it as devotional), but this love -- representative of the End-Times, alludes to the 'Glamour of Evil' (Nico) in the line 'Fragile/She doesn't see her beauty'. The fusion of synths and atonal guitars beginning at 2:13 summons forth film-clip imagery -- mazes, pageants, bald eagles, found sounds, cloaked figures, ruined statues, enveloping darkness. "Just like You Imagined" opens with Soundscapes worthy of Robert Fripp, doubled by piano and guitar at 0:39. Drums and muffled voices enter at 0:54 -- are we seeing a pattern to Reznor's writing here? Sonic debris guitar enters at 1:08, bringing forth intensities from white noise. This track is full of subtle joys like the 1:23-1:36 solo by David Bowie pianist Mike Garson and guitarist Adrian Belew's outgoing guitar solo at 2:43, shifting back to the underlying soundscapes at 3:07. The sounds are always on the dissipative edge of chaos. "Just like You Imagined" opens with Soundscapes worthy of Robert Fripp, doubled by piano and guitar at 0:39. Drums and muffled voices enter at 0:54 -- are we seeing a pattern to Reznor's writing here? Sonic debris guitar enters at 1:08, bringing forth intensities from white noise. This track is full of subtle joys like the 1:23-1:36 solo by David Bowie pianist Mike Garson and guitarist Adrian Belew's outgoing guitar solo at 2:43, shifting back to the underlying soundscapes at 3:07. The sounds are always on the dissipative edge of chaos. "Pilgrimage" utilises a persistent ostinato and beat, with a driving guitar overlay at 0:18. This is perhaps the most familiar track, using Reznor motifs like the doubling of the riff with acoustic guitars between 1:12-1:20, march cries, and pitch-shift effects on a 3:18 drumbeat/cymbal. Or at least I could claim it was familiar, if it were not that legendary hip-hop producer and 'edge-of-panic' tactilist Dr. Dre helped assemble the final track mix. "No, You Don't" has been interpreted as an attack on Marilyn Manson and Hole's Courntey Love, particularly the 0:47 line 'Got to keep it all on the outside/Because everything is dead on the inside' and the 2:33 final verse 'Just so you know, I did not believe you could sink so low'. The song's structure is familiar: a basic beat at 0:16, guitars building from 0:31 to sneering vocals, a 2:03 counter-riff that merges at 2:19 with vocals and ascending to the final verse and 3:26 final distortion... "La Mer" is the first major surprise, a beautiful and sweeping fusion of piano, keyboard and cello, reminiscent of Symbolist composer Debussy. At 1:07 Denise Milfort whispers, setting the stage for sometime Ministry drummer Bill Reiflin's jazz drumming at 1:22, and a funky 1:32 guitar/bass line. The pulsing synth guitar at 2:04 serves as anchoring percussion for a cinematic electronica mindscape, filtered through new layers of sonic chiaroscuro at 2:51. 3:06 phase shifting, 3:22 layer doubling, 3:37 outgoing solo, 3:50-3:54 more swirling vocal fragments, seguing into a fading cello quartet as shadows creep. David Carson's moody film-clip captures the end more ominously, depicting the beauty of drowning. This track contains the line 'Nothing can stop me now', which appears to be Reznor's personal mantra. This track rivals 'Hurt' and 'A Warm Place' from The Downward Spiral and 'Something I Can Never Have' from Pretty Hate Machine as perhaps the most emotionally revealing and delicate material that Reznor has written. "The Great Below" ends the first disc with more multi-layered textures fusing nostalgia and reverie: a twelve-second cello riff is counter-pointed by a plucked overlay, which builds to a 0:43 washed pulse effect, transformed by six second pulses between 1:04-1:19 and a further effects layer at 1:24. E-bow effects underscore lyrics like 'Currents have their say' (2:33) and 'Washes me away' (2:44), which a 3:33 sitar riff answers. These complexities are further transmuted by seemingly random events -- a 4:06 doubling of the sitar riff which 'glitches' and a 4:32 backbeat echo that drifts for four bars. While Reznor's lyrics suggest that he is unable to control subjective time-states (like The Joker in the Batman: Dark Knight series of Kali-yuga comic-books), the track constructions show that the Key to his hold over the listener is very carefully constructed songs whose spaces resemble Pythagorean mathematical formulas. Misdirecting the audience is the secret of many magicians. "The Way Out Is Through" opens the 'Right' disc with an industrial riff that builds at 0:19 to click-track and rhythm, the equivalent of a weaving spiral. Whispering 'All I've undergone/I will keep on' at 1:24, Reznor is backed at 1:38 by synths and drums coalescing into guitars, which take shape at 1:46 and turn into a torrential electrical current. The models are clearly natural morphogenetic structures. The track twists through inner storms and torments from 2:42 to 2:48, mirrored by vocal shards at 2:59 and soundscapes at 3:45, before piano fades in and out at 4:12. The title references peri-natal theories of development (particularly those of Stanislav Grof), which is the source of much of the album's imagery. "Into the Void" is not the Black Sabbath song of the same name, but a catchy track that uses the same unfolding formula (opening static, cello at 0:18, guitars at 0:31, drums and backbeat at 1:02, trademark industrial vocals and synth at 1:02, verse at 1:23), and would not appear out of place in a Survival Research Laboratories exhibition. At 3:42 Reznor plays with the edge of synth soundscapes, merging vocals at 4:02 and ending the track nicely at 4:44 alone. "Where Is Everybody?" emulates earlier structures, but relies from 2:01 on whirring effects and organic rhythms, including a flurry of eight beat pulses between 2:40-2:46 and a 3:33 spiralling guitar solo. The 4:26 guitar solo is pure Adrian Belew, and is suddenly ended by spluttering static and white noise at 5:13. "The Mark Has Been Made" signals another downshift into introspectiveness with 0:32 ghostly synth shimmers, echoed by cello at 1:04 which is the doubled at 1:55 by guitar. At 2:08 industrial riffs suddenly build up, weaving between 3:28 distorted guitars and the return of the repressed original layer at 4:16. The surprise is a mystery 32 second soundscape at the end with Reznor crooning 'I'm getting closer, all the time' like a zombie devil Elvis. "Please" highlights spacious noise at 0:48, and signals a central album motif at 1:04 with the line 'Time starts slowing down/Sink until I drown'. The psychic mood of the album shifts with the discovery of Imagination as a liberating force against oppression. The synth sound again is remarkably organic for an industrial album. "Starfuckers Inc" is the now infamous sneering attack on rock-stardom, perhaps at Marilyn Manson (at 3:08 Reznor quotes Carly Simon's 'You're So Vain'). Jungle beats and pulsing synths open the track, which features the sound-sculpting talent of Pop Will Eat Itself member Clint Mansell. Beginning at 0:26, Reznor's vocals appear to have been sampled, looped and cut up (apologies to Brion Gysin and William S. Burroughs). The lines 'I have arrived and this time you should believe the hype/I listened to everyone now I know everyone was right' is a very savage and funny exposure of Manson's constant references to Friedrich Nietzsche's Herd-mentality: the Herd needs a bogey-man to whip it into submission, and Manson comes dangerous close to fulfilling this potential, thus becoming trapped by a 'Stacked Deck' paradox. The 4:08 lyric line 'Now I belong I'm one of the Chosen Ones/Now I belong I'm one of the Beautiful Ones' highlights the problem of being Elect and becoming intertwined with institutionalised group-think. The album version ditches the closing sample of Gene Simmons screaming "Thankyou and goodnight!" to an enraptured audience on the single from KISS Alive (1975), which was appropriately over-the-top (the alternate quiet version is worth hearing also). "The danger Marilyn Manson faces", notes Don Webb (current High Priest of the Temple of Set), "is that he may end up in twenty years time on the 'Tonight Show' safely singing our favourite songs like a Goth Frank Sinatra, and will have gradually lost his antinomian power. It's much harder to maintain the enigmatic aura of an Evil villain than it is to play the clown with society". Reznor's superior musicianship and sense of irony should keep him from falling into the same trap. "Complication" juggernauts in at 0:57 with screaming vocals and a barrage of white noise at 1:56. It's clear by now that Reznor has read his psychological operations (PSYOP) manuals pertaining to blasting the hell out of his audiences' psyche by any means necessary. Computer blip noise and black light flotation tank memories. Dislocating pauses and time-bends. The aural equivalent of Klein bottles. "Complication" juggernauts in at 0:57 with screaming vocals and a barrage of white noise at 1:56. It's clear by now that Reznor has read his psychological operations (PSYOP) manuals pertaining to blasting the hell out of his audiences' psyche by any means necessary. Computer blip noise and black light flotation tank memories. Dislocating pauses and time-bends. The aural equivalent of Klein bottles. "The Big Come Down" begins with a four-second synth/static intro that is smashed apart by a hard beat at 0:05 and kaleidoscope guitars at 0:16. Critics refer to the song's lyrics in an attempt to project a narcissistic Reznor personality, but don't comment on stylistic tweaks like the AM radio influenced backing vocals at 1:02 and 1:19, or the use of guitars as a percussion layer at 1:51. A further intriguing element is the return of the fly samples at 2:38, an effect heard on previous releases and a possible post-human sub-text. The alien mythos will eventually reign over the banal and empty human. At 3:07 the synths return with static, a further overlay adds more synths at 3:45 as the track spirals to its peak, before dissipating at 3:1 in a mesh of percussion and guitars. "Underneath It All" opens with a riff that signals we have reached the album's climatic turning point, with the recurring theme of fragmenting body-memories returning at 0:23 with the line 'All I can do/I can still feel you', and being echoed by pulsing static at 0:42 as electric percussion. A 'Messiah Complex' appears at 1:34 with the line 'Crucify/After all I've died/After all I've tried/You are still inside', or at least it appears to be that on the surface. This is the kind of line that typical rock critics will quote, but a careful re-reading suggests that Reznor is pointing to the painful nature of remanifesting. Our past shapes us more than we would like to admit particularly our first relationships. "Ripe (With Decay)" is the album's final statement, a complex weaving of passages over a repetitive mesh of guitars, pulsing echoes, back-beats, soundscapes, and a powerful Mike Garson piano solo (2:26). Earlier motifs including fly samples (3:00), mournful funeral violas (3:36) and slowing time effects (4:28) recur throughout the track. Having finally reached the psychotic core, Reznor is not content to let us rest, mixing funk bass riffs (4:46), vocal snatches (5:23) and oscillating guitars (5:39) that drag the listener forever onwards towards the edge of the abyss (5:58). The final sequence begins at 6:22, loses fidelity at 6:28, and ends abruptly at 6:35. At millennium's end there is a common-held perception that the world is in an irreversible state of decay, and that Culture is just a wafer-thin veneer over anarchy. Music like The Fragile suggests that we are still trying to assimilate into popular culture the 'war-on-Self' worldviews unleashed by the nineteenth-century 'Masters of Suspicion' (Charles Darwin, Sigmund Freud, Friedrich Nietzsche). This 'assimilation gap' is evident in industrial music, which in the late 1970s was struggling to capture the mood of the Industrial Revolution and Charles Dickens, so the genre is ripe for further exploration of the scarred psyche. What the self-appointed moral guardians of the Herd fail to appreciate is that as the imprint baseline rises (reflective of socio-political realities), the kind of imagery prevalent throughout The Fragile and in films like Strange Days (1995), The Matrix (1999) and eXistenZ (1999) is going to get even darker. The solution is not censorship or repression in the name of pleasing an all-saving surrogate god-figure. No, these things have to be faced and embraced somehow. Such a process can only occur if there is space within for the Sadeian aesthetic that Nine Inch Nails embodies, and not a denial of Dark Eros. "We need a second Renaissance", notes Don Webb, "a rejuvenation of Culture on a significant scale". In other words, a global culture-shift of quantum (aeon or epoch-changing) proportions. The tools required will probably not come just from the over-wordy criticism of Cyber-culture and Cultural Studies or the logical-negative feeding frenzy of most Music Journalism. They will come from a dynamic synthesis of disciplines striving toward a unity of knowledge -- what socio-biologist Edward O. Wilson has described as 'Consilience'. Liberating tools and ideas will be conveyed to a wider public audience unfamiliar with such principles through predominantly science fiction visual imagery and industrial/electronica music. The Fragile serves as an invaluable model for how such artefacts could transmit their dreams and propagate their messages. For the hyper-alert listener, it will be the first step on a new journey. But sadly for the majority, it will be just another hysterical industrial album promoted as selection of the month. References Bester, Alfred. The Stars My Destination. London: Millennium Books, 1999. Eshun, Kodwo. More Brilliant than the Sun: Adventures in Sonic Fiction. London: Quartet Books, 1998. Van der Kolk, Bessel A. "Trauma and Memory." Traumatic Stress: The Effects of Overwhelming Experience on Mind, Body, and Society. Eds. Bessel A. van der Kolk et al. New York: Guilford Press, 1996. Nine Inch Nails. Downward Spiral. Nothing/Interscope, 1994. ---. The Fragile. Nothing, 1999. ---. Pretty Hate Machine. TVT, 1989. Citation reference for this article MLA style: Alex Burns. "'This Machine Is Obsolete': A Listeners' Guide to Nine Inch Nails' The Fragile." M/C: A Journal of Media and Culture 2.8 (1999). [your date of access] <http://www.uq.edu.au/mc/9912/nine.php>. Chicago style: Alex Burns, "'This Machine Is Obsolete': A Listeners' Guide to Nine Inch Nails' The Fragile," M/C: A Journal of Media and Culture 2, no. 8 (1999), <http://www.uq.edu.au/mc/9912/nine.php> ([your date of access]). APA style: Alex Burns. (1999) 'This machine is obsolete': a listeners' guide to Nine Inch Nails' The fragile. M/C: A Journal of Media and Culture 2(8). <http://www.uq.edu.au/mc/9912/nine.php> ([your date of access]).