Academic literature on the topic 'Biology in art – Exhibitions'
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Journal articles on the topic "Biology in art – Exhibitions"
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Mironova, Tat'yana Yu. "REPRESENTATION OF HISTORY: CONTEMPORARY ART IN MUSEUMS OF CONSCIENCE." RSUH/RGGU Bulletin. "Literary Theory. Linguistics. Cultural Studies" Series, no. 8 (2020): 116–32. http://dx.doi.org/10.28995/2686-7249-2020-8-116-132.
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Contemporary art more and more actively interacts with the nonartistic museums. For instance, biological, historical as well as anthropological museums become spaces for contemporary art exhibitions or initiate collaborative projects. This process seeks to link different types of materials to make the interaction successful. Thus, several questions appear: can we talk about interaction, if the museum becomes a place for the exhibition devoted to the topics of history, ethnography or biology? Does any appearance of contemporary art in the museum territory become a part of intercultural dialogue? And how do we assess and analyze the process of interaction between these two spheres? Among nonartistic museums working with contemporary art the museums of conscience appear to be one of the most interesting. This type of museums is quite new – it developed in 1990s when the International Coalition of Sites of Coscience was created and the United States Holocaust Memorial Museum was founded. The interaction between contemporary art and museums of conscience starts to develop in the context of changing attitudes towards historical memory as well as widening the notion of museums. In this situation museums need new instruments for educational and exhibitional work. Contemporary artists work with the past through personal memories and experience, when museums turn to documents and artifacts. So, their collaboration connects two different optics: artistic and historical. Thus, it is possible to use the Michel Foucault term dispositif to analyze the collaboration between artists and museums. Foucault defines the dispositif as a link between different elements of the system as well as optics that makes us to see and by that create the system. The term allows us to connect the questions of exhibition work with philosophical and historical issues when we analyze the projects in the United States Holocaust Memorial Museum, Yad Vashem and Auschwitz-Birkenau.
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Spivey, Nigel. "Art and Archaeology." Greece and Rome 65, no. 2 (September 17, 2018): 266–69. http://dx.doi.org/10.1017/s0017383518000219.
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Passion. Nowadays everything must be done with passion. No ‘personal statement’ for university admission is complete without some sentiment of passionate motivation; you purchase a sandwich and learn that it has been ‘made lovingly’. So is there anything wrong with studying classical archaeology passionately – with the engagement of emotions, or ‘intensity of feeling’ (OED)? The question arises from the very title of a festal volume devoted to a (some would say, the) historical pioneer of the discipline, J. J. Winckelmann: Die Kunst der Griechen mit der Seele suchend. Since it is conventional to translate die Seele as ‘the soul’, immediately we encounter the problem of mind–body dualism, and the question of where passions are to be located in human biology. But let us accept the sense of the phrase as it is being used here. It is, as Goethe recognized in Winckelmann's work, and celebrated accordingly, an ‘awareness’ (Gewahrwerden) of Greek art that was at once intuitive and reasoned; spontaneous, yet developed by patient study (conducted with ‘true German seriousness’ – so deutsch Ernst). Pious remembrance of Winckelmann has been maintained in his homeland virtually ever since his premature death (a ‘thunderbolt’ of awful news, as Goethe described it) in 1768. This year is the 250th since that loss, and will be widely marked. Meanwhile the recent anniversary of Winckelmann's birth – 1717, as a cobbler's son, in Brandenburg – occasions fresh hagiography, and attendant exhibitions, perhaps most notably a show at the Capitoline Museums, documenting an important part of Winckelmann's intense and eventually glorious activity in Rome.
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Allmon, Warren D., Robert M. Ross, Richard A. Kissel, and David C. Kendrick. "Using Museums to Teach Undergraduate Paleontology and Evolution." Paleontological Society Special Publications 12 (2012): 231–46. http://dx.doi.org/10.1017/s2475262200009345.
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Museum exhibitions possess a long history of serving as useful tools for teaching both paleontology and evolutionary biology to college undergraduates. Yet, they are frequently under-appreciated and underutilized. However, they remain potentially outstanding resources because they can be used to meet a spectrum of learning objectives related to nature of science, real-world relevance, and student interest. Specifically, even small museum displays can provide: 1) authentic specimens, which often are more diverse, of higher quality, and historically more significant than those in teaching collections; 2) specimens in context, with other specimens and/or geological or biological background available; 3) examples of how fossils connect to virtually all of Earth and life sciences (explaining why they have so frequently been at the center of traditional “natural history”); 4) cross-disciplinary experiences, connecting science, art, technology, and history within a social context; and 5) opportunities for students to learn about teaching. A survey of instructor-developed activities performed within a host of natural history museums—with particular attention devoted to the Museum of the Earth, an affiliate of Cornell University—suggests that natural history exhibitions, regardless of size and scope, can complement and strengthen formal education in an undergraduate setting.
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Mathiasson, Sven. "Museums of natural history—do we need their collections in the time of molecular biology?" European Review 1, no. 4 (October 1993): 319–28. http://dx.doi.org/10.1017/s1062798700000727.
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All over the world natural history museums act as storehouses. Billions of creatures are preserved. Most museum visitors never see these collections; they only meet the limited specimens presented in public exhibitions. Most people seem to know little about the value of these collections and how they are used. This article presents some aspects of natural history collections and their value in scientific and other contexts.
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Welch, Lonnie, Bruno Gaeta, Diane E. Kovats, and Milana Frenkel Morgenstern. "Art in Science Competition invites artworks to the annual exhibition on ISMB 2018 in Chicago." F1000Research 7 (March 19, 2018): 337. http://dx.doi.org/10.12688/f1000research.14242.1.
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The International Society of Computational Biology and Bioinformatics (ISCB) brings together scientists from a wide range of disciplines, including biology, medicine, computer science, mathematics and statistics. Practitioners in these fields are constantly dealing with information in visual form: from microscope images and photographs of gels to scatter plots, network graphs and phylogenetic trees, structural formulae and protein models to flow diagrams, visual aids for problem-solving are omnipresent. The ISCB Art in Science Competition 2017 at the ISCB/ECCB 2017 conference in Prague offered a way to show the beauty of science in art form. Past artworks in this annual exhibition at ISMB combined outstanding beauty and aesthetics with deep insight that perfectly validated the exhibit’s approach or went beyond the problem's solution. Others were surprising and inspiring through the transition from science to art, opening eyes and minds to reflect on the work being undertaken.
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Milkova, Liliana, Colette Crossman, Stephanie Wiles, and Taylor Allen. "Engagement and Skill Development in Biology Students through Analysis of Art." CBE—Life Sciences Education 12, no. 4 (December 2013): 687–700. http://dx.doi.org/10.1187/cbe.12-08-0114.
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An activity involving analysis of art in biology courses was designed with the goals of piquing undergraduates’ curiosity, broadening the ways in which college students meaningfully engage with course content and concepts, and developing aspects of students’ higher-level thinking skills, such as analysis, synthesis, and evaluation. To meet these learning outcomes, the activity had three key components: preparatory readings, firsthand visual analysis of art during a visit to an art museum, and communication of the analysis. Following a presentation on the methodology of visual analysis, students worked in small groups to examine through the disciplinary lens of biology a selection of approximately 12 original artworks related in some manner to love. The groups then developed and presented for class members a mini-exhibition of several pieces addressing one of two questions: 1) whether portrayals of love in art align with the growing understanding of the biology of love or 2) whether the bodily experience of love is universal or, alternatively, is culturally influenced, as is the experience of depression. Evaluation of quantitative and qualitative assessment data revealed that the assignment engaged students, supported development of higher-level thinking skills, and prompted meaningful engagement with course material.
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Kikut, Patrick. "University of Wyoming Outdoor Studio Art Class." UW National Parks Service Research Station Annual Reports 35 (January 1, 2012): 172–73. http://dx.doi.org/10.13001/uwnpsrc.2012.3961.
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Since its inception as a Summer Innovative Course in 2000, the Department of Art Summer Outdoor Studio class has been exceptionally grateful for the opportunity to stay and work at the AMK Research Station as part of the three week summer intensive. For art students, the dramatic setting and accommodation are inspiring and it is a highlight of the experience. From the AMK Ranch, students have full access to the Teton NP, Yellowstone NP as well as the National Wildlife Museum in Jackson. Art students also appreciate the interaction with students from different disciplines in the sciences and often those conversations have direct impact on the creative work studentâs produce during their stay. The AMK staff and in particular Professor Hank Harlow have offered us incredible hospitality and generosity. Professor Harlowâs knowledge of the geology, biology, and history of Teton National Park is invaluable to this course. Also, his enthusiasm for art and scientific research is infectious. Our stay at the AMK always culminates in an exhibition of student and faculty creative work, hosted by Hank Harlow, UW NPS Research Station Director.
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Kikut, Patrick. "University of Wyoming Outdoor Studio Art Class." UW National Parks Service Research Station Annual Reports 36 (January 1, 2013): 185–86. http://dx.doi.org/10.13001/uwnpsrc.2013.4023.
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Since its inception as a Summer Innovative Course in 2000, the Department of Art Summer Outdoor Studio class has been exceptionally grateful for the opportunity to stay and work at the AMK Research Station as part of the three week summer intensive course. For art students, the dramatic setting and accommodation are inspiring and it is a highlight of the experience. From the AMK Ranch, students have full access to Grand Teton NP, Yellowstone NP as well as the National Wildlife Museum in Jackson. Last year we scheduled a docent tour of the Wildlife museum and attended an informative lecture on Native Art in the National Parks at the Coulter Bay Visitors Center. Art students appreciate the interaction with student researchers from different science disciplines. Often those conversations have direct impact on the creative work students produce during their stay. The AMK staff and, in particular, Professor Hank Harlow have offered us incredible hospitality and generosity. Professor Harlowâs knowledge of the geology, biology, and history of Grand Teton National Park is invaluable to this course. Also, his enthusiasm for art and scientific research is infectious. Our stay at the AMK always culminates in an exhibition of student and faculty creative work, hosted by Hank Harlow, UW NPS Research Station Director.
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Zelli, Veronica, Chiara Compagnoni, Roberta Capelli, Alessandra Corrente, Jessica Cornice, Davide Vecchiotti, Monica Di Padova, Francesca Zazzeroni, Edoardo Alesse, and Alessandra Tessitore. "Emerging Role of isomiRs in Cancer: State of the Art and Recent Advances." Genes 12, no. 9 (September 20, 2021): 1447. http://dx.doi.org/10.3390/genes12091447.
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The advent of Next Generation Sequencing technologies brought with it the discovery of several microRNA (miRNA) variants of heterogeneous lengths and/or sequences. Initially ascribed to sequencing errors/artifacts, these isoforms, named isomiRs, are now considered non-canonical variants that originate from physiological processes affecting the canonical miRNA biogenesis. To date, accurate IsomiRs abundance, biological activity, and functions are not completely understood; however, the study of isomiR biology is an area of great interest due to their high frequency in the human miRNome, their putative functions in cooperating with the canonical miRNAs, and potential for exhibiting novel functional roles. The discovery of isomiRs highlighted the complexity of the small RNA transcriptional landscape in several diseases, including cancer. In this field, the study of isomiRs could provide further insights into the miRNA biology and its implication in oncogenesis, possibly providing putative new cancer diagnostic, prognostic, and predictive biomarkers as well. In this review, a comprehensive overview of the state of research on isomiRs in different cancer types, including the most common tumors such as breast cancer, colorectal cancer, melanoma, and prostate cancer, as well as in the less frequent tumors, as for example brain tumors and hematological malignancies, will be summarized and discussed.
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Catravas, P., K. Bubriski, M. D. Frey, M. E. Hagerman, B. Cohen, J. J. McGee, and S. S. Bowser. "NanoGrande: Electron Microscopy Education and Outreach Through a Collaboration of Scientists and Artists." Microscopy Today 21, no. 2 (March 2013): 42–46. http://dx.doi.org/10.1017/s1551929513000023.
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NanoGrande is the culmination of an art-science effort that brought undergraduate students and faculty from science, engineering, and the visual arts together with professional microscopists of the Capital District Microscopy and Microanalysis Society for electron microscopy education and outreach. Students from two independent undergraduate courses, an advanced photography course and a microscopy laboratory course, collaborated on the project. The participants represented a wide range of majors, including chemistry, biology, electrical engineering, computer engineering, mechanical engineering, bioengineering, psychology, neuroscience, sociology/social sciences, history, and the visual arts. Emphasis was placed on both the scientific and the artistic aspects of the imaging process. The creation of electron microscopy images that were at the same time scientifically meaningful and visually compelling depended critically on communication of insights and ideas between paired students. The collaboration generated an art-science exhibition, NanoGrande, that has been presented to over four-thousand K through 12 students.
Dissertations / Theses on the topic "Biology in art – Exhibitions"
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Li, Vivian Yan. "Art negotiations : Chinese international art exhibitions in the 1930s." Connect to resource, 2006. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1209143379.
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Forstrom, Melissa. "Interpretation and visitors in two Islamic art exhibitions." Thesis, University of Westminster, 2017. https://westminsterresearch.westminster.ac.uk/item/q3610/interpretation-and-visitors-in-two-islamic-art-exhibitions.
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In the past fifteen years there has been an increase is Islamic art exhibitions in the United States and Europe. Islamic art exhibition includes both reinstallations of permanent collections and temporary exhibitions. Often Islamic art exhibitions are equated with broader social and political contexts and infused with beliefs like Islamic art can “bridge divides” (Flood, 2007; Winegar, 2008) and “speak” for the humanity of Islam and Muslim peoples. This conflation or slippage is unique to the coverage of Islamic art exhibition and may, at least in part, be rooted in societal and religious ideologies like Orientalism and Islamophobia. Contemporaneously, there has been a steadily growing body of research on interpretative theory in new museology. However, no significant attempt has been made to amalgamate and apply the recent academic research in interpretative theory, including design interpretation, museum graphics and written interpretation to the analysis of Islamic art exhibitions. This thesis examines the interpretation, the process(es) of interpretation production and visitors responses in two Islamic art exhibitions in the United States: the New Galleries for the Art of the Arab Lands, Turkey, Iran, Central Asia and Later South Asia (New Galleries) at the Metropolitan Museum of Art in New York City and Pearls on a String: Artists, Poets, and Patrons at the Great Islamic Courts (Pearls) at the Walters Art Museum in Baltimore, Maryland. This thesis utilizes a triangulated methodological approach where the theoretical research in interpretative theory is applied to a case study of New Galleries interpretation. A critical reflection method is adopted to examine the author’s professional involvement in the Pearls exhibition. Summative visitor evaluations of both exhibitions were undertaken in order to better understand the meanings visitors’ make. Ultimately this thesis argues that a unified, process-based approach (Whitehead,2012) to interpretation with both design and written interpretation is important because of the association or slippage between Islamic art exhibitions and the broader social and political contexts.
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Hatcher, Lynn A. "Exhibition in the curriculum preparing students to complete the artistic cycle /." Atlanta, Ga. : Georgia State University, 2009. http://digitalarchive.gsu.edu/art_design_theses/49/.
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Thesis (M.A. Ed.)--Georgia State University, 2009.Title from title page (Digital Archive@GSU, viewed July 13, 2010) Melanie Davenport, committee chair; Kevin Hsieh, Melody Milbrandt, committee members. Includes bibliographical references (p. 45-46).
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Fuller, Michele. "Reviewing medium: paint as flesh." Thesis, Nelson Mandela Metropolitan University, 2011. http://hdl.handle.net/10948/d1008590.
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The research question explored in this exhibition and dissertation was to review the conventional notions of craftsmanship and the use of the specific medium of oil paint with reference to the art of Rembrandt and Damien Hirst. The subject matter is flesh. This study foregrounds the involvement and acknowledgment of the corporeal body, the hand of the artist, and of the organic material reality of our existence and the objects that surround us. The paintings reflect a series of interventions that resulted in abstracted images based on photographs of meat. Once a detail had emerged that emphasised the fleshiness of the selected image, it was printed by a professional printing company. These details were then translated into oil paintings. What is explored is the specific material qualities of the binding mediums traditionally associated with the use of oil painting to create expressive paintings. In the creation of the series of paintings, I prepared binding mediums consisting of wax, stand oil, damar varnish, zel-ken liquin and acrylic paste medium mixed with manufactured readymade oil paints. Consequently the choice and exploration of the material possibilities of a specific medium becomes content, using art to explore the idea of art. Paint becomes flesh-like, having congealed over the surface of the technical support. These paintings propose an internal and an external reality simultaneously referenced through the flesh-like surface, pierced and cut to reveal multiple layers created on the supporting structure (wood and canvas) with the use of a specific medium, oil paint, combined with a variety of other binding mediums. The edges of the unframed paintings play an important role assuming a specific physical presence, enabling them to define themselves as boundaries, both of the paintings particular field of forces and of the viewer’s aesthetic experience. They are no longer edges or frames in the conventional sense, but become other surfaces that are of equal significance in the reading or viewing of the work. Finally, the notion of an exhibition site being neutral or given is contested and, as a result, the contemporary artist needs to be mindful of site specificity in relation to the exhibition of the artworks. This series of paintings is intended to communicate as a body of work, reflecting an individual vision: a recurring, introspective process that is always unfolding. The body is constantly recreated by each individual viewer, and the context or site of display. The artist’s intention is to activate the viewer’s heightened awareness and response to the conscious arrangement of the collection of canvases, as each one represents a fragment or detail of a flayed carcass.
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Asquith, Wendy. "Haiti and art : curating the nation for international exhibitions." Thesis, University of Liverpool, 2015. http://livrepository.liverpool.ac.uk/2027099/.
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This dissertation presents a fresh approach to the study of Haitian art through research conducted in the emerging interdisciplinary field of exhibition history. In a deliberate attempt to move away from existing notions of Haitian art as a formal or aesthetic style of art practice associated with primitivism – based on mid-twentieth-century art historical narratives – I have opted to explore the display of works by Haitian artists outside of conventional museum and gallery settings. Taking a broader cultural studies approach centred on three case studies, I examine the exhibition of artworks within the transitory sites of national cultural display at two world’s fairs and an art biennial: the Haitian pavilion at the World’s Columbian Fair of 1893; Haiti’s “Little World’s Fair” officially titled Exposition Internationale du Bicentenaire de Port-au-Prince of 1949-50; and the Haitian pavilion at the Venice Biennale in 2011. These exhibitions overlap in the sense that they all claimed to present an official representation of the Haitian nation-state and therefore an authoritative vision of Haitian culture. However, when we peer behind this veneer of official national rhetoric it becomes clear that at each of these sites there were numerous images of Haitian nationhood, as well as notions of a national cultural essence referred to throughout as Haitian-ness, being produced by various agents. Across the course of this study these include: Haitian and foreign state representatives, curators, artists, academics and cultural professionals drawn from Haiti, Haiti’s diasporas and elsewhere, as well as NGOs and other international collaborators. In each case those curating Haiti’s national displays at these events balanced assertions of national sovereignty against international marketability: delicate negotiations that, I argue, can be discerned through analysis of the forms, aesthetics, subjects and contextualisation of the artworks displayed. Across the course of this dissertation therefore I chart a shift in the substance of these Haitian cultural displays, and the artworks presented within them, from a fin de siècle expression of Francophile neoclassicism, through an uneasy post-war coupling of folkloric exoticism and western modernity, to a fragmented picture of contemporary Haitian-ness articulated with reference to poverty and cultural otherness as well as cosmopolitanism. Through an examination of these case studies I have sought to explore how the visual arts intersected with expressions of Haiti’s postcolonial nationhood at exhibitions staged within events scattered across the Atlantic World. Further, by charting shifts in the production and projection of Haitian nationhood and art across these three sites I have attempted to grasp a fuller picture of how entangled ideas of nation and culture have had a bearing on exhibition histories, international institutional engagement with and the marketing and perception of the work of Haitian artists through the long twentieth century.
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Kamata, Mayumi. "Chinese art exhibitions in Japan, ca 1900 to 1931." Connect to resource, 2001. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1233600845.
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이윤영 and Yoon Yung Lee. "The Joseon Fine Art Exhibition under Japanese colonial rule." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2013. http://hdl.handle.net/10722/196493.
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At the turn of the twentieth century, as Japan expanded its territory by colonizing other Asian nations, the Japan-Korea Annexation Treaty was signed in 1910 and Korea lost its sovereignty. In political turmoil, the formation of national and cultural identity was constantly challenged, and the struggle was not argued in words alone. It was also embedded in various types of visual cultures, with narratives changing under the shifting political climate. This thesis focuses on paintings exhibited in the Joseon Mijeon (조선미술전람회 The Joseon Fine Art Exhibition) (1922-1944), which was supervised by the Japanese colonial government and dominated, in the beginning, by Japanese artists and jurors. By closely examining paintings of ‘local color (향토색)’ and ‘provincial color (지방색),’ which emphasized the essence of a “Korean” culture that accentuated its Otherness based on cultural stereotypes, the thesis explores how representations of Korea both differentiated it from Japan and characterized its relationship with the West.
In order to legitimize its colonial rule, politically driven ideologies of pan-Asianism (the pursuit of a unified Asia) and Japanese Orientalism (the imperialistic perception of the rest of Asia) were evident in the state-approved arts. The thesis explores how the tension of modern Japan as both promoting an egalitarian Asia and asserting its superiority within Asia was shown in the popular images that circulated in the form of postcards, manga, magazine illustrations, and more importantly in paintings. Moreover, this project examines both the artists who actively submitted works to the Joseon Mijeon and the group of artists who opposed the Joseon Mijeon and worked outside of the state-approved system to consider the complexity of responses by artists who sought to be both modern and Korean under Japanese colonial rule.published_or_final_version
Fine Arts
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Master of Philosophy
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Zhang, Linzhi. "Contemporary art and the exhibitionary system : China as a case study." Thesis, University of Cambridge, 2019. https://www.repository.cam.ac.uk/handle/1810/289428.
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The challenge of contemporary art, unlike in art history, has only recently been identified in sociology. Furthermore, an overly philosophical orientation, has undermined sociological expla- nations of artistic production. To remedy this, I propose a sociology of exhibitions. This entails a shift of focus from the elusive subject matter of art towards the tangible exhibition, and the construction of a new framework: the exhibitionary system, which also stands for the physical, institutional, and network environment of exhibitions. The central question in the sociology of exhibitions is to explain how the exhibitionary system shapes artistic production. The answer was sought by observing exhibition making in the Chinese exhibitionary system, from which quantitative data about 1,525 exhibitions, held in 43 exhibition spaces between 2010 and 2016, were also collected. I argue that the exhibition context shapes the physical basis of individual artworks and the construction of an artist's oeuvre. Through the contextualised creation of artworks for public viewing, artists aim to raise their visibility, which is crucial for artists' career prospects and symbolic consecration. An artist's visibility is, however, constrained by where she exhibits and with whom she co-exhibits. My method for measuring visibility reveals its binary nature, divided along a singular dimension and a collective dimension. Yet no binary division between the non- profit and for-profit is found within the exhibitionary system with regards to the selection of artists. Rather, both sectors contribute to a dual selection of marketable artists. A model of professional autonomy, which reconciles "art and the market" on the level of practices and awareness, prevails in the exhibitionary system. The sociology of exhibitions has solved persistent theoretical problems in the sociology of art. My empirical findings give rise to new research questions. Finally, I have offered a dialogue between studies of non-western and western cases within the same framework.
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Cook, Shashi Chailey. ""Redress : debates informing exhibitions and acquisitions in selected South African public art galleries (1990-1994)" /." Thesis, Rhodes University, 2009. http://eprints.ru.ac.za/1631/.
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Palmer, Daniel. "Exhibiting practice : retrospective survey exhibitions of conceptual art, 1989-2000." Thesis, Kingston University, 2007. http://eprints.kingston.ac.uk/20221/.
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In recent decades, the retrospective survey exhibition has become one of the primary sites for the presentation of art historical propositions. This thesis examines the contribution of four such exhibitions to a history of Conceptual art: L'Art Conceptuel, Une Perspective (Paris, 1989); Reconsidering the Object of Art, 1965-1975 (Los Angeles, 1995-96); Global Conceptualism: Points of Origin, 1950s-1980s (New York, 1999); and Live in Your Head: Concept and Experiment in Britain, 1965-1975 (London, 2000). These exhibitions could not claim access to an objective and empirically verifiable category of 'Conceptual art,' but played an active role in the construction of that category. Through individual case studies, this thesis analyses the processes through which the history of this relatively recent art 'movement' has been elaborated. It seeks to understand how works of art can be accommodated to a museum-based art history and how they can be called upon to support particular curatorial narratives. At the same time, it considers to what extent they may be able to resist the conditions of display imposed upon them and may, instead, continue to signify independently of curatorial intention. In so doing, this thesis re-emphasizes the notion of critical practice, as well as the performative and discursive dimensions of Conceptual art that have often been passed over in historical exhibitions. It rejects the "oppositional" model of radical artists pitted against conservative institutions and argues for an understanding of Conceptual art based upon the recognition that claims for its independence from the institutional art world were made within the available rhetorics of a discourse that sustains the self-identities of both artists and institutions. Ultimately, this thesis reflects the understanding that to continue to regard artist and institution, artwork and exhibition, in their isolated functions is to fail to attend to the ways in which art, as a social practice, may support broader ideological structures.
Books on the topic "Biology in art – Exhibitions"
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Potter, Carla. Carla Potter: Deviant biology. Anchorage, AK: Anchorage Museum of History and Art, 2003.
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Wight, Gail. Gail Wight "Spike" - Eduardo Kac "Genesis": Ars Electronica '99, Cyberarts '99, Prix Ars Electronica Exhibition : O.K Centrum für Gegenwartskunst Oberösterreich in Kooperation mit Ars Electronica Center und ORF Landesstudio Oberösterreich. Edited by Kac Eduardo, Ars Electronica Center Linz, O.K Centrum für Gegenwartskunst., ORF-Landesstudio Oberösterreich, Ars Electronica (1999 : Linz, Austria), and Prix Ars Electronica (1999 : Linz, Austria). Linz: O.K Centrum für Gegenwartskunst Oberösterreich, 1999.
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Steinkraus, Volker, Frauke Willems, and Cato Jans. Haut: Fotowettbewerb, Skin Biology Center, Hamburg 2002. Hamburg: Junius, 2002.
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Jeanette, Hoorn, and Ian Potter Museum of Art., eds. Reframing Darwin: Evolution and the arts in Australia. Carlton, Vic: Melbourne University Pub., 2009.
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Jeanette, Hoorn, and Ian Potter Museum of Art., eds. Reframing Darwin: Evolution and the arts in Australia. Carlton, Vic: Melbourne University Pub., 2009.
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Jeanette, Hoorn, and Ian Potter Museum of Art., eds. Reframing Darwin: Evolution and the arts in Australia. Carlton, Vic: Melbourne University Pub., 2009.
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Wien, Künstlerhaus, ed. Evo Evo: 200 Jahre Darwin und 150 Jahre Evolutionstheorie : zeitgenössische Beiträge aus Kunst und Wissenschaft. Wien: Künstlerhaus Wien, 2009.
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Zeitoun, Olivier. La fabrique du vivant. Orléans, France: Éditions HYX, 2019.
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Giorgio, Celli, Ascott Roy, Del Bufalo Dario, Eletti Valerio, and Biennale di Venezia (42nd : 1986)., eds. Arte e biologia. [Venezia]: Edizioni La Biennale, 1986.
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Elizabeth, Pearce, Pinker Steven 1954 author, Boyd Brian 1952 author, Miller Geoffrey 1965 author, and Changizi Mark A. author, eds. On the origin of art. Hobart, Tasmania: Museum of Old and New Art, 2016.
Find full textBook chapters on the topic "Biology in art – Exhibitions"
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Codell, Julie F. "International Exhibitions." In A Companion to British Art, 220–40. Oxford: Blackwell Publishing Ltd, 2013. http://dx.doi.org/10.1002/9781118313756.ch10.
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Tanga, Martina. "Extramural Exhibitions." In Arte Ambientale, Urban Space, and Participatory Art, 24–62. New York : Routledge, 2019. | Series: Routledge advances in art and visual studies: Routledge, 2019. http://dx.doi.org/10.4324/9781351187954-2.
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Zabunyan, Elvan. "Decolonizing contemporary art exhibitions." In Decolonizing Colonial Heritage, 152–72. London: Routledge, 2021. http://dx.doi.org/10.4324/9781003100102-11.
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Mader, Rachel. "Art for Society, Whitechapel Art Gallery, London, 1978." In "When exhibitions become politics", 95–110. Köln: Böhlau Verlag, 2016. http://dx.doi.org/10.7788/9783412504632-005.
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Brannigan, Erin. "Exhibitions and Exclusions." In Choreography, Visual Art and Experimental Composition 1950s–1970s, 220–25. London: Routledge, 2022. http://dx.doi.org/10.4324/9781003253556-8.
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Frey, Bruno S. "Superstar Museums and Special Exhibitions." In Economics of Art and Culture, 89–95. Cham: Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-030-15748-7_11.
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Grabar, Oleg. "On Catalogs, Exhibitions and Complete Works*." In Islamic Art and Beyond, 311–20. London: Routledge, 2024. http://dx.doi.org/10.4324/9781003554424-24.
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Wynne-Jones, Victoria. "Introduction: Exhibitions and the Choreographic Turn." In Choreographing Intersubjectivity in Performance Art, 1–42. Cham: Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-40585-4_1.
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Moscoso, Philip G., and Alejandro Lago. "The ‘la Caixa’ Foundation: Art exhibitions." In When Business Meets Culture, 182–90. London: Palgrave Macmillan UK, 2011. http://dx.doi.org/10.1057/9780230295117_13.
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Vives, Anna. "Planells’ Participation in Two Major Exhibitions." In Àngel Planells’ Art and the Surrealist Canon, 60–77. New York : Routledge, 2020. | Series: Studies in surrealism: Routledge, 2019. http://dx.doi.org/10.4324/9780429439605-4.
Full textConference papers on the topic "Biology in art – Exhibitions"
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Aydoğan, Derya. "Art Exhibitions During the Pandemic." In COMMUNICATION AND TECHNOLOGY CONGRESS. ISTANBUL AYDIN UNIVERSITY, 2021. http://dx.doi.org/10.17932/ctcspc.21/ctc21.005.
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Along with other sectors and fields, art environments were also faced shutdowns during the COVID-19 Pandemic, which was caused by a type of coronavirus that affected the whole world and resulted in a new period during which people had to work from home and adjust their lives accordingly. In this period, many of the exhibitions were continued online. The prolongation and uncertainty of the period made it necessary to present online exhibitions with more realistic solutions. And this created a new trend towards virtual reality applications that offer closest experience to reality. Virtual reality exhibitions became a notable alternative to online exhibitions in a lot of respects such as allowing typical curatorial arrangements as well as adding digital methods, and making the audience feel like they are actually visiting an exhibition. However, it obviously causes overcrowding and loss of aura as a result of a phenomenon based on excessive display in structures open to the participation of everyone. In order to preserve the aura of art and exhibition and to maintain its compatibility with new technologies, it’s necessary to introduce new curatorial understandings, new aesthetic perceptions, and new quality elements. In this study, the existence of art exhibitions in online environments, especially during the pandemic, will be evaluated within the context of qualitative descriptive analysis.
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Pittarello, Fabio. "Designing AR enhanced art exhibitions." In the 13th Biannual Conference of the Italian SIGCHI Chapter. New York, New York, USA: ACM Press, 2019. http://dx.doi.org/10.1145/3351995.3352052.
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Prince, P. "A brief history of SIGGRAPH art exhibitions." In SIGGRAPH 89 Art show catalog - Computer art in context. New York, New York, USA: ACM Press, 1989. http://dx.doi.org/10.1145/73877.73878.
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Coulton, Paul, Emma Murphy, Klen Čopič Pucihar, Richard Smith, and Mark Lochrie. "User curated augmented reality art exhibitions." In NordiCHI '14: The 8th Nordic Conference on Human-Computer Interaction. New York, NY, USA: ACM, 2014. http://dx.doi.org/10.1145/2639189.2670190.
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Wee, C. J. "Coordinating Contemporary Asia in Art Exhibitions." In International Conference on Aesthetics and the Sciences of Art. Bandung, Indonesia: Bandung Institute of Technology, 2020. http://dx.doi.org/10.51555/338678.
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Song, Suwan. "Discussions about Web Celebrities Frequenting Art Exhibitions." In 2022 3rd International Conference on Language, Art and Cultural Exchange（ICLACE 2022). Paris, France: Atlantis Press, 2022. http://dx.doi.org/10.2991/assehr.k.220706.006.
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Morozova, Anna. "SPANISH ART EXHIBITIONS IN RUSSIA: THE SOCIOCULTURAL CONTEXT." In 6th SGEM International Multidisciplinary Scientific Conferences on SOCIAL SCIENCES and ARTS Proceedings. STEF92 Technology, 2019. http://dx.doi.org/10.5593/sgemsocial2019v/6.1/s14.030.
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Hayashi, Masaki, Steven Bachelder, and Masayuki Nakajima. "Automatic Generation of Art Exhibitions from the Internet Resources." In 2020 IEEE 9th Global Conference on Consumer Electronics (GCCE). IEEE, 2020. http://dx.doi.org/10.1109/gcce50665.2020.9291722.
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Segers, D., N. Caeyers, and V. De Pourcq. "POS0148-PARE LIVING WITH RA IS AN ART – AWARENESS CAMPAIGN WITH ART EXHIBITIONS." In EULAR 2024 European Congress of Rheumatology, 12-15 June. Vienna, Austria. BMJ Publishing Group Ltd and European League Against Rheumatism, 2024. http://dx.doi.org/10.1136/annrheumdis-2024-eular.3023.
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He, Meixue, and Ao Jiang. "Thinking of Aesthetic Empathy in Immersive Exhibitions." In 13th International Conference on Applied Human Factors and Ergonomics (AHFE 2022). AHFE International, 2022. http://dx.doi.org/10.54941/ahfe1002084.
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Based on the phenomenon of immersive exhibitions becoming a boom in art experiences, the authors investigate the reasons for this phenomenon from the intersection of the two fields of cognition and art - “aesthetic empathy”, and consider the audience’s “aesthetic empathy” as one of the key factors contributing to the phenomenon. In addition, the authors believe that the communication effect of immersive exhibitions is ultimately completed by the joint construction of technical equipment and the personal characteristics of the audience. Then, the authors propose some conditions and methods for building a positive art experience in immersive exhibitions. The overall point refers to that the advantages of immersive technologies include sensory stimulation and visual image construction, which will benefit the audience in immersing themselves in the symbolic system constructed by the work, which is the driving factor in the early stage of empathy. Then, this will make the audience think and feel the meaning speculation and emotional understanding brought by this symbol system, and complete the empathy experience.
Reports on the topic "Biology in art – Exhibitions"
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Vena, Anne. Cultural Center Annual Report 2012. Inter-American Development Bank, March 2013. http://dx.doi.org/10.18235/0006015.
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The Cultural Development Program promotes cultural development in Latin America and the Caribbean by financing innovative projects for training to restore artistic traditions, preserve cultural heritage, and educate youth. In 2012, we supported civil society organizations that submitted training programs related to new technologies, creative industries, tourism and natural heritage, among others. Concerts, lectures, films, art exhibitions held at headquarters representing the Bank's member countries cultural heritage
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Butyrina, Maria, and Valentina Ryvlina. MEDIATIZATION OF ART: VIRTUAL MUSEUM AS MASS MEDIA. Ivan Franko National University of Lviv, February 2021. http://dx.doi.org/10.30970/vjo.2021.49.11075.
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The research is devoted to the study of the phenomenon of mediatization of art on the example of virtual museums. Main objective of the study is to give communication characteristics of the mediatized socio-cultural institutions. The subject of the research is forms, directions and communication features of virtual museums. Methodology. In the process of study, the method of communication analysis, which allowed to identify and characterize the main factors of the museum’s functioning as a communication system, was used. Among them, special emphasis is put on receptive and metalinguistic functions. Results / findings and conclusions. The need to be competitive in the information space determines the gradual transformation of socio-cultural institutions into mass media, which is reflected in the content and forms of dialogue with recipients. When cultural institutions begin to function as media, they take on the features of media structures that create a communication environment localized by the functions of communicators and audience expectations. Museums function in such a way that along with the real art space they form a virtual space, which puts the recipients into the reality of the exhibitions based on the principle of immersion. Mediaization of art on the example of virtual museum institutions allows us to talk about: expanding of the perceptual capabilities of the audience; improvement of the exposition function of mediatized museums with the help of Internet technologies; interactivity of museum expositions; providing broad contextual background knowledge necessary for a deep understanding of the content of works of art; the possibility to have a delayed viewing of works of art; absence of thematic, time and space restrictions; possibility of communication between visitors; a huge target audience. Significance. The study of the mediatized forms of communication between museums and visitors as well as the directions of their transformation into media are certainly of interest to the scientific field of “Social Communications”.
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Moreno Mejía, Luis Alberto, and Iván Duque Márquez. Contemporary Uruguayan Artists: An Uruguayan Presence in the About Change Exhibition. Inter-American Development Bank, February 2012. http://dx.doi.org/10.18235/0006209.
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Contemporary Uruguayan Artists is part of About Change: Art from Latin America and the Caribbean, a project of the World Bank Art Program in cooperation with the Cultural Center of the Inter-American Development Bank and AMA | Art Museum of the Americas at the Organization of American States. The initiative comprises a series of exhibitions of art from Latin America and the Caribbean being offered in various venues in Washington during 2011-12. The exhibition is presented In honor of Uruguay and the City of Montevideo, site of the 53rd Annual Meeting of the Board of Governors of the IDB. The works selected for the exhibition offer a panorama of contemporary Uruguayan creativity. These pieces revisit history, explore memory, examine changes that have transformed culture and the environment, and rethink traditions. It includes painting, print, sculpture, mixed media, and photography, by 13 artists: Santiago Aldabalde, Ana Campanella, Muriel Cardoso, Gerardo Carella, Federico Meneses, Ernesto Rizzo, Jacqueline Lacasa, Gabriel Lema, Daniel Machado, Cecilia Mattos, Diego Velazco, Santiago Velazco, and Diego Villalba.
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Sequeira, Dora María, Ileana Alvarado V., and Félix Angel. Young Costa Rican Artists: Nine Proposals. Inter-American Development Bank, August 2007. http://dx.doi.org/10.18235/0006438.
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Nine artists, all living in Costa Rica, were selected out of thirty-four who responded to an open call to present portfolios. The selection criteria is to be forty years of age or younger, have had at least one individual show, and have participated in a minimum of three group exhibitions. The exhibition has been organized by the IDB Cultural Center in collaboration with the Foundation of the Central Bank Museums of Costa Rica. Works include installations and interactive digital art, digital graphics, conventional photography, ceramics, painting, wire drawing and design objects manufactured with recycled materials. Artists include Víctor Agüero Gutiérrez, Jorge Albán Dobles, Tamara Ávalos León, Paco Cervilla Cartín, Carolina Guillermet Dejuk, José Alberto Hernández Campos, Sebastián Mello Salaberry, Francisco Munguía Villalta, and Guillermo Vargas Jiménez (a.k.a. Habacuc). The exhibit was part of the IDB Cultural Center¿s 15th anniversary celebration (1992-2007).
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Bloch, Guy, Gene E. Robinson, and Mark Band. Functional genomics of reproduction and division of labor in a key non-Apis pollinator. United States Department of Agriculture, January 2011. http://dx.doi.org/10.32747/2011.7699867.bard.
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i. List the original objectives, as defined in the approved proposal, and any revisions made at the beginning or during the course of project. Our objectives were: 1) develop state-of-the-art functional genomics tools for B. terrestris. These resources will be then used to: 2) characterize genes and molecular pathways that are associated with reproduction, 3) characterize genes and molecular pathways associated with specialization in foraging or nursing activities, and 4) determine the extent to which juvenile hormone (JH) is involved in the regulation of reproduction and division of labor. 5) Use RNA interference to down regulate genes associated with reproductive physiology, division of labor, or both. A decrease in the cost of RNA sequencing enabled us to further use the BARD support to extend our research to three additional related projects: A) The regulation of body size which is crucial for understanding both reproduction (castedetermination) and (size based) division of labor in bumblebees. B) Analyze RNA editing in our RNA sequencing data which improves the molecular understanding of the systems we study. C) The influence of JH on the fat body in addition to the brain on which we focused in our proposal. The fat body is a key tissue regulating insect reproduction and health. ii. Background to the topic. Bees are by far the most important pollinators in agricultural and natural ecosystems. The recent collapse of honey bee populations, together with declines in wild bee (including bumble bee) populations, puts their vital pollination services under severe threat. A promising strategy for circumventing this risk is the domestication and mass-rearing of non-Apis bees. This approach has been successfully implemented for several bumble bees including Bombusterrestris in Israel, and B. impatiens in the US, which are mass-reared in captivity. In spite of their critical economic and environmental value, little is known about the physiology and molecular biology of bumble bees. In this collaborative project we developed functional genomics tools for the bumble bee B. terrestris and use these tools for a first thorough study on the physiology and molecular biology of reproduction, dominance, and division of labor in a bumble bee. iii. Major conclusions, solutions. The valuable molecular data of this project together with the functional tools and molecular information generated in this BARD funded project significantly advanced the understanding of bumblebee biology which is essential for maintaining their vital pollination services for US and Israel agriculture.
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Lers, Amnon, Majid R. Foolad, and Haya Friedman. genetic basis for postharvest chilling tolerance in tomato fruit. United States Department of Agriculture, January 2014. http://dx.doi.org/10.32747/2014.7600014.bard.
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ABSTRACT Postharvest losses of fresh produce are estimated globally to be around 30%. Reducing these losses is considered a major solution to ensure global food security. Storage at low temperatures is an efficient practice to prolong postharvest performance of crops with minimal negative impact on produce quality or human health and the environment. However, many fresh produce commodities are susceptible to chilling temperatures, and the application of cold storage is limited as it would cause physiological chilling injury (CI) leading to reduced produce quality. Further, the primary CI becomes a preferred site for pathogens leading to decay and massive produce losses. Thus, chilling sensitive crops should be stored at higher minimal temperatures, which curtails their marketing life and in some cases necessitates the use of other storage strategies. Development of new knowledge about the biological basis for chilling tolerance in fruits and vegetables should allow development of both new varieties more tolerant to cold, and more efficient postharvest storage treatments and storage conditions. In order to improve the agricultural performance of modern crop varieties, including tomato, there is great potential in introgression of marker-defined genomic regions from wild species onto the background of elite breeding lines. To exploit this potential for improving tomato fruit chilling tolerance during postharvest storage, we have used in this research a recombinant inbred line (RIL) population derived from a cross between the red-fruited tomato wild species SolanumpimpinellifoliumL. accession LA2093 and an advanced Solanum lycopersicumL. tomato breeding line NCEBR-1, developed in the laboratory of the US co-PI. The original specific objectives were: 1) Screening of RIL population resulting from the cross NCEBR1 X LA2093 for fruit chilling response during postharvest storage and estimation of its heritability; 2) Perform a transcriptopmic and bioinformatics analysis for the two parental lines following exposure to chilling storage. During the course of the project, we learned that we could measure greater differences in chilling responses among specific RILs compared to that observed between the two parental lines, and thus we decided not to perform transcriptomic analysis and instead invest our efforts more on characterization of the RILs. Performing the transcriptomic analysis for several RILs, which significantly differ in their chilling tolerance/sensitivity, at a later stage could result with more significant insights. The RIL population, (172 lines), was used in field experiment in which fruits were examined for chilling sensitivity by determining CI severity. Following the field experiments, including 4 harvest days and CI measurements, two extreme tails of the response distribution, each consisting of 11 RILs exhibiting either high sensitivity or tolerance to chilling stress, were identified and were further examined for chilling response in greenhouse experiments. Across the RILs, we found significant (P < 0.01) correlation between field and greenhouse grown plants in fruit CI. Two groups of 5 RILs, whose fruits exhibited reproducible chilling tolerant/sensitive phenotypes in both field and greenhouse experiments, were selected for further analyses. Numerous genetic, physiological, biochemical and molecular variations were investigated in response to postharvest chilling stress in the selected RILs. We confirmed the differential response of the parental lines of the RIL population to chilling stress, and examined the extent of variation in the RIL population in response to chilling treatment. We determined parameters which would be useful for further characterization of chilling response in the RIL population. These included chlorophyll fluorescence Fv/Fm, water loss, total non-enzymatic potential of antioxidant activity, ascorbate and proline content, and expression of LeCBF1 gene, known to be associated with cold acclimation. These parameters could be used in continuation studies for the identification and genetic mapping of loci contributing to chilling tolerance in this population, and identifying genetic markers associated with chilling tolerance in tomato. Once genetic markers associated with chilling tolerance are identified, the trait could be transferred to different genetic background via marker-assisted selection (MAS) and breeding. The collaborative research established in this program has resulted in new information and insights in this area of research and the collaboration will be continued to obtain further insights into the genetic, molecular biology and physiology of postharvest chilling tolerance in tomato fruit. The US Co-PI, developed the RIL population that was used for screening and measurement of the relevant chilling stress responses and conducted statistical analyses of the data. Because we were not able to grow the RIL population under field conditions in two successive generations, we could not estimate heritability of response to chilling temperatures. However, we plan to continue the research, grow the RIL progeny in the field again, and determine heritability of chilling tolerance in a near future. The IS and US investigators interacted regularly and plan to continue and expand on this study, since combing the expertise of the Co-PI in genetics and breeding with that of the PI in postharvest physiology and molecular biology will have great impact on this line of research, given the significant findings of this one-year feasibility project.
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Burns, Malcom, and Gavin Nixon. Literature review on analytical methods for the detection of precision bred products. Food Standards Agency, September 2023. http://dx.doi.org/10.46756/sci.fsa.ney927.
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The Genetic Technology (Precision Breeding) Act (England) aims to develop a science-based process for the regulation and authorisation of precision bred organisms (PBOs). PBOs are created by genetic technologies but exhibit changes which could have occurred through traditional processes. This current review, commissioned by the Food Standards Agency (FSA), aims to clarify existing terminologies, explore viable methods for the detection, identification, and quantification of products of precision breeding techniques, address and identify potential solutions to the analytical challenges presented, and provide recommendations for working towards an infrastructure to support detection of precision bred products in the future. The review includes a summary of the terminology in relation to analytical approaches for detection of precision bred products. A harmonised set of terminology contributes towards promoting further understanding of the common terms used in genome editing. A review of the current state of the art of potential methods for the detection, identification and quantification of precision bred products in the UK, has been provided. Parallels are drawn with the evolution of synergistic analytical approaches for the detection of Genetically Modified Organisms (GMOs), where molecular biology techniques are used to detect DNA sequence changes in an organism’s genome. The scope and limitations of targeted and untargeted methods are summarised. Current scientific opinion supports that modern molecular biology techniques (i.e., quantitative real-time Polymerase Chain Reaction (qPCR), digital PCR (dPCR) and Next Generation Sequencing (NGS)) have the technical capability to detect small alterations in an organism’s genome, given specific prerequisites of a priori information on the DNA sequence of interest and of the associated flanking regions. These techniques also provide the best infra-structure for developing potential approaches for detection of PBOs. Should sufficient information be known regarding a sequence alteration and confidence can be attributed to this being specific to a PBO line, then detection, identification and quantification can potentially be achieved. Genome editing and new mutagenesis techniques are umbrella terms, incorporating a plethora of approaches with diverse modes of action and resultant mutational changes. Generalisations regarding techniques and methods for detection for all PBO products are not appropriate, and each genome edited product may have to be assessed on a case-by-case basis. The application of modern molecular biology techniques, in isolation and by targeting just a single alteration, are unlikely to provide unequivocal evidence to the source of that variation, be that as a result of precision breeding or as a result of traditional processes. In specific instances, detection and identification may be technically possible, if enough additional information is available in order to prove that a DNA sequence or sequences are unique to a specific genome edited line (e.g., following certain types of Site-Directed Nucelase-3 (SDN-3) based approaches). The scope, gaps, and limitations associated with traceability of PBO products were examined, to identify current and future challenges. Alongside these, recommendations were made to provide the infrastructure for working towards a toolkit for the design, development and implementation of analytical methods for detection of PBO products. Recognition is given that fully effective methods for PBO detection have yet to be realised, so these recommendations have been made as a tool for progressing the current state-of-the-art for research into such methods. Recommendations for the following five main challenges were identified. Firstly, PBOs submitted for authorisation should be assessed on a case-by-case basis in terms of the extent, type and number of genetic changes, to make an informed decision on the likelihood of a molecular biology method being developed for unequivocal identification of that specific PBO. The second recommendation is that a specialist review be conducted, potentially informed by UK and EU governmental departments, to monitor those PBOs destined for the authorisation process, and actively assess the extent of the genetic variability and mutations, to make an informed decision on the type and complexity of detection methods that need to be developed. This could be further informed as part of the authorisation process and augmented via a publicly available register or database. Thirdly, further specialist research and development, allied with laboratory-based evidence, is required to evaluate the potential of using a weight of evidence approach for the design and development of detection methods for PBOs. This concept centres on using other indicators, aside from the single mutation of interest, to increase the likelihood of providing a unique signature or footprint. This includes consideration of the genetic background, flanking regions, off-target mutations, potential CRISPR/Cas activity, feasibility of heritable epigenetic and epitranscriptomic changes, as well as supplementary material from supplier, origin, pedigree and other documentation. Fourthly, additional work is recommended, evaluating the extent/type/nature of the genetic changes, and assessing the feasibility of applying threshold limits associated with these genetic changes to make any distinction on how they may have occurred. Such a probabilistic approach, supported with bioinformatics, to determine the likelihood of particular changes occurring through genome editing or traditional processes, could facilitate rapid classification and pragmatic labelling of products and organisms containing specific mutations more readily. Finally, several scientific publications on detection of genome edited products have been based on theoretical principles. It is recommended to further qualify these using evidenced based practical experimental work in the laboratory environment. Additional challenges and recommendations regarding the design, development and implementation of potential detection methods were also identified. Modern molecular biology-based techniques, inclusive of qPCR, dPCR, and NGS, in combination with appropriate bioinformatics pipelines, continue to offer the best analytical potential for developing methods for detecting PBOs. dPCR and NGS may offer the best technical potential, but qPCR remains the most practicable option as it is embedded in most analytical laboratories. Traditional screening approaches, similar to those for conventional transgenic GMOs, cannot easily be used for PBOs due to the deficit in common control elements incorporated into the host genome. However, some limited screening may be appropriate for PBOs as part of a triage system, should a priori information be known regarding the sequences of interest. The current deficit of suitable methods to detect and identify PBOs precludes accurate PBO quantification. Development of suitable reference materials to aid in the traceability of PBOs remains an issue, particularly for those PBOs which house on- and off-target mutations which can segregate. Off-target mutations may provide an additional tool to augment methods for detection, but unless these exhibit complete genetic linkage to the sequence of interest, these can also segregate out in resulting generations. Further research should be conducted regarding the likelihood of multiple mutations segregating out in a PBO, to help inform the development of appropriate PBO reference materials, as well as the potential of using off-target mutations as an additional tool for PBO traceability. Whilst recognising the technical challenges of developing and maintaining pan-genomic databases, this report recommends that the UK continues to consider development of such a resource, either as a UK centric version, or ideally through engagement in parallel EU and international activities to better achieve harmonisation and shared responsibilities. Such databases would be an invaluable resource in the design of reliable detection methods, as well as for confirming that a mutation is as a result of genome editing. PBOs and their products show great potential within the agri-food sector, necessitating a science-based analytical framework to support UK legislation, business and consumers. Differentiating between PBOs generated through genome editing compared to organisms which exhibit the same mutational change through traditional processes remains analytically challenging, but a broad set of diagnostic technologies (e.g., qPCR, NGS, dPCR) coupled with pan-genomic databases and bioinformatics approaches may help contribute to filling this analytical gap, and support the safety, transparency, proportionality, traceability and consumer confidence associated with the UK food chain.
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Dickman, Martin B., and Oded Yarden. Genetic and chemical intervention in ROS signaling pathways affecting development and pathogenicity of Sclerotinia sclerotiorum. United States Department of Agriculture, July 2015. http://dx.doi.org/10.32747/2015.7699866.bard.
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Abstract: The long-term goals of our research are to understand the regulation of sclerotial development and pathogenicity in S. sclerotior11111. The focus in this project was on the elucidation of the signaling events and environmental cues involved in the regulation of these processes, utilizing and continuously developing tools our research groups have established and/or adapted for analysis of S. sclerotiorum, Our stated objectives: To take advantage of the recent conceptual (ROS/PPs signaling) and technical (amenability of S. sclerotiorumto manipulations coupled with chemical genomics and next generation sequencing) developments to address and extend our fundamental and potentially applicable knowledge of the following questions concerning the involvement of REDOX signaling and protein dephosphorylation in the regulation of hyphal/sclerotial development and pathogenicity of S. sclerotiorum: (i) How do defects in genes involved in ROS signaling affect S. sclerotiorumdevelopment and pathogenicity? (ii) In what manner do phosphotyrosinephosphatases affect S. sclerotiorumdevelopment and pathogenicity and how are they linked with ROS and other signaling pathways? And (iii) What is the nature of activity of newly identified compounds that affect S. sclerotiori,111 growth? What are the fungal targets and do they interfere with ROS signaling? We have met a significant portion of the specific goals set in our research project. Much of our work has been published. Briefly. we can summarize that: (a) Silencing of SsNox1(NADPHoxidase) expression indicated a central role for this enzyme in both virulence and pathogenic development, while inactivation of the SsNox2 gene resulted in limited sclerotial development, but the organism remained fully pathogenic. (b) A catalase gene (Scatl), whose expression was highly induced during host infection is involved in hyphal growth, branching, sclerotia formation and infection. (c) Protein tyrosine phosphatase l (ptpl) is required for sclerotial development and is involved in fungal infection. (d) Deletion of a superoxidedismutase gene (Sssodl) significantly reduced in virulence on both tomato and tobacco plants yet pathogenicity was mostly restored following supplementation with oxalate. (e) We have participated in comparative genome sequence analysis of S. sclerotiorumand B. cinerea. (f) S. sclerotiorumexhibits a potential switch between biotrophic and necrotrophic lifestyles (g) During plant microbe interactions cell death can occur in both resistant and susceptible events. Non pathogenic fungal mutants S. sclerotior111n also cause a cell death but with opposing results. We investigated PCD in more detail and showed that, although PCD occurs in both circumstances they exhibit distinctly different features. The mutants trigger a restricted cell death phenotype in the host that unexpectedly exhibits markers associated with the plant hypersensitive (resistant) response. Using electron and fluorescence microscopy, chemical effectors and reverse genetics, we have established that this restricted cell death is autophagic. Inhibition of autophagy rescued the non-pathogenic mutant phenotype. These findings indicate that autophagy is a defense response in this interaction Thus the control of cell death, dictated by the plant (autophagy) סr the fungus (apoptosis), is decisive to the outcome of certain plant microbe interactions. In addition to the time and efforts invested towards reaching the specific goals mentioned, both Pls have initiated utilizing (as stated as an objective in our proposal) state of the art RNA-seq tools in order to harness this technology for the study of S. sclerotiorum. The Pls have met twice (in Israel and in the US), in order to discuss .נחd coordinate the research efforts. This included a working visit at the US Pls laboratory for performing RNA-seq experiments and data analysis as well as working on a joint publication (now published). The work we have performed expands our understanding of the fundamental biology (developmental and pathogenic) of S. sclerotioז111וז. Furthermore, based on our results we have now reached the conclusion that this fungus is not a bona fide necrotroph, but can also display a biotrophic lifestyle at the early phases of infection. The data obtained can eventually serve .נ basis of rational intervention with the disease cycle of this pathogen.
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The IDB Art Collection in Miami. Inter-American Development Bank, March 2008. http://dx.doi.org/10.18235/0008063.
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Presenta two exhibitions featuring selections from the Art Collection of the Inter-American Development Bank was open in Miami at the end of March in anticipation of the IDB Annual Meeting of Governors. IDB owns nearly 1,700 works of art representing all 47 member countries of the Bank, and this collection adorns the public areas and executive offices at the Bank¿s headquarters in Washington, DC.
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3rd Inter-American Biennial of Video Art. Inter-American Development Bank, December 2006. http://dx.doi.org/10.18235/0006410.
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The call for the Third Biennial included larger cash awards, an electronic registration system in four languages and, for the first time, the inclusion of Puerto Rico as a good will gesture to the United States, and artists from the Commonwealth who are indeed members of the Latin American and Caribbean family. Artist nationals from 20 countries, including Puerto Rico, submitted a total of 211 videos. The international jury with Irma Arestizábal, Cultural Secretary of the Istituto Italo-Latinoamericano in Rome and Curator of the Latin American Pavilion for the Venice Biennial, and José Roca, Chief of Temporary Exhibitions at the Museum of Colombia¿s Central Bank, Luis Angel Arango Library, selected 19 videos from 9 countries for the 2006-07 edition of the Biennial.