Avoiding Premature Oxidation During the Binding of Cu(II) to a Dithiolate Site in BsSCO. A Rapid Freeze-Quench EPR Study

The Bacillus subtilis version of SCO1 (BsSCO) is required for assembly of CuA in cytochrome c oxidase and may function in thiol-disulfide exchange and/or copper delivery. BsSCO binds Cu(II) with ligation by two cysteines, one histidine and one water. However, copper is a catalyst of cysteine oxidation and BsSCO must avoid this reaction to remain functional. Time resolved, rapid freeze-quench (RFQ) electron paramagnetic resonance of apo-BsSCO reacting with Cu(II) reveals an initial Cu(II) species with two equatorially coordinated nitrogen atoms, but no sulfur. We propose that BsSCO evolves from this initial sulfur free coordination of Cu(II) to the final dithiolate species via a change in conformation, and that the initial binding by nitrogen is a means for BsSCO to avoid premature thiol oxidation

The cinema of Michael Bay:an aesthetic of excess

The hyper-kinetic action films of Michael Bay have come to exemplify the commercial, technical and aesthetic transformations of contemporary blockbuster cinema during a period in which the dynamic, disorienting effects of media convergence are reconfiguring viewing practices and remodelling cinematic institutions. However, despite their commercial success and cultural visibility, these films remain more or less absent from academic criticism of late twentieth and early twenty-first century global cinema, except in dismissive asides as examples of the aesthetic and intellectual limitations of contemporary, post-classical Hollywood cinema. Through a close analysis of the $130m film Bad Boys II (2003), described in Rolling Stone as ‘the cinematic equivalent of toxic waste’, this article examines the key stylistic and thematic features of Bay’s cinema, arguing that the director’s films are marked by a distinctive ‘aesthetics of excess’. Discussing such features as narrative structure and spatial organization, the highly affective representation of movement and intense colour, and an insistently ironic self-reflexivity, I argue that Bad Boys II is a systematic exploration of inter-related modes of excess in terms of circumstances of production, style, narrative economy, and thematic focus. Drawing on Paul Willemen’s analysis of the ‘Sirkian system’ in Douglas Sirk Hollywood melodramas, this article explores the components of the ‘Bayian system’

Living Spaces: Some Australian Houses of Childhood

In an age of increasing mobility, the house signifies stability. Its living spaces may seem a sanctuary, or a prison, or both at different times. Representing an achievement of men and women as makers, houses stand somewhere between the tent and the castle in the great chain of dwelling places, with aspirations generally expressed towards the latter. For at least a century, Australians have been majority suburban dwellers. Australian houses have generally been stand-alone structures, and the spaces within and between them are constituent elements in the identity of their inhabitants. There is an economics and a politics, but also a poetics of space which can be applied to housing.1 Creative writers often negotiate the limits of the various spaces they have inhabited, especially when they attempt to re-forge the houses of their childhood

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