From C/Mrkos to P/Halley: 30 years of cometary spectroscopy

An Atlas of Cometary Spectra was compiled, as a sequel to the well-known Atlas published by Swings and Haser in 1956. The new atlas comprises some 400 reproductions of cometary spectra secured in the world's largest observatories during the three decades or so from the passage of comet Mrkos 1957 V, for which the very first high-dispersion spectrum was obtained, to the return of Halley's comet. The illustrations refer to 40 different comet apparitions; they are grouped into a set of 186 loose 11 x 14 in. plates, while the texts, comments, and relevant data are given in a separate booklet. The main purpose of this atlas is to show in detail the tremendous progress which was achieved in cometary spectroscopy during the period covered, essentially thanks to the use of high-resolution coude spectrographs and large telescopes, the considerable extension of the observed wavelength range, and the advent of electronic detectors. It is divided into two parts. Part 1, which contains about two-thirds of the selected material, presents photographic spectra, while electronically recorded spectra covering the vacuum ultraviolet, through the optical, infrared, and radio regions appear in Part 2

Actively transcribing RNA polymerase II concentrates on spliced leader genes in the nucleus of Trypanosoma cruzi

RNA polymerase II of trypanosomes, early diverging eukaryotes, transcribes long polycistronic messages, which are not capped but are processed by trans-splicing and polyadenylation to form mature mRNAs. the same RNA polymerase II also transcribes the genes coding for the spliced leader RNA, which are capped, exported to the cytoplasm, processed, and reimported into the nucleus before they are used as splicing donors to form mRNAs from pre-mRNA polycistronic transcripts. As pre-mRNA and spliced leader transcription events appear to be uncoupled, we studied how the RNA polymerase II is distributed in the nucleus of Trypanosoma cruzi. Using specific antibodies to the T. cruzi RNA polymerase II unique carboxy-terminal domain, we demonstrated that large amounts of the enzyme are found concentrated in a domain close to the parasite nucleolus and containing the spliced leader genes. the remaining RNA polymerase II is diffusely distributed in the nucleoplasm. the spliced leader-associated RNA polymerase II localization is dependent on the cell transcriptional state. It disperses when transcription is blocked by alpha-amanitin and actinomycin D. Tubulin genes are excluded from this domain, suggesting that it may exclusively be the transcriptional site of spliced leader genes. Trypomastigote forms of the parasite, which have reduced spliced leader transcription, show less RNA polymerase II labeling, and the spliced leader genes are more dispersed in the nucleoplasm. These results provide strong evidences that transcription of spliced leader RNAs occurs in a particular domain in the T. cruzi nucleus.Universidade Federal de São Paulo, Dept Microbiol Immunol & Parasitol, BR-04023062 São Paulo, BrazilUniversidade Federal de São Paulo, Dept Microbiol Immunol & Parasitol, BR-04023062 São Paulo, BrazilWeb of Scienc

To Drip or to Pop? The European Triumph of American Art

This paper considers the so-called triumph of American art from the perspective of what Western Europeans could actually see and know of American art at the time. Relying on a database of exhibitions, purchases, and publications of American art in Western Europe from 1945 to 1970 created in the framework of Artl@s, it reconstructs the precise chain of events and circulations that marked the dissemination and reception of American art in Europe. It consequently draws a more refined and complex understanding of postwar artistic exchanges out of the entangled historical perspectives of the European peripheries, which challenges the retrospectively dominating position of American Abstract Expressionism

Myself & My Space

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Towards a Spatial (Digital) Art History

Among the numerous possibilities offered by the Digital Humanities, digital mapping is certainly among the most promising for art history. It is a rather simple yet efficient way to explore the large amount of data and databases which are available to the discipline but that are often underutilized. New mapping technologies allow us to work with art history’s big data serially and spatially, and to diffuse the result of our research through attractive and compelling visualizations

Jackson Pollock and the Pierre Matisse Gallery: toward a Connected History of Postwar Western Art

Taking on Jackson Pollock’s attempt to join the Pierre Matisse Gallery in 1951, this paper raises the question of why the symbol of triumphant American art, at the height of his career, wished to be represented by a gallery so intimately linked to Paris. It considers how this anecdote complicates our vision of the geopolitics of the postwar Western art world and invites us to rewrite the period’s history through connections and circulations rather than opposition and national boundaries. As the narrative of Pollock’s engagement with Matisse’s Parisian artists unfolds, it becomes indeed evident that revisiting historical connections between Pollock and the Parisian art scene not only illuminates the intricacies of Pollock’s work but also prompts a reevaluation of entrenched narratives in Western art history. Ultimately, then, the study proposes a methodological shift that emphasizes circulation and cultural exchanges, arguing that a Connected History of Postwar Western art holds the promise to renew and complexify our understanding of the dynamics that shaped postwar artistic production.A partir del intento de Jackson Pollock de ingresar en la Galería Pierre Matisse en 1951, este artículo plantea la cuestión de por qué el símbolo del arte estadounidense triunfante, en el apogeo de su carrera, deseaba ser representado por una galería tan íntimamente ligada a París. Considera cómo esta anécdota complica nuestra visión de la geopolítica del mundo del arte occidental de posguerra y nos invita a reescribir la historia del periodo a través de conexiones y circulaciones en lugar de oposiciones y fronteras nacionales. A medida que se desarrolla la narración del compromiso de Pollock con los artistas parisinos de Matisse, se hace evidente que revisar las conexiones históricas entre Pollock y la escena artística parisina no sólo ilumina las complejidades de la obra de Pollock, sino que también provoca una reevaluación de las narrativas arraigadas en la historia del arte occidental. En última instancia, pues, el estudio propone un cambio metodológico que hace hincapié en la circulación y los intercambios culturales, argumentando que una Historia conectada del arte occidental de posguerra promete renovar y complejizar nuestra comprensión de las dinámicas que configuraron la producción artística de posguerra.Partindo da tentativa de Jackson Pollock de ingressar na Galeria Pierre Matisse em 1951, este artigo questiona por que o símbolo da arte triunfante americana, no auge de sua carreira, desejou ser representado por uma galeria tão intimamente ligada a Paris. Considera-se como esta anedota complica a nossa visão da geopolítica do mundo da arte ocidental do pós-guerra e convida-nos a reescrever a história do período através de conexões e circulações, em vez de oposições e fronteiras nacionais. À medida que a narrativa do envolvimento de Pollock com os artistas parisienses de Matisse se desenrola, torna-se de facto evidente que a revisitação das ligações históricas entre Pollock e a cena artística parisiense não só ilumina os meandros de seu trabalho, mas também provoca uma reavaliação das narrativas arraigadas na história da arte ocidental. Em última análise, o estudo propõe uma mudança metodológica que enfatiza a circulação e os intercâmbios culturais, argumentando que uma história Conectada da arte ocidental do pós-guerra pode renovar e tornar mais complexa a nossa compreensão das dinâmicas que moldaram a produção artística do pós-guerra

Mapping the Reception of American Art in Postwar Western Europe

This article presents a project launched by a multidisciplinary team based at Purdue University in part-nership with ARTL@S. The ambition is to map the diffusion of American art in postwar Western Europe by recov-ering exhibitions that took place be-tween 1945 and 1970 and that fea-tured works by American Abstract Expressionist and American Pop art-ists. The results of this research will be featured on an interactive web ap-plication that will allow users to view the maps, zoom in on them, select art-ists or artworks, scroll through dates, and even create their own maps. It will thus be a great tool for scholars, students, and museums professionals, who will be able to use it as a starting point for their own investigations

The New World Debate and the 18th-Century Images of America that Brought Europe Together

The New World Debate offers a privileged site to reconstruct and study Europe’s self-image in the 18th century. Taking on Buffon’s Histoire Naturelle, Rameau’s Les Indes Galantes, Voltaire’s Alzire et les Americains, and De Pauw’s Recherches philosophiques sur les Américains, this paper traces the process through which Europe elaborated a Eurocentric view of the world organization through a paternalistic, usually benevolent but always contemptuous, relation to America that would come to define Europe’s colonial expansion of the 19th century and make colonialism an essential, yet uncomfortable, dimension of Europe’s modern identity

Antimicrobial use Guidelines for Treatment of Respiratory Tract Disease in Dogs and Cats: Antimicrobial Guidelines Working Group of the International Society for Companion Animal Infectious Diseases

Respiratory tract disease can be associated with primary or secondary bacterial infections in dogs and cats and is a common reason for use and potential misuse, improper use, and overuse of antimicrobials. There is a lack of comprehensive treatment guidelines such as those that are available for human medicine. Accordingly, the International Society for Companion Animal Infectious Diseases convened a Working Group of clinical microbiologists, pharmacologists, and internists to share experiences, examine scientific data, review clinical trials, and develop these guidelines to assist veterinarians in making antimicrobial treatment choices for use in the management of bacterial respiratory diseases in dogs and cats.M.R. Lappin, J. Blondeau, D. Boothe, E.B. Breitschwerdt, L. Guardabassi, D.H. Lloyd, M.G. Papich, S.C. Rankin, J.E. Sykes, J. Turnidge, and J.S. Wees

The Transatlantic Triangle of Artistic Circulation

The international circulation of art has today become a rapidly expanding field of study, yet transcontinental circulations have thus far received less attention. In much the same way, a great deal of research has been conducted into bilateral artistic and cultural exchanges, yet scholarship around triangular systems is still somewhat lacking. This latter term refers to instances in which artistic circulation – whether in the form of artworks, artists, aesthetics or styles – involves at least three cultural reference points, and wherein effects of transformation, adaptation and readaptation are all the more complex. Despite the focus on bilateral exchanges, even a relatively cursory investigation of cultural transfers reveals that the majority are in fact triangular. By bringing together in this volume the twin questions of transcontinental circulation and of triangular artistic and cultural transfers, we hope to broach a third and largely unexplored question: that of “South-North-South” circulations