Mom Tested

Leaf through an issue of a parenting magazine and you will be inundated by page after page of bright, colorful products. These products reassure you that they are safe and reliable, often bearing labels such as Mom Tested or Pediatrician Approved. The person shown is usually a smiling, physically fit Caucasian woman clad in a stylish outfit playing with her clean, happy children in a sunny and well-organized home. She is the Mythic Mom: buy these products and you too may attain her state of charming, if sometimes unruly, bliss

Diabetes nas escolas: conhecendo o diabetes tipo 1

Este e-book foi elaborado e validado para o Projeto Diabetes nas Escolas, sendo parte de uma disserta??o do Programa de P?s-Gradua??o em Ci?ncias da Nutri??o (PPGCN) da Universidade Federal dos Vales do Jequitinhonha e Mucuri (UFVJM). Foi criado com o intuito de orientar os pais de crian?as e adolescentes de escolas parceiras do Projeto Diabetes nas Escolas. Seu conte?do foi baseado nas diretrizes atuais para preven??o, controle e tratamento do diabetes e visa contribuir para a melhor compreens?o sobre o diabetes mellitus Tipo 1 no ambiente escolar.Escolas parceiras do projeto diabetes nas escolas de Diamantina, Universidade Federal dos Vales do Jequitinhonha e Mucuri - UFVJM, Pr?-Reitoria de Extens?o e Cultura - PROEXC/UFVJM, Pr?-Reitoria de Pesquisa e P?s Gradua??o - PRPPG/UFVJM, Grupo Santa Casa BH, Grupo de Estudo do Diabetes - GED/UFVJM, Centro de Refer?ncia Diabetes nas Escolas (CRDE) de Diamantina, Coordena??o de Aperfei?oamento de Pessoal de N?vel Superior - CAPES, Revista Momento Diabetes

Resurrecting “Poor Man’s Purple”: A Transdisciplinary Study of Color-Shifted Pigments Used in an Encaustic Fayum Mummy Portrait of Ancient Egypt

During the Coptic period in Fayum Egypt, encaustic (i.e. wax) mummy portraits were painted onto wooden panels or linen and attached to the mummy trappings of the deceased. One such portrait, “32.6: The Bearded Man” (c. 170-180 AD), features an unidentified Roman-Egyptian displaying a purple clavi. The trace swath of purple in the portrait provides evidence as to the origins of the painting and the identity of the man. Nanoscale analysis of the pigment suggests a red organic material was color shifted using a metal salt to produce a “poor man’s purple” as opposed to the expensive murex purple traditionally reserved for the elite. It is the goal of this project to reverse engineer the pigment using organic material and metal salts available to the Roman-Egyptians in order to fabricate a purple pigment possessing a similar chemical composition to that within the portrait. Analytical comparisons of the original pigment to our synthesized specimens will allow the identification of the original materials used. Ultimately, our aim is to have an in depth understanding of materials and processes used to create the purple clavi, thereby providing further detail as to the provenience of “The Bearded Man” Fayum portrait

Publisher Correction:Voices of biotech leaders (Nature Biotechnology, (2021), 39, 6, (654-660), 10.1038/s41587-021-00941-4)

In the version of this article initially published, an author name was given as Abasi Ene Abong. The correct name is Abasi Ene-Obong. Also, the affiliation for Sebastian Giwa was given as Elevian, Pagliuca Harvard Life Lab, Allston, MA, USA. The correct affiliations are Biostasis Research Institute, Berkeley, CA, USA; Sylvatica Biotech, North Charleston, SC, USA; and Humanity Bio, Kensington, CA, USA. An affiliation for Jeantine Lunshof was given as Department of Genetics, Harvard Medical School, Boston, MA, USA. The correct affiliation is Wyss Institute for Biological Engineering, Harvard University, Boston, MA, USA. The errors have been corrected in the PDF and HTML versions of the article

Voices of biotech leaders

Nature Biotechnology asks a selection of leaders from across biotech to look at the future of the sector and make some predictions for the coming years

Voices of biotech leaders

Nature Biotechnology asks a selection of leaders from across biotech to look at the future of the sector and make some predictions for the coming years.</p

Mrs. Delany\u27s Natural History and Zoological Activities: A Beautiful Mixture of Pretty Objects

In Mrs. Delany\u27s unpublished novella, Marianna, the title character experiences trials and tribulations befitting an eighteenth-century heroine. After venturing too far down the garden path she becomes lost and eventually finds herself in a cave by the sea. She is captured by pirates and taken aboard their ship, where she meets a mysterious but handsome stranger. Although all ends well for Marianna--she enters into a good marriage arranged by a wise and kindly aunt-like older friend--the message of the romance is clear: Marianna\u27s troubles are the direct result of disobedience. She was allowed to pick flowers in the garden but expressly forbidden by her parents to venture beyond the stile at the end of the lawn

The Insect and the Image: Visualizing Nature in Early Modern Europe, 1500-1700

Once considered marginal members of the animal world (at best) or vile and offensive creatures (at worst), insects saw a remarkable uptick in their status during the early Renaissance. This quickened interest was primarily manifested in visual images -- in illuminated manuscripts, still life paintings, the decorative arts, embroidery, textile design, and cabinets of curiosity. In The Insect and the Image, Janice Neri explores the ways in which such imagery defined the insect as a proper subject of study for Europeans of the early modern period. It was not until the sixteenth century that insects began to appear as the sole focus of paintings and drawings -- as isolated objects, or specimens, against a blank background. The artists and other image makers Neri discusses deployed this specimen logic and so associated themselves with a mode of picturing in which the ability to create a highly detailed image was a sign of artistic talent and a keenly observant eye. The Insect and the Image shows how specimen logic both reflected and advanced a particular understanding of the natural world -- an understanding that, in turn, supported the commodification of nature that was central to global trade and commerce during the early modern era. Revealing how sixteenth- and seventeenth-century artists and image makers shaped ideas of the natural world, Neri\u27s work enhances our knowledge of the convergence of art, science, and commerce today.https://scholarworks.boisestate.edu/fac_books/1282/thumbnail.jp

Cultivating Interiors: Philadelphia, China, and the Natural World

For eighteenth-century Europeans, Asia and the Americas were strange, distant lands evoking mystery and wonder. Both were believed to be populated by beautiful and unusual flora and fauna, and their vast terrains represented great potential for wealth in their human and natural productions. Since the time of Columbus, Europeans had drawn parallels between Asia and America, and in later periods Europeans and their descendants living in North America continued to link the two regions through complex associations, based on the rich visual and material culture of the decorative arts and the practice of natural history

Between Observation and Image: Representations of Insects in Robert Hooke\u27s \u3cem\u3eMicrographia\u3c/em\u3e

The English polymath Robert Hooke (1635-1703) can be credited with a number of mathematical and mechanical inventions, including the equation describing elasticity known as Hooke\u27s Law, and with originating the term cell in biology. But it is Hooke\u27s Micrographia, published in London in 1665, that is considered a landmark in the history of scientific illustration.1 His spectacular illustrations of plants, insects, astronomical bodies, and mechanical objects have long been praised for their artistic merit, scrupulous accuracy, and careful attention to detail. Containing thirty-eight copperplate engravings, Micrographia stands as a testament to Hooke\u27s talents as an observer and illustrator. Little attention has been paid, however, to the visual techniques and traditions Hooke used to translate what he saw through the lens of the microscope into two-dimensional images