Searching for ß-delayed protons from 11 Be

ISOLDE Workshop and Usersmeeting. Wednesday 05 December - Friday 07 December 2018 .CERN ( ISOLDE User Support. PH Departmen - CERN/CH-1211 Geneve 23). --.https://indico.cern.ch/event/736872/contributions

The emerging landscape of single-molecule protein sequencing technologies

Single-cell profiling methods have had a profound impact on the understanding of cellular heterogeneity. While genomes and transcriptomes can be explored at the single-cell level, single-cell profiling of proteomes is not yet established. Here we describe new single-molecule protein sequencing and identification technologies alongside innovations in mass spectrometry that will eventually enable broad sequence coverage in single-cell profiling. These technologies will in turn facilitate biological discovery and open new avenues for ultrasensitive disease diagnostics.This Perspective describes new single-molecule protein sequencing and identification technologies alongside innovations in mass spectrometry that will eventually enable broad sequence coverage in single-cell proteomics.</p

On Bruno Schulz’s Illustrations of the Story “From the Court of a Blind Goddess”

The cause of this investigation were two unknown drawings by Bruno Schulz (ink, two 4x7 cm, two 6x7 cm, each with the artist’s signature) found in the newspaper Chwila, a Polish language Zionist daily published in Lviv in 1919-1939. Chwila paid much attention to Schulz: 43 articles, reviews, and notes on his life and work were published throughout the paper’s history. Few texts published in the Chwila were illustrated, and book illustrations were also rare in the artistic career of the writer: next to illustrating his own books, he designed covers and illustrations only for Juliusz Witt and Witold Gombrowicz. Searching for information about the author of an illustrated story “Z dworu ślepej bogini,” Oskar Alexandrowicz (1885-1939?), a resident of Drogobych, painter, art critic, and lawyer, added to the knowledge about the circle of Schulz’s friends. For instance, an interesting character was Oskar’s brother, Roman Alexandrowicz (1882-1940), a well-known lawyer and collector of Schulz’s works which he used to show to the public in his apartment on the corner of Akademicki Square and Fredry Street in Lviv. The literary critic Ostap Ortwin (1876-1942), who was a regular patron of a famous café in the same building, most likely supported Schulz’s participation in the Spring Salon of 1922. Just opposite, on 7 Fredry Street, there was a studio of Kazimierz Sichulski, painter and professor of the Lviv State Industrial School, and Wanda Diamand’s photo studio “Światłocień.” The author also succeeded in establishing the identity and biographical data of another Alexandrowicz, Marek (1890-?), manager of one of the biggest oil companies in Europe, “Gazy Ziemne,” who was a close friend of Izydor Schulz

The Exhibition in Boryslaw. On Bruno Schulz’s Double Debut

Most Schulz experts assume that while working on The Booke of Idolatry, he did not start writing fiction yet. It has been generally believed that his literary talent surfaced rather late, although Jerzy Ficowski thought that Schulz might have tried writing some time earlier. In the critic’s opinion, the beginning of Schulz’s literary talent dated back to his correspondence with close friends in 1925–1926, but since all letters from that period have been lost there is no way to validate that claim. Jerzy Jarzębski supposes that Schulz’s fiction came into being rapidly, at once fully mature and perfect. Władysław Panas also points at Schulz’s magisterial literary debut, The Cinnamon Shops, when the author was already about forty years old. And yet, the present essay puts those hypotheses to test. Having searched the holdings of the Vasyl Stefanyk National Academic Library in Lviv, Ms. Khomych has demonstrated that Schulz made his debut in the early 1920s almost simultaneously in two fields: in art, with a one man show in the town of Boryslaw in 1921, which has been commonly known, and in literature in 1922. Ms Khomych discovered in the 25–26 no. (January 15, 1922) of the bi-weekly Świt, sponsored by the oil officials of Boryslaw, a short story titled “Undula,” signed with a penname “Marceli Weron.” A critical analysis of this story demonstrates a number of affinities both with Schulz’s art, and with his later fiction. The name of the title character, Undula, is the same as that of the main figure of the graphic works included in The Booke of Idolatry. Other similarities include masochistic eroticism and some characters and motifs typical of Schulz’s later stories: a child, a dream, a chambermaid named Adela, the Demiurge, a crab, and a cockroach. Moreover, the stylistic and lexical features of the text leave no doubt that Schulz must have been its author. Imitation by anyone is impossible since in the early 1920s none of his other literary works was available in print. Thus, one may assume that “Marceli Weron” was Schulz’s penname and “Undula” was his proper literary debut