On the Cognition of States of Affairs

The theory of speech acts put forward by Adolf Reinach in his "The A Priori Foundations of the Civil Law" of 1913 rests on a systematic account of the ontological structures associated with various different sorts of language use. One of the most original features of Reinach's account lies in hIs demonstration of how the ontological structure of, say, an action of promising or of commanding, may be modified in different ways, yielding different sorts of non-standard instances of the corresponding speech act varieties. The present paper is an attempt to apply this idea of standard and modified instances of ontological structures to the realm of judgement and cognition, and thereby to develop a Reinachian theory of how intentionality is mediated through language in acts of thinking and speaking

The major myosin-binding domain of skeletal muscle MyBP-C (C protein) resides in the COOH-terminal, immunoglobulin C2 motif.

A common feature shared by myosin-binding proteins from a wide variety of species is the presence of a variable number of related internal motifs homologous to either the Ig C2 or the fibronectin (Fn) type III repeats. Despite interest in the potential function of these motifs, no group has clearly demonstrated a function for these sequences in muscle, either intra- or extracellularly. We have completed the nucleotide sequence of the fast type isoform of MyBP-C (C protein) from chicken skeletal muscle. The deduced amino acid sequence reveals seven Ig C2 sets and three Fn type III motifs in MyBP-C. alpha-chymotryptic digestion of purified MyBP-C gives rise to four peptides. NH2-terminal sequencing of these peptides allowed us to map the position of each along the primary structure of the protein. The 28-kD peptide contains the NH2-terminal sequence of MyBP-C, including the first C2 repeat. It is followed by two internal peptides, one of 5 kD containing exclusively spacer sequences between the first and second C2 motifs, and a 95-kD fragment containing five C2 domains and three fibronectin type III motifs. The C-terminal sequence of MyBP-C is present in a 14-kD peptide which contains only the last C2 repeat. We examined the binding properties of these fragments to reconstituted (synthetic) myosin filaments. Only the COOH-terminal 14-kD peptide is capable of binding myosin with high affinity. The NH2-terminal 28-kD fragment has no myosin-binding, while the long internal 100-kD peptide shows very weak binding to myosin. We have expressed and purified the 14-kD peptide in Escherichia coli. The recombinant protein exhibits saturable binding to myosin with an affinity comparable to that of the 14-kD fragment obtained by proteolytic digestion (1/2 max binding at approximately 0.5 microM). These results indicate that the binding to myosin filaments is mainly restricted to the last 102 amino acids of MyBP-C. The remainder of the molecule (1,032 amino acids) could interact with titin, MyBP-H (H protein) or thin filament components. A comparison of the highly conserved Ig C2 domains present at the COOH-terminus of five MyBPs thus far sequenced (human slow and fast MyBP-C, human and chicken MyBP-H, and chicken MyBP-C) was used to identify residues unique to these myosin-binding Ig C2 repeats

Fashion-making and co-creation in the transglobal landscape: Sino-Italian fashion as method

The ‘making’ of fashion cannot merely refer to garment production and manufacturing. It is the prerequisite for a nation to actively participate in the global stage. To establish a ‘recognisable’ fashion image, a country must go far beyond the competition of a specialised garment and textile industry. Being recognised as the ‘author countries’ for fashion creation is part of a process in which the (re)negotiation of national hierarchies and roles are constantly at play. For a country or a city, expressing an instantly recognisable aesthetic has become an important corollary to communicate political and economic strength. More than in the past centuries, fashion has been tasked with not only reflecting and representing social or individual needs, but also constructing ex novo territories in which old stereotypes and imaginer are creatively set free. This is because, unlike most production and commercial activities, fashion expresses an elaborate culture whose composition of symbols, ideologies and lifestyles (Crane 2004) can be drawn on. On the other hand, the accelerated production relocation in past decades has irrevocably changed the geography of fashion, as well as the rhetoric of the origin of national creativity. In particular, it leads one to wonder what happens when two or more players are engaged in the making of fashion. Specifically, what happens when Italy and China collaborate in transglobal fashion-making? How does one account for the national creativity that has sprung from the Sino-Italian co-creation? Drawing on the accounts of Italian fashion and Chinese fashion, this article discusses the intricacy of Sino-Italian collaboration and the entails of such a fashion co-creation, through which, a reflection on transglobal fashion-making is made with the proposition of a framework for its examination