Roles of genes and Alu repeats in nonlinear correlations of HUMHBB DNA sequence

2004 ◽  
Vol 20 (3) ◽  
pp. 497-502 ◽  
Author(s):  
Yi Xiao ◽  
Yanzhao Huang
Genomics ◽  
1990 ◽  
Vol 8 (2) ◽  
pp. 271-278 ◽  
Author(s):  
Masato Orita ◽  
Takao Sekiya ◽  
Kenshi Hayashi

Author(s):  
Barbara Trask ◽  
Susan Allen ◽  
Anne Bergmann ◽  
Mari Christensen ◽  
Anne Fertitta ◽  
...  

Using fluorescence in situ hybridization (FISH), the positions of DNA sequences can be discretely marked with a fluorescent spot. The efficiency of marking DNA sequences of the size cloned in cosmids is 90-95%, and the fluorescent spots produced after FISH are ≈0.3 μm in diameter. Sites of two sequences can be distinguished using two-color FISH. Different reporter molecules, such as biotin or digoxigenin, are incorporated into DNA sequence probes by nick translation. These reporter molecules are labeled after hybridization with different fluorochromes, e.g., FITC and Texas Red. The development of dual band pass filters (Chromatechnology) allows these fluorochromes to be photographed simultaneously without registration shift.


2012 ◽  
pp. n/a-n/a
Author(s):  
Qian-Quan Li ◽  
Min-Hui Li ◽  
Qing-Jun Yuan ◽  
Zhan-Hu Cui ◽  
Lu-Qi Huang ◽  
...  

1997 ◽  
Vol 77 (05) ◽  
pp. 1034-1035 ◽  
Author(s):  
Tomohiro Hayashi ◽  
Keijiroh Suzuki ◽  
Akito Yahagi ◽  
Jiroh Akiba ◽  
Katsushi Tajima ◽  
...  

CounterText ◽  
2020 ◽  
Vol 6 (1) ◽  
pp. 63-77
Author(s):  
Louis Armand
Keyword(s):  

This essay examines the convergence of conceptualist poetics with evolutionary code as a form of ‘becoming alien’. The focus is Christian Bök's The Xenotext project: an attempt at translating a ‘short verse about language and genetics’, using a chemical alphabet, into a DNA sequence implanted into the genome of a polyextremophile bacterium capable of enduring conditions in outerspace. Bök describes the project as, ‘in effect, engineering a life-form so that it becomes not only a durable archive for storing a poem, but also as an operant machine for writing a poem – one that can persist on the planet until the sun itself explodes …’. The concrete, constraint-based character of Bök's project evokes a mode of writing between posthumanist aesthetics and a positivist grammatology by turns deconstructive and itself requiring of deconstruction.


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