The Imbibition, Viability, and Germination of Caper Seeds (Capparisspinosa L.) in the First Year of Storage

The caper is a shrub that adapts to harsh environments when it is established, but it presents serious difficulties in its propagation, both by cuttings and by seeds. Its seeds have low germination percentages, and germination is a very slow process. Significant increases in germination have been obtained with scarification and with the addition of gibberellic acid (GA3) to the substrate, leading to the hypothesis that they have possible physical and physiological dormancy. However, the only way to examine the water-impermeability of the cover is through imbibition analysis. This study analyzes the imbibition, viability, and germination of two seed lots, obtained in different years and evaluated immediately after their collection (FS) and after being stored (7 °C) for one month (DS) and one year (SS). The seed moisture content stabilizes from the fourth day, exceeding in all cases 31% in all three seed states tested (FS, DS and SS). This allows the germination of all viable seeds, only with the addition of GA3 to the germination substrate, without the need for scarification, so that caper seeds exclusively appear to present a physiological latency. Germination decreased in storage, even with just one month. With the GA3 addition, high germination values were obtained (up to 95% in FS).

Najambitniejszy film Wima Wendersa [Wim Wenders’ Most Ambitious Film]

Wim Wenders’ Most Ambitious FilmUntil the End of the World by Wim Wenders was a large project. This essay discusses the slow process of the film’s creation, its distribution, its content and critical response, in order to point at failure as the question key to each of those topics. Purpose, success, resolution, ending, the end of the world – those notions appear either irrelevant or impossible in the context of this film. The research material consists mainly of reviews and director’s comments. Content analysis displays many references to classic film genres, references which, however, prove dysfunctional. An important theme of the movie is wandering. This is a recurring motif in Wenders’s work, which some interpretations derive from the identity-seeking typical of his generation. In his case, this search is often expressed by crossing state borders. Central Europe is nevertheless poorly represented in his work.Najambitniejszy film Wima WendersaAż na koniec świata w reżyserii Wima Wendersa to wielkie filmowe przedsięwzięcie. Tekst omawia powolny proces powstawania filmu, historię jego dystrybucji, treść i recepcję, by wskazać na niepowodzenie jako kwestię kluczową dla każdej z tych sfer. Celowość, sukces, rozwiązanie akcji, zakończenie, koniec świata – te pojęcia w kontekście omawianego filmu jawią się jako nieistotne lub niemożliwe. Główny materiał badawczy stanowią recenzje oraz wypowiedzi reżysera. Analiza treści wykazuje obecność licznych odniesień do klasycznych gatunków filmowych, które jednak okazują się dysfunkcyjne. Ważnym tematem filmu jest błądzenie, tułaczka. To motywy powracające w twórczości Wendersa, co czasem interpretuje się jako efekt poszukiwań tożsamości właściwych jego pokoleniu. W przypadku reżysera poszukiwania te wiążą się z częstym przekraczaniem państwowych granic. Nieliczne są jednak w jego twórczości i refleksji odniesienia do Europy Środkowej.

What Everyone Ought To Know About Label X Muscle v1

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Vocabulary learning strategies for Second or Foreign Language (SFL) Students of Missionary-run Colleges in Bangladesh

One of the crucial challenges that learners face for processing second or foreign language (SFL) learning is learning vocabulary. Vocabulary is recognized as vital to language use in which insufficient vocabulary knowledge of the learners led to difficulties a SFL learning. Thus, in the case of learning the vocabulary in a SFL, students need to be educated with vocabulary learning strategies. Investigation for learning vocabulary and its connection to reading has become significant in the field of research in SFL acquisition. Since reading requires precise and spontaneous word recognition skills, learners need to be equipped with sufficient vocabulary knowledge to read fluently. Yet, for many SFL learners, reading is a 'suffocating slow process' (Anderson, 1991). One of the causes or often experienced by the students is that they don’t have enough vocabulary knowledge. As a result, they tend to surrender to understand the semantics of the text or skip reading the word, sentence and even the paragraph due to the unfamiliar words. These circumstances propose that some learners may not have enough skills to handle the unfamiliar words.

Fifteenth and Sixteenth-Century Northern European Prints at the Museum of New Zealand Te Papa Tongarewa

<p>This thesis examines the collection of fifteenth- and sixteenth-century German, Dutch and Flemish prints at the Museum of New Zealand Te Papa Tongarewa. Beginning with the donation of Bishop Monrad in 1869, prints from the Northern European schools have been added to the collection either through the generosity of private collectors or the museum's direct purchases which continue to the present day. The lives and collecting practices of these collectors are considered, as well as the artists and prints represented in the collection. An analysis of the history of collecting prints from the Northern European schools demonstrates that their recognition as individual works of art was a rather slow process, whereas a canon of the great printmakers was established almost immediately. The place of Northern printmakers in this canon will be considered, as well as the changing ideas about prints and print collecting from the sixteenth to the twentieth centuries. The most significant collectors for Te Papa's print collection were Bishop Monrad and Sir John Ilott, who together donated more than half of the 164 prints analysed here. While the collecting practices of Monrad and Ilott have been studied individually before, it is worthwhile comparing them and considering their reasons for buying fifteenth- and sixteenth-century Northern European prints in particular. They emerge as collectors with similar financial means, who both made use of agents and had direct contact with dealers. Other private individuals have also emerged as print collectors, who made significant contributions to the collection, yet they have remained mostly unknown until now. In addition to this, Te Papa still has an active policy of purchasing more prints for the collection. Finally the prints themselves are examined in detail, considering both their physical qualities and art historical significance, in order to highlight the strengths of the collection. Some prints from the collection will be analysed for the first time here, as no extensive research has previously been conducted on this particular part of Te Papa's print collection, and some of the prints were added very recently and have thus not been available for viewing until now.</p>

Fifteenth and Sixteenth-Century Northern European Prints at the Museum of New Zealand Te Papa Tongarewa

<p>This thesis examines the collection of fifteenth- and sixteenth-century German, Dutch and Flemish prints at the Museum of New Zealand Te Papa Tongarewa. Beginning with the donation of Bishop Monrad in 1869, prints from the Northern European schools have been added to the collection either through the generosity of private collectors or the museum's direct purchases which continue to the present day. The lives and collecting practices of these collectors are considered, as well as the artists and prints represented in the collection. An analysis of the history of collecting prints from the Northern European schools demonstrates that their recognition as individual works of art was a rather slow process, whereas a canon of the great printmakers was established almost immediately. The place of Northern printmakers in this canon will be considered, as well as the changing ideas about prints and print collecting from the sixteenth to the twentieth centuries. The most significant collectors for Te Papa's print collection were Bishop Monrad and Sir John Ilott, who together donated more than half of the 164 prints analysed here. While the collecting practices of Monrad and Ilott have been studied individually before, it is worthwhile comparing them and considering their reasons for buying fifteenth- and sixteenth-century Northern European prints in particular. They emerge as collectors with similar financial means, who both made use of agents and had direct contact with dealers. Other private individuals have also emerged as print collectors, who made significant contributions to the collection, yet they have remained mostly unknown until now. In addition to this, Te Papa still has an active policy of purchasing more prints for the collection. Finally the prints themselves are examined in detail, considering both their physical qualities and art historical significance, in order to highlight the strengths of the collection. Some prints from the collection will be analysed for the first time here, as no extensive research has previously been conducted on this particular part of Te Papa's print collection, and some of the prints were added very recently and have thus not been available for viewing until now.</p>

GoldBricks: An Improved Cloning Strategy that Combines Features of Golden Gate and Biobricks for Better Efficiency and Usability

ABSTRACT With increasing complexity of expression studies and the repertoire of characterized sequences, combinatorial cloning has become a common necessity. Techniques like Biobricks and Golden Gate aim to standardize and speed up the process of cloning large constructs while enabling sharing of resources. The Biobricks format provides a simplified and flexible approach to endless assembly with a compact library and useful intermediates but is a slow process, joining only two parts in a cycle. Golden Gate improves upon the speed with use of TypeIIS enzymes and joins several parts in a cycle but requires a larger library of parts and logistical inefficiencies scale up significantly in the multigene format. We present here a method that provides improvement over these techniques by combining their features. By using Type IIS enzymes in a format like Biobricks, we have enabled a faster and efficient assembly with reduced scarring, which performs at a similarly fast pace as Golden Gate, but significantly reduces library size and user input. Additionally, this method enables faster assembly of operon-style constructs, a feature requiring extensive workaround in Golden Gate. Our format allows such inclusions resulting in faster and more efficient assembly.

Microbial Degradation of Plastics and Approaches to Make it More Efficient

Abstract— The growing worldwide production of synthetic plastics leads to increased amounts of plastic pollution. Even though microbial degradation of plastics is known to be a very slow process, this capacity has been found in many bacteria, including invertebrate symbionts, and microscopic fungi. Research in this field has been mostly focused on microbial degradation of polyethylene, polystyrene, and polyethylene terephthalate (PET). Quite an arsenal of different methods is available today for detecting processes of plastic degradation and measuring their rates. Given the lack of generally accepted protocols, it is difficult to compare results presented by different authors. PET degradation by recombinant hydrolases from thermophilic actinobacteria happens to be the most efficient among the currently known plastic degradation processes. Various approaches to accelerating microbial plastic degradation are also discussed.

Horror, Trauma, and George A. Romero’s Martin (1978)

This essay analyzes how George A. Romero, in his underrated psychological vampire film Martin, translates individual trauma (slow, process-based, unrecognized) into collective trauma (sudden, event-based, recognized) through a vocabulary of horror. The language of trauma spoken by Martin is not the one we expect from the horror film, with its traditional investments in fantastic spectacle. Instead, it is a language that combines horror’s fantastic vocabulary and documentary’s realist vocabulary in ways that undermine our attempts to distinguish between the two modes. Romero’s vision urges us to see catastrophe where we are accustomed to seeing only the mundane, and collective trauma where we routinely see only individual trauma. In Martin’s version of horror, the economic decline of Braddock, Pennsylvania, is paired with trauma connected to the Vietnam War and immigration. The film moves between these coordinates to revisualize the distinctions that divide the fantastic from the real as well as the individual from the collective.

Forest Recovery in the Amazon Is a Slow Process

For the first time, a study analyzes Amazon forest loss and recovery at national and subnational levels. One finding shows that new plantings offset less than 10% of emissions associated with deforestation.