scholarly journals The Innate Plasticity of Bodies and Minds

2017 ◽  
pp. 151-176
Author(s):  
Robert Meunier ◽  
Valentine Reynaud
Keyword(s):  
Life Sciences ◽  
Genetic Determination ◽  
Genetic Programme

In recent years, concepts of plasticity and epigenetics have gained currency in different areas of the life sciences. In this article, we wish to ask primarily how plasticity and epigenetics relate to some notions in biology that they are often taken to oppose, such as genetic determination, genetic programme, and innateness.

Methods of MolecularAnalysis in the Life Sciences

2014 ◽  
Author(s):  
Andreas Hofmann ◽  
Anne Simon ◽  
Tanja Grkovic ◽  
Malcolm Jones
Keyword(s):  
Life Sciences

Rising stars in life sciences 2020

Nature ◽  
2020 ◽  
Author(s):  
Bec Crew ◽  
Hepeng Jia ◽  
Mark Zastrow
Keyword(s):  
Life Sciences

Thathir Quality Scholarship Program For Students At University level

2018 ◽  
Vol 2 (3) ◽  
pp. 206-219
Author(s):  
Louay Qais Abdullah ◽  
Duraid Faris Khayoun
Keyword(s):  
College Students ◽  
Life Sciences ◽  
Economic Feasibility ◽  
First Year ◽  
Grant Program ◽  
Scholarship Program ◽  
University Level ◽  
Faculty Of Education ◽  
The University ◽  
The Relationship

The study focused basically on measuring the relationship between the material cost of the students benefits program and the benefits which are earned by it, which was distributed on college students in the initial stages (matinee) and to show the extent of the benefits accruing from the grant program compared to the material burdens which matched and the extent of success or failure of the experience and its effect from o scientific and side on the Iraqi student through these tough economic circumstances experienced by the country in general, and also trying to find ways of proposed increase or expansion of distribution in the future in the event of proven economic feasibility from the program. An data has been taking from the data fro the Department of Financial Affairs and the Department of Studies and Planning at the University of Diyala with taking an data representing an actual and minimized pattern and questionnaires to a sample of students from the Department of Life Sciences in the Faculty of Education of the University of Diyala on the level of success and failure of students in the first year of the grant and the year before for the purpose of distribution comparison. The importance of the study to measure the extent of interest earned in comparision whit the material which is expenseon the program of grant (grant of students) to assist the competent authorities to continue or not in the program of student grants for the coming years.

Sea Urchins and Circuses: The Modernist Natural Histories of Jean Painlevé and Alexander Calder

2018 ◽  
Vol 13 (2) ◽  
pp. 187-211
Author(s):  
Patricia E. Chu
Keyword(s):  
New Media ◽  
Sea Urchins ◽  
Life Sciences ◽  
Three Dimensional ◽  
Machine Age ◽  
Avant Garde ◽  
History Of ◽  
And Performance ◽  
The One ◽  
Natural Historian

The Paris avant-garde milieu from which both Cirque Calder/Calder's Circus and Painlevé’s early films emerged was a cultural intersection of art and the twentieth-century life sciences. In turning to the style of current scientific journals, the Paris surrealists can be understood as engaging the (life) sciences not simply as a provider of normative categories of materiality to be dismissed, but as a companion in apprehending the “reality” of a world beneath the surface just as real as the one visible to the naked eye. I will focus in this essay on two modernist practices in new media in the context of the history of the life sciences: Jean Painlevé’s (1902–1989) science films and Alexander Calder's (1898–1976) work in three-dimensional moving art and performance—the Circus. In analyzing Painlevé’s work, I discuss it as exemplary of a moment when life sciences and avant-garde technical methods and philosophies created each other rather than being classified as separate categories of epistemological work. In moving from Painlevé’s films to Alexander Calder's Circus, Painlevé’s cinematography remains at the forefront; I use his film of one of Calder's performances of the Circus, a collaboration the men had taken two decades to complete. Painlevé’s depiction allows us to see the elements of Calder's work that mark it as akin to Painlevé’s own interest in a modern experimental organicism as central to the so-called machine-age. Calder's work can be understood as similarly developing an avant-garde practice along the line between the bestiary of the natural historian and the bestiary of the modern life scientist.

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