On the origin of terpenes in symbiotic associations between marine invertebrates and algae (zooxanthellae). Culture studies and an application of ^(13)C/^(12)C isotope ratio mass spectrometry.

^(13)C/^(12)C ratios of sets of compounds, algal sterols and terpenes, isolated from dinoflagellate symbiont (zooxanthellae)-bearing soft corals and gorgonians were determined. In most cases, a significant difference was found between the δ^(13)C values of the terpenes and of the algal sterols from the same set, the algal sterols containing less ^(13)C than the terpenes. These results can only be explained if terpenes are synthesized by the host. Cultured zooxanthellae, isolated from symbiotic associations, do not make terpenes. Algal sterols of the various sets do not all have the same δ^(13)C value: average values range from -18.2 to -24.3‰. A consistent difference of about 7‰ in the δ^(13)C values of sterols of cultured symbionts isolated from two of the gorgonians was found. This has potential applications for the taxonomy of zooxanthellae, most of which are believed by some specialists to be one discrete species

Como pode o teatro contribuir para a ciência e vice-versa?

Como pode o teatro contribuir para a ciência e vice-versa

Science, performance and transformation: performance for a ‘scientific’ age?

This is an accepted manuscript of an article published by Taylor & Francis in International Journal of Performance Arts and Digital Media on 30/09/2014, available online: https://www.tandfonline.com/doi/full/10.1080/14794713.2014.946282 The accepted version of the publication may differ from the final published version.The ‘two cultures’ of science and the arts/humanities are often considered at odds, but digital technology, and the broader implications of digital culture, provides a model for more productive forms of exchange and hybridity. This article applies theories of intercultural theatre practice to performance that works across this cultural divide to explore the types of interaction that take place. Following a historical discussion of the science/art divide, a three-fold model is proposed and explored through case studies including Djerassi and Laszlo's 2003 NO, Eduardo Kac's 1999 Genesis, Reckless Sleepers' 1996/2006 Schrödinger's Box, and John Barrow's 2002 Infinities. It is argued that science operates through the creation of mathematical models of aspects of the physical world, whilst art similarly constructs different kinds of models for understanding the social/cultural and occasionally physical world. Digital technology expands the modelling possibilities both directly, through simulation, virtual reality and integration into ‘live’ activities of augmented and intermedia performance, and through the transformative nature of digital culture