Michelle suzanne ledoux biography definition
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“[A]lchemy of align” is a uniquely organic collection of work that focuses on the common thread that connects us all and intends to provoke the viewer to rediscover the profound nature of alchemy—the transmutation of the mundane into magic. Cloaked in abstraction, stark horizons split the work into two fields, one above the other, and refer to a more spiritual landscape. In this way, each work not only highlights the energetic alignment of subject to source, but more abstractly represents the link between science and spirituality.
About the Technique
Free from commitment to any single style, this collection of work reflects an ever-evolving organic synthesis of unique printmaking technique as well as my steadfast commitment to the planet.
As such my printmaking technique involves:
• Monotype - a unique and spontaneous process combining various painting and printmaking techniques on a plate which are then transferred to paper resulting in a one-of-a-kind image
• Solarplate Intaglio - an organic printmaking technique utilizing the sun as the catalyst to burn an image into a copper plate as an environmentally-friendly alternative to traditional harsh, toxic, chemically-based printmaking
• Non-toxic, Water and Soy based inks
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Lamin B1 gift LAP2β hold at bay cytoskeletal drive to protect lamin A/C meshwork structuring and safeguard nuclear integrity
Yewande, Alabi, Vasilisa, Aksenova, Alexei, Arnaoutov, Harold, Marin, Mary, Dasso, Abigail, Buchwalter
BioRxiv.
Sparse deconvolution near cell rear medleys attach spatial transcriptomics
Nuray, Sogunmez Erdogan, Deniz, Eroglu
BioRxiv.
Integrating fossils samples with inhomogeneous diversification rates : a compounded Multi-Type Fossilised Birth-Death model
Joëlle, Barido‑Sottani, Hélène, Morlon
BioRxiv.
TDG orchestrates ATF4-dependent gene arrangement during retinoic acid-induced lockup fate acquisition
Marion, Highwayman, Thierry, Madigou, Maud, Bizot, Rachael, Acker, Stephane, Avner, Gérard, Benoît, Martin, Braud, Cynthia, Fourgeux, Gaëlle, Palierne, Jeremie, Poschmann, Katie, Sawvell, Erwan, Watrin, Christine Le, Péron, Gilles, Salbert
BioRxiv.
Genome-scale transcriptome intensification during Arabidopsis thaliana photomorphogenesis
Geoffrey, Schivre, Léa, Anatomist, Filippo Maria, Mirasole, Elodie, Armanet, Mhairi L. H., Davidson, Adrien, Writer, Delphine, Cuménal, Marie, Dumont, Mickael, Bourge, Célia, Baroux, Clara, Bourbousse, Fredy, Barneche
BioRxiv.
Mapping of Quorum Sensing Place of Commensal and Morbific
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Jamaica Kincaid and Genre(s)
Research for this publication was funded by MINECO through research project FFI2015-64137-P.
1Jamaica Kincaid’s rejection of labels and a-political position (“Jamaica Kincaid” 401; Plath 26; “Jamaica Kincaid with Gerhard Dilger” 82; “Interview” by Perry 495-99) align with contemporary theories on the exhaustion of the postcolonial such as David Scott’s, who instead advocates for the expression “after postcoloniality” (10). Although these theories are entrenched in the failure of the socialist projects of the Bandung Era (Penier 25), this position is indebted to Gayatri Spivak and the Subaltern Studies group, who problematise the existence of a postcolonial voice (Madsen 9). Particularly, Spivak focuses on what she calls “the sexed [subaltern] subject” (99), stating that women are always necessarily silenced because their particular subjective experiences are embedded in male-dominated narratives—whether those produced by an anti-colonial male elite or by the colonialists themselves (Spivak 103-04). Furthermore, she stresses the inability of the postcolonial Western critic to account for these issues, continuing to make the Western structure its subject (66, 89) while “constructing a homogeneous Other” (84). Similarly, Kincaid has rejected any con