323,332 research outputs found
Interview Louis Baltussen on The Shortest Day at the Van Abbemuseum
No full textResearcher Sanneke Stigter interviews Louis Baltussen from the Van Abbemuseum, both for his expertise about the practicalities of Jan Dibbets’ site-specific installation The Shortest Day at the Van Abbemuseum (1970) and for his memory as a visitor to the Van Abbemuseum seeing the work installed in the early 1970s
Interviews in Conservation Research
No full textInterviews in Conservation Research is a growing collection of oral history records that can inform the preservation, conservation and presentation of works of art and cultural heritage in the Netherlands. Many professionals in museums and heritage institutions conduct interviews with artists, artist assistants and conservators, as well as with other stakeholders, such as curators, directors and collectors to learn more about the works they have in their collections. These interviews are rarely sustainably archived nor easily accessible for other researchers, as their existence as primary sources is relatively unknown. This thematic collection helps to overcome these problems and is one of the main results of the NWO funded KIEM project Interviews in Conservation Research, a partner project of the Netherlands Institute for Conservation+Art+Science (NICAS) as part of the Conservation Oral History Initiative. This is an ongoing initiative and additions to the thematic collection Interviews in Conservation Research are welcome to build a rich collection of unique source material that allows for cross-referencing and provides a unique view on the behind the scenes of the lives of works of art and cultural heritage in the Netherlands
Regulation of Azorhizobium caulinodans ORS571 nitrogen fixation (NIF/FIX) genes
No full textBiological nitrogen fixation is the microbial process by which atmospheric dinitrogen (N 2 ) is reduced to ammonia. In all microbes studied, dinitrogen reduction is catalyzed by a highly conserved enzyme complex, called nitrogenase. The nitrogenase subunits and functions required for nitrogenase assembly and activity are encoded by the nitrogen fixation (nif/fix) genes.Nitrogen-fixing organisms can be roughly divided into two major groups: the free-living nitrogen fixing (diazotrophic) species, such as Klebsiella pneumoniae, Azotobacter vinelandii and Rhodobacter capsulatus, and symbiotically N 2 fixing organisms, such as Rhizobium species and Bradyrhizobium japonicum.The fate of the ammonia produced by these two distinct groups of nitrogen fixing organisms is quite different. While free-living nitrogen-fixing organisms will assimilate the ammonia produced for their own growth (diazotrophy), the strictly symbiotically nitrogen-fixing organisms (predominantly) excrete the ammonia into the cytoplasm of infected plant cells, to be assimilated by the host. The regulation of nitrogen fixation (nif/fix) gene expression is quite different as well, and has been difficult to compare directly between diazotrophs and strictly symbiotic nitrogen fixing organisms. The discovery of Azorhizobium caulinodans ORS571, a tropical rhizobium capable of both diazotrophy and symbiotic nitrogen fixation in stem- and root nodules induced on its host, the tropical shrub Sesbania rostrata, changed this situation and has allowed a direct comparison of (nif/fix) gene regulation in the diazotrophic versus symbiotic state. This unusual organism was chosen for the research reported in this thesis, which focuses on the expression of the central (nif/fix) regulatory gene nifA , a gene which is essential for diazotrophic growth and symbiotic nitrogen fixation, and which responds to a complex regulatory circuit.In chapter 2 a current review of the regulation of nitrogen fixation genes is presented. The review focuses on the regulation of nifA gene expression and NifA activity in different bacterial species.In chapter 3 the involvement of ntr-mediated control of the nifA promoter via the -24/-12 element is analyzed by site-specific mutagenesis and chimeric nifA - lacZ reporter gene fusions integrated into the A. caulinodans chromosome. The -24/-12 promoter element was shown to be important for nifA gene expression suggesting the involvement of a σ54 (NtrA; RpoN)-type transcription factor in nifA gene regulation.Chapter 4 addresses the involvement of a ntrA(rpoN) -like sigma factor in nifA expression, and reports the cloning and analysis of an A. caulinodans ntrA(rpoN) gene. Although the ntrA(rpoN) gene identified in this study was shown to control the expression of some of the A.caulinodans nif genes (like nifHDK) and nitrate assimilation genes, it did not appear to regulate the expression of nifA , suggesting the presence of an additional ( nifA specific) ntrA ( rpoN )-equivalent gene.To search for trans -acting factors involved in the regulation of the nifA expression, the in vitro interaction of proteins in A. caulinodans crude cell extracts with the nifA regulatory region was studied by gel retardation assays. Chapter 5 presents the binding of (a) sequence-specific protein(s) in extracts of A.caulinodans to the nifA 5' upstream region. However the nature of the protein(s) and the exact location of the binding site in the nifA 5' upstream region remains to be determined.During the preparation of crude cell extracts from A. caulinodans fi xLJ and fixK mutant strains, large amounts of a red/pink, UV fluorescent pigment was observed in the culture medium. Chapter 6 describes the isolation and characterization of this pigment.Chapter 7 describes the isolation and characterization of an leuA -like gene of A.caulinodans which was incidentally identified with an Escherichia coli fnr probe. Comparison of the 5' upstream region of the A. caulinodans leuA gene with the leu operons of other organisms suggest a conserved regulation mechanism for the expression (transcription attenuation), found in many amino acid biosynthetic operons.Finally in chapter 8 the current model for nitrogen fixation gene regulation in A.caulinodans, deduced from the studies presented in this thesis and previous data, is presented
Verzamelen van het onhoudbare
No full textElk kunstwerk vergaat als het niet goed verzorgd wordt, maar sommige werken zijn vanuit de aard van het werk niet goed verzamelbaar. Het beheer ervan vraagt dan om heel specifieke kennis van het kunstwerk en een uitgebreide registratie van de presentatie ervan. Sanneke Stigter, kunsthistoricus en restaurator, schrijft over de voorwaarden die een goed beheer aan het museum stelt
Interview Louis Baltussen on The Shortest Day at the Van Abbemuseum
No full textResearcher Sanneke Stigter interviews Louis Baltussen from the Van Abbemuseum, both for his expertise about the practicalities of Jan Dibbets’ site-specific installation The Shortest Day at the Van Abbemuseum (1970) and for his memory as a visitor to the Van Abbemuseum seeing the work installed in the early 1970s
Collecting the ephemeral
No full textElk kunstwerk vergaat als het niet goed verzorgd wordt, maar sommige werken zijn vanuit de aard van het werk niet goed verzamelbaar. Het beheer ervan vraagt dan om heel specifieke kennis van het kunstwerk en een uitgebreide registratie van de presentatie ervan. Sanneke Stigter, kunsthistoricus en restaurator, schrijft over de voorwaarden die een goed beheer aan het museum stelt
Interviews in Conservation Research
No full textInterviews in Conservation Research is a growing collection of oral history records that can inform the preservation, conservation and presentation of works of art and cultural heritage in the Netherlands. Many professionals in museums and heritage institutions conduct interviews with artists, artist assistants and conservators, as well as with other stakeholders, such as curators, directors and collectors to learn more about the works they have in their collections. These interviews are rarely sustainably archived nor easily accessible for other researchers, as their existence as primary sources is relatively unknown. This thematic collection helps to overcome these problems and is one of the main results of the NWO funded KIEM project Interviews in Conservation Research, a partner project of the Netherlands Institute for Conservation+Art+Science (NICAS) as part of the Conservation Oral History Initiative. This is an ongoing initiative and additions to the thematic collection Interviews in Conservation Research are welcome to build a rich collection of unique source material that allows for cross-referencing and provides a unique view on the behind the scenes of the lives of works of art and cultural heritage in the Netherlands
Reflections on the artist interview and the conservator's point of view by example of Ger van Elk
Get PDFGer van Elk is regarded as a conceptual artist, although the relationship between the material execution and the concept contributes significantly to the final work of art. He creates painterly or sculptural artworks and installations in which photography, film and video are incorporated in an unconventional way. His work became internationally known when he participated in high-profile exhibitions, such as Op losse schroeven and When Attitude Becomes Form in 1969. Soon after this he worked in Los Angeles, together with Bas Jan Ader, where he took up the medium of photography for the first time in order to visualise his ideas. The significance of his work lies in a visual play involving the relationship between artwork and reality, in which the traditions and the mechanism of representation in art are examined. The quality of the image must be perfect to obtain the intended effect, but due to the degradation of the photographic material this is often no longer the case. Therefore, the core of the conservation problem of his work is whether photographic components should be replaced and if so, in which manner this should be done. This is problematic since the photographs are incorporated in three-dimensional structures and have been painted on as well, which makes it clear that these are unique works that cannot simply be reproduced
Reflections on the artist interview and the conservator's point of view by example of Ger van Elk
Get PDFGer van Elk is regarded as a conceptual artist, although the relationship between the material execution and the concept contributes significantly to the final work of art. He creates painterly or sculptural artworks and installations in which photography, film and video are incorporated in an unconventional way. His work became internationally known when he participated in high-profile exhibitions, such as Op losse schroeven and When Attitude Becomes Form in 1969. Soon after this he worked in Los Angeles, together with Bas Jan Ader, where he took up the medium of photography for the first time in order to visualise his ideas. The significance of his work lies in a visual play involving the relationship between artwork and reality, in which the traditions and the mechanism of representation in art are examined. The quality of the image must be perfect to obtain the intended effect, but due to the degradation of the photographic material this is often no longer the case. Therefore, the core of the conservation problem of his work is whether photographic components should be replaced and if so, in which manner this should be done. This is problematic since the photographs are incorporated in three-dimensional structures and have been painted on as well, which makes it clear that these are unique works that cannot simply be reproduced
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