My 5 minute film ended up with layers resembling this image, although I had not referenced

this consciously. The layering of things and images is becoming strong part of my practice.

Like the layers of time in our surroundings, hauntings from the past and vibrations of the future.

• One cannot not communicate: Every behavior is a form of communication. Because behavior does not have a counterpart (there is no anti-behavior), it is impossible not to communicate. Even if communication is being avoided (such as the unconscious use of non-verbals or symptom strategy), that is a form of communication. "Symptom strategy" is ascribing our silence to something beyond our control and makes no communication impossible. Examples of symptom strategy are sleepiness, headaches, and drunkenness. Even facial expressions, digital communication, and being silent can be analyzed as communication by a receiver.^[2]
• 
  

hours on end going into a dream world inspired by very beautiful familiar

surroundings. I have been thinking how I want to go into that dream world

where things are all new again and have new meanings and are not weighed

down by the symbols and signs of postmodernism, like the burden of responsibility

that is installed into us or rather that has been programmed so that we function on the believe

of having had the facts and that with that knowledge, the difficulties are self imposed with the doubt.

I studied ballet to professional level and I adore any image of movement.

I walked past this statue and was immediately drawn to it.

I am having ideas of maybe creating my own mythology set in ancient times

but based on current critiques of society. Linking old memory to new narratives

in a reparative way. Re thinking ! Through analysis taking hauntings and replacing

in the memoire to repair and create new unstable relationships.

to this method of picking words at random and creating a story by which

to create an image which we then took into screen print. I then re-used the

stencil to create this. I really enjoyed this new way of creating work.

Instant.

and wishes to the new moon. Although it was drizzling and a pitch

black night when I photographed the tree, it came out like this, dreamy

surreal.

I have become interested in her works as she explores race, Black culture and the effects of colonialism through colour.

consumed by apps.

My challenges are making my paintings softer and incorporating conceptual installations into my work as this is an area that i feel is important but does not co exist with painting.

I trundled through a lot of new to me artists before taking a break when upon looking out at the bluebells in my garden it came to me, why was i always looking at flowers...... they are everywhere, living and dying in front of us, wild cultivated a form that everyone can identify with, during all special moments in life from birth, illness, loneliness, and death and celebration. As i want disseminate my art to a more varied view of people not just art lovers this is perfect, everyone can relate to flowers. Flowers can speak for situations which can easily be communicated to everyone! You do not have to have an high intellect to appreciate their beauty or significance. I am hoping to explain issues of concern in the world today but using the power of flowers, which i know i can take forward into a conceptual space.

An image can say so much more than words. I find this photo interesting not only because of the natural bond between mother and daughter but also as they are in their own empty hairdressing Salon. The multiples prominent mirrors that they would use to communicate secretly and to observe, like a voyeur. In this photo I feel the mirrors were not being used for that purpose, just two women caught in the act of their own private thoughts, almost unaware being photographed, too absorbed within their own thoughts. I wish they were still around so that I could get the story behind the image. Time rules out these deep insights into personal histories once they are gone all we are left with are images and words, sometimes forged memories of a past unclear or is it so unclear? Scientifically it much seems much contested as to how clearly and precisely memories are recalled as the process depends on so many different factors, neurologically.

Maria Carmen Inda,1 Elizaveta V. Muravieva,1 and Cristina M. Alberini1,2
Departments of 1Neuroscience and 2Psychiatry, Mount Sinai School of Medicine, New York, New York, 10029

An established memory can be made transiently labile if retrieved or reactivated. Over time, it becomes again resistant to disruption and this process that renders the memory stable is termed reconsolidation. The reasons why a memory becomes labile after retrieval and reconsolidates still remains debated. Here, using inhibitory avoidance learning in rats, we provide evidence that retrievals of a young memory, which are accompanied by its reconsolidation, result in memory strengthening and contribute to its overall consolidation. This function associated to reconsolidation is temporally limited. With the passage of time, the stored memory undergoes important changes, as revealed by the behavioral outcomes of its retrieval. Over time, without explicit retrievals, memory first strengthens and becomes refractory to both retrieval-dependent interference and strengthening. At later times, the same retrievals that lead to reconsolidation of a young memory extinguish an older memory. We conclude that the storage of information is very dynamic and that its temporal evolution regulates behavioral outcomes. These results are important for potential clinical applications.

Introduction

A newly formed memory is initially labile and can be disrupted by a variety of interferences, including inhibition of new protein synthesis, gene expression, and inactivation of brain regions (Davis and Squire, 1984; Dudai and Eisenberg, 2004). Over time, memory becomes resistant to disruption through a process known as consolidation (McGaugh, 2000). Different types of in- terferences suggest the existence of multiple phases, or processes, underlying the temporal evolution of consolidation. For example, for hippocampal-dependent memories, hippocampal inhibition of protein/RNA synthesis indicates that the gene expression- dependent phase of consolidation is completed within the first 1–2 d (Medina et al., 2008; Alberini, 2009). In contrast, hip- pocampal lesions or inactivation result in amnesia for experi- ences that occurred several weeks (in animals) or years (in humans) before, whereas similar memories of older events re- main intact; thus, it has been proposed that memory consolida- tion reflects a processing of network rearrangement throughout the brain (Frankland and Bontempi, 2005; Moscovitch et al., 2006; Squire and Bayley, 2007).

In the last 10 years, it became clear that the protein- and RNA synthesis-dependent phase of memory consolidation is not re- stricted to the first day after training, but can occur again, even several days or weeks following training, if the memory is re- trieved or reactivated (Nader et al., 2000; Sara, 2000a). The reac- tivated, labile memory stabilizes again through a process termed

Received Sept. 9, 2010; revised Nov. 22, 2010; accepted Dec. 2, 2010.
This work was supported by National Institute of Mental Health–National Institutes of Health Grant R01-

MH074736 awarded to C.M.A., and Human Frontiers Science Program long-term fellowship LT-00861/2008-L to M.C.I. We thank Gabriella Pollonini, Reginald Miller, and the Center for Comparative Medicine and Surgery Facility at Mount Sinai School of Medicine for technical support.

Correspondence should be addressed to Cristina M. Alberini, Department of Neuroscience, Box 1065, Mount Sinai School of Medicine, New York, NY 10029. E-mail: cristina.alberini@mssm.edu.

DOI:10.1523/JNEUROSCI.4736-10.2011
Copyright © 2011 the authors 0270-6474/11/311635-09$15.00/0

reconsolidation (Nader et al., 2000; Sara, 2000a). This post- retrieval lability has been found with numerous memory tasks and in different species, although in some conditions it was not observed (Dawson and McGaugh, 1969; Tronson and Taylor, 2007; for review, see Alberini, 2005). In several cases (Milekic and Alberini, 2002; Eisenberg and Dudai, 2004; Suzuki et al., 2004; Frankland et al., 2006; Bustos et al., 2009), but not all (Debiec et al., 2002), memory shows an age-dependent, temporally graded resistance to post-retrieval disruption, suggesting that reconsoli- dation may reflect a phase of a lingering consolidation process (Dudai and Eisenberg, 2004; Alberini, 2005). Importantly, re- trieval or reactivation of a reinforced associative memory gener- ally consists of an exposure to the conditioned stimulus (CS) alone, without the reexperiencing of the reinforcing uncondi- tioned stimulus (US), a procedure known to also induce extinc- tion, that is a decrease in the conditioned response (Quirk and Mueller, 2008).

Why does memory undergo retrieval-dependent reconsolida- tion and why is reconsolidation temporally graded? Two hypoth- eses had been proposed. One posits that memory reconsolidates to update or add new information to an established memory (Lewis, 1979; Sara, 2000a; Dudai, 2004), which implies that re- consolidation can occur at any time during the life of a memory; the second proposes that memory reconsolidates to strengthen (Sara, 2000b).

Although in some experimental conditions reconsolidation occurs in parallel with memory updating (Rodriguez-Ortiz et al., 2005, 2008; Morris et al., 2006; Hupbach et al., 2007), a formal demonstration that reconsolidation mediates memory updating is still debated (Lee, 2009; Suarez et al., 2010). Furthermore, al- though a recent study showed that undergoing a reinforced ex- perience (retraining) makes the memory labile and leads to memory strengthening (Lee, 2008), the function of retrieval- induced reconsolidation remains to be established. It also re-

The Journal of Neuroscience, February 2, 2011 • 31(5):1635–1643 • 1635

• I feel invested in the need for better futures for all

• All agree my practice is founded in drawing as an escapism from the world.

• I strive to see the unknown, unlock some beautiful dream that can become a reality(Why?)

• Visual observation is my language, I need to find out what causes me to become emotionally attached to an image, what am I seeing? where is that attachment coming from ? example Dunkirk.

• Is it about human relationships?

• Alex's notes on my practice, using nature to explore the senses in a tacit way through vision

• My work flows because of my somatic need but through this act comes an engagement with the senses, which I hope connects in some way to the essences which exist in a state of separation from language, this is my journey but the outcome is unknown. I just know I need to do this !

  Is this it????????

  My praxis focuses on spatial awareness through

  phenomenology and how this can be accessed to better human relations, community and possibly create better futures for all.

Maybe the conflict is between my making of work and the need in me to feel I need to help share and make a difference in the world ??

I cannot just enjoy the selfishness of enjoying life experience, i have a need to turn it into a positive experience for other people, when they may be having this experience anyway.

In a state of emergency, there are no clear paths to transcending the gravity of time—envisioning the future from this standpoint would defy not only temporality, but timelessness. In this desynchronised reality, events manifest as ghosts, their existence limited to the half-lives they lead within the realms of social media interfaces. And the future becomes a prayer.

This piece is written as an announcement for an exhibition focusing the present war in Ukraine, the way Time is described in this change of tone is interesting as it could be used in other contexts.

I have been looking at the painter Clare Woods and Laure Prouvost, I am fed up with looking at Woods paintings and as i start to look back again at Prouvost's work i remember it instantainsly, why ??? The paintings began to blur into one! Is this a sign of the times of bombardment of images, why do Prouvost's boring images such as the one above stay in my mind? Is it the narrative? It could be? The overload of the aesthetic? Too many signs? signals? Prouvosts work relies on these too! Back to the narrative, art was originally a form of story telling so what has taken that away from it ? The complications of life and so many stories? So many personal narratives that people feel are important ? THIS IS SOMETHING I MUST LOOK INTO MORE!!!!!!

OR THE REPITITION OF THE NARRATIVE?

Introduction

The term “optogenetics” was first introduced in 2006 by Deisseroth et al. and it broadly refers to an elegant approach that utilizes genetic engineering and optical technology to control and monitor biological functions of isolated or in situ cells, tissues, organs or organisms, modified to express photosensitive proteins (Deisseroth et al., 2006; Miesenböck, 2009; Entcheva, 2013; Jiang et al., 2017; Koopman et al., 2017). The photosensitive proteins are optical sensors or optical actuators which provide fluorescent readout for changes in biological activities or allow light to manipulate the cellular biological functions, respectively (Shui et al., 2014; Jiang et al., 2017). Photosensitization of a specific cell type, tissue, or organ of interest together with the application of defined light stimulation and efficient light detection systems has enabled optogenetics to perturb and monitor biological functions non-invasively with high spatiotemporal resolution (Boyden et al., 2005; Park et al., 2014; Koopman et al., 2017). Biomedical applications of optogenetics have evolved from neuroscience with needs to precisely and rapidly control individual cells in a vertebrate brain for deciphering the neural circuitries underlying behavior and diseases, replacing approaches which were not precise enough to target specific neuron populations, were highly invasive, or were too slow in kinetics (Boyden et al., 2005; Zhang et al., 2010; Mei and Zhang, 2012; Guru et al., 2015). Historically, the concept of optogenetics was conceived for neuroscience in 1979 with the suggestion from Francis Crick on the potential utility of light in providing rapid spatiotemporal control for targeting specific neurons; however, during that time neuroscientists did not know methods to apply such photosensitive proteins in neuroscience (Deisseroth, 2011). Nevertheless, microbiologists had already known during that time on the existence of photosensitive proteins which regulates ion flow across the plasma membrane in some microorganisms (Oesterhelt and Stoeckenius, 1971; Matsuno-Yagi and Mukohata, 1977; Deisseroth, 2011). The seminal development in the field evolved with a pioneering study by Nagel et al. (2003) which demonstrated the feasibility to express microbial opsins, a light-sensitive ion channel protein, in non-excitable mammalian cells and enable fast, light-induced cell depolarization by tens of mV. Similarly, another pioneering study by Boyden et al. (2005) demonstrated the efficacy of light in modulating the electrical excitability of neurons with high spatial and temporal resolution upon expression of microbial opsins in mammalian neurons. These studies led to an unprecedented growth of optogenetics in different areas of neuroscience but the field was largely unexplored for cardiovascular research at that time (Deisseroth, 2011; Entcheva, 2013; Guru et al., 2015). Fortunately, a new realm of cardiac optogenetics was laid by Bruegmann et al. and Arrenberg et al., after their remarkable studies on the successful applications of optogenetics for controlling cardiomyocyte excitability both in vitro and in vivo of adult mouse hearts and on the localization of pacemaker cells in the developing zebrafish heart, respectively (Arrenberg et al., 2010; Bruegmann et al., 2010; Entcheva, 2013).

In this review, we will begin with background on the photosensitive proteins commonly used in optogenetics, including their origin, chemical composition, structures, types, and biophysical properties. Then, we will review common genetic engineering approaches for expression of optogenetic proteins in the target cells, tissues and organs. Finally, we will focus on the potential applications of optogenetics for cardiovascular research and medicine and will conclude with some considerations for the translation of the field for clinical therapies.

I had hoped that the trip was going to have a healing effect, so as I could build my practice? Is this even the way to build my practice?

I feel like an octopus with a dagger in its head, its hearts and legs thrashing in all directions trying only with emotion to fathom things out, having no brain to make logical connections.

I have realised that what is wrong is there are too many things in my head connected to basic living, needed to survive modernity and the anthropothcene that when I make art it can only come my somatic need, a primeval connection through my body to the senses. This can not just be called upon at will and can never be understood.

Thoughts Organic but still referencing mechanical and the industrial revolution. Very strong detail on metal work with direct ref. Other thoughts, Flintstones house.

— Oscar Murillo, from interview with Hans Ulrich Obrist published in Work (Rubell Family Collection: 2012)

His other early works employ a sculpture of canvas giving a 3 dimential effect, which I find is fuelling my passion at the moment from making 3 dimensional work.

My grand daughter and I spent some time together deep in meaningful conversations on life, (we also did our tarot cards).

She expressed her deep feelings on life and came across as a wise well rounded young person that I am truly honoured to have in my life.

What surprised me about our conversations apart from the now 'normal' issues of life of a young person like school and social media was her perception of uncomfortable daily situations. She told me she has to sit in class with her back to the wall to be able to feel comfortable and safe in her personal space, she also can feel nervous with direct eye contact, which then made then acutely aware of any eye contact that I made with her, although I am sure that during the relaxed conversations there was lots which hadn't bothered her.

Bella expressed her feelings on her everyday environment and what she thought was important in life, like normal ? To her the most important things were the same things that I have felt were important, natural relaxed conversations, many of them, talking about life, a warm cosy environment that neither of us could readily describe except we both knew what each other meant and that we both understood. She explained to me that there were family members that did not have these things and that she was troubled by this as it made her not ' feel comfortable' and was making her re-acess those relationships like it was her problem that she had to navigate.

Margaret was the life long partner of Fergussion one of the main painters describe in the book. She achieved so much in the world of dance design art and connected physical movement to the benefits of health welfare and even metal improvement. It was her Dance notation that attracted me and the fact that my father took inspiration from her painting

Today if we are lucky we live in a box! The whole life structure is departmentalized. Life is like lego where we are expected to put the pieces together in ways that will grant us happiness- if the pieces you pick do not fit together you do not grow- the frustration of a little child that can not fix them together or has made the wrong choice and can not separate them ! (these days you can get little tools to help!)

Why is the simple box so problematic! Deleuze & Guattari worked it out or did they? They came up with Rhizomes.