Arp2p, a potential substrate for NatB acetyltransferase in fission yeast, is important in actin patch nucleation and motility in arp2-1 and arm1 ts mutants

The actin cytoskeleton is a dynamic and complex structure in fission yeast that plays a major function in many cell processes including cellular growth, septa formation, endocytosis and cellular division. Computational studies have shown that Arp2p, which forms part of the Arp2/3 complex, is a potential substrate of NatB acetyltransferase which has specificity for proteins possessing an N-terminal Met-Asp or Met-Glu sequence motif. In arm1- mutants the loss of function of Arm1p, an auxillary subunit required for NatB activity, results in a temperature sensitive phenotype characterized by multiple septa, failure of endocytosis, and the inability to form actin cables. A temperature sensitive mutant of Schizosaccharomyces pombe arp2 gene exhibits a similar phenotype as seen by the formation of improper septa, slow growth, and the delocalization of actin patches. Four expression vectors encoding the open reading frames of arp2 and cdc8 (tropomyosin) were constructed with a modification changing the second residue to a Histidine, believed to mimic the charge distribution of natural acetylation by NatB. Constructs tested in normal yeast strains remained viable and grew normally in the presence of Met-His Arp2p and tropomyosin. Analysis of their ability to suppress the mutant phenotypes of arp2-1 and arm1- mutants is an area of research to be explored in future studies.

Correlating Additives to Deterioration and Assessing the Effectiveness of Acrylic Coatings for the Protection of Rubber

Conservators have long been aware of the problems associated with the preservation of rubber objects due to inherent instability that can be attributed, in part, to the presence of additives. Inorganic additives, such as fillers, accelerators, stabilizers, and special ingredients are necessary in manufacturing to alter the properties of natural rubber. These materials all have different interactions with the rubber, and each other, and differing effects on the ageing process. To date, the most effective and accepted methods to preserve rubber are cold, dark storage of objects, or the use of low oxygen environments. While these methods are effective, they greatly limit access. The application of coatings to the surface of rubber objects can slow deterioration and greatly increase the ability of an institution to handle and display rubber objects. While numerous coatings for preventive and interventive treatment have been tested, none have been so successful to warrant routine use. The first section of this research highlighted the relationship between the inclusion of certain additives in natural rubber objects and the accelerated or slowed down overall degradation. In the second part of this research, the acrylic varnishes Golden Polymer Varnish with UVLS, Lascaux Acrylic Transparent Varnish-UV, Sennelier Matte Lacquer with UV Protection, and Liquitex Soluvar Varnish containing ultraviolet light absorbers or stabilizers were tested as a preventative coating for rubber. Through testing the visual and physical properties of the samples, as well as compound analysis the results of this research suggest that acrylic varnishes do provide protection, each to varying degrees. The results also provided insight into the behavior of rubber and these varnishes with continuing light exposure.

(Re)Imagining Relationality: Brad Isaacs and The Map of the Empire

The exhibition, The Map of the Empire (30 March – 6 May, 2016), featured photography, video, and installation works by Toronto-based artist, Brad Isaacs (Mohawk | mixed heritage). The majority of the artworks within the exhibition were produced from the Canadian Museum of Nature’s research and collections facility (Gatineau, Québec). The Canadian Museum of Nature (CMN), is the national natural history museum of (what is now called) Canada, with its galleries located in Ottawa, Ontario. The exhibition was the first to open at the Centre for Indigenous Research Creation at Queen’s University under the supervision of Dr. Dylan Robinson. Through the installment of The Map of the Empire, Isaacs effectively claimed space on campus grounds – within the geopolitical space of Katarokwi | Kingston – and pushed back against settler colonial imaginings of natural history. The Map of the Empire explored the capacity of Brad’s artistic practice in challenging the general belief under which natural history museums operate: that the experience of collecting/witnessing/interacting with a deceased and curated more-than-human animal will increase conservation awareness and facilitate human care towards nature. The exhibition also featured original poetry by Cecily Nicholson, author of Triage (2011) and From the Poplars (2014), as a response to Brad’s artwork. I locate the work of The Map of the Empire within the broader context of curatorship as a political practice engaging with conceptual and actualized forms of slow violence, both inside of and beyond the museum space. By unmapping the structures of slow, showcased and archived violence within the natural history museum, we can begin to radically transform and reimagine our connections with more-than-humans and encourage these relations to be reciprocal rather than hyper-curated or preserved.