Microbial weeds in hypersaline habitats: the enigma of the weed-like Haloferax mediterranei

Heterotrophic prokaryotic communities that inhabit saltern crystallizer ponds are typically dominated by two species, the archaeon Haloquadratum walsbyi and the bacterium Salinibacter ruber, regardless of location. These organisms behave as ‘microbial weeds’ as defined by Cray et al. (Microb Biotechnol 6: 453–492, 2013) that possess the biological traits required to dominate the microbiology of these open habitats. Here, we discuss the enigma of the less abundant Haloferax mediterranei, an archaeon that grows faster than any other, comparable extreme halophile. It has a wide window for salt tolerance, can grow on simple as well as on complex substrates and degrade polymeric substances, has different modes of anaerobic growth, can accumulate storage polymers, produces gas vesicles, and excretes halocins capable of killing other Archaea. Therefore, Hfx. mediterranei is apparently more qualified as a ‘microbial weed’ than Haloquadratum and Salinibacter. However, the former differs because it produces carotenoid pigments only in the lower salinity range and lacks energy-generating retinal-based, light-driven ion pumps such as bacteriorhodopsin and halorhodopsin. We discuss these observations in relation to microbial weed biology in, and the open-habitat ecology of, hypersaline systems.

Truth at 24 frames a second? A working dialogue between a film-maker and a historical consultant about the making of The Enigma of Frank Ryan

We employ a practice-based methodology based on a ‘live’ film project to explore the different ways that film-makers and historians narrate the past. Through a case-study of the production and exhibition of a drama-documentary feature-film, The Enigma of Frank Ryan, on which both authors (film-maker Bell and historian McGarry) worked respectively as director and historical consultant, we explore a range of critical issues arising from our collaboration. Through a dialogue between a director and a historian, a model of good practice between historians and film-makers emerges.

'One cut too many?' History and film: a practice-based case study

This article explores the different ways that film-makers and historians approach the narrating of the past. It draws upon a collaborative, practice-based case study of a feature film project, The enigma of Frank Ryan, in order to explore the role of the history film as a vehicle for extending historical understanding. In the dialogue between film-maker and historian, a range of issues regarding the import of the history film for the practice or 'poetics' of history is explored.

Film, history and education website

This website, which forms part of a wider AHRC-funded project, provides a range of historical resources including interpretative essays, archival sources, recorded debates and further information to support the The enigma of Frank Ryan documentary (Desmond Bell, 2012). The website is designed to encourage film viewers to make their own assessments of the wider historical issues with which the films engage.

Performing Struggle: Parrhesia in Ferguson

‘The enigma of revolts.’ You can almost hear the sigh at the end of this sentence. Foucault is making a statement here, published under the title ‘Useless to Revolt’, on that ‘impulse by which a single individual, a group, a minority, or an entire people says, “I will no longer obey”’. In this short piece, I question the two sides of the enigma – how to label the revolt – is the act of rioting, such as what we witnessed in Ferguson, Missouri in August 2014 ‘proper resistance’ – and, how to understand the ēthos of the rioter. The label of counter-conduct, I argue clarifies the enigma as it allows us, challenges us even, to see the event as political. Counter-conduct provides a new framework for reading spontaneous and improvised forms of political expression. The rioter can then be seen as political and rational, as demonstrating ethical behavior. The ēthos of this behavior is represented as an ethics of the self, a form of parrhēsia where the rioter risks herself and shows courage to tell the truth, the story of her community.