Self-assembly of a charge-neutral molecular square

Complexation of cadmium(II) by the ditopic (bis-tridentate) thiocarbazone ligand 1,5-bis(6-methyl-2-pyridylmethylene) thiocarbonohydrazide, H2L1, results in the self-assembly of a charge-neutral 2 x 2 molecular grid, [Cd-4(L-1)(4)], comprising four metals and four ligands in an interlocked cyclic array. The solid-state structure of this tetramer has been established by X-ray crystallography and in solution by H-1 NMR spectroscopy. The presence of lower molecular weight oligomers was identified by both NMR and ESI-MS.

Cleaner shrimp use a to advertise cleaning rocking dance service to clients

Signals transmit information to receivers about sender attributes, increase the fitness of both parties, and are selected for in cooperative interactions between species to reduce conflict [1, 2]. Marine cleaning interactions are known for stereotyped behaviors [3-6] that likely serve as signals. For example, dancing and tactile dancing in cleaner fish may serve to advertise cleaning services to client fish [7] and manipulate client behavior [8], respectively. Cleaner shrimp clean fish [9], yet are cryptic in comparison to cleaner fish. Signals, therefore, are likely essential for cleaner shrimp to attract clients. Here, we show that the yellow-beaked cleaner shrimp [110] Urocaridella sp. c [11] uses a stereotypical side-to-side movement, or rocking dance, while approaching potential client fish in the water column. This dance was followed by a cleaning interaction with the client 100% of the time. Hungry cleaner shrimp, which are more willing to clean than satiated ones [12], spent more time rocking and in closer proximity to clients Cephaiopholis cyanostigma than satiated ones, and when given a choice, clients preferred hungry, rocking shrimp. The rocking dance therefore influenced client behavior and, thus, appears to function as a signal to advertise the presence of cleaner shrimp to potential clients.

Electronic dance music culture and religion: An Overview

This article provides a comprehensive and critical overview of existing research that investigates (directly and indirectly) the religio-spiritual dimensions of electronic dance music culture (EDMC) (from disco, through house, to post-rave forms). Studies of the culture and religion of EDMC are explored under four broad groupings: the cultural religion of EDMC expressed through 'ritual' and 'festal'; subjectivity, corporeality and the phenomenological dance experience (especially 'ecstasy' and 'trance'); the dance community and a sense of belonging (the 'vibe' and 'tribes'); and EDMC as a new 'spirituality of life'. Moving beyond the cultural Marxist approaches of the 1970s, which held youth (sub)cultural expressions as 'ineffectual' and 'tragic', and the postmodernist approaches of the early 1990s, which held rave to be an 'implosion of meaning', recent anthropological and sociological approaches recognise that the various manifestations of this youth cultural phenomenon possess meaning, purpose and significance for participants. Contemporary scholarship thus conveys the presence of religiosity and spirituality within contemporary popular cultural formations. In conclusion, I suggest that this and continuing scholarship can offer useful counterpoint to at least one recent account (of clubbing) that overlooks the significance of EDMC through a restricted and prejudiced apprehension of 'religion'.