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Transcription factors organize into functional groups on the linear genome and in 3D chromatin

Transcription factors (TFs) and their binding sites have evolved to interact cooperatively or competitively with each other. Here we examine in detail, across multiple cell lines, such cooperation or competition among TFs both in sequential and spatial proximity (using chromatin conformation capture...
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Transcription factors (TFs) and their binding sites have evolved to interact cooperatively or competitively with each other. Here we examine in detail, across multiple cell lines, such cooperation or competition among TFs both in sequential and spatial proximity (using chromatin conformation capture assays) on one hand, and based on both in vivo binding as well as TF binding motifs on the other. We ascertain significantly co-occurring (“attractive”) or avoiding (“repulsive”) TF pairs using robust randomized models that retain the essential characteristics of the experimental data. Across human cell lines TFs organize into two groups, with intra-group attraction and inter-group repulsion. This is true for both sequential and spatial proximity, as well as for both in vivo binding and motifs. Attractive TF pairs exhibit significantly more physical interactions suggesting an underlying mechanism. The two TF groups differ significantly in their genomic and network properties, as well in their function—while one group regulates housekeeping function, the other potentially regulates lineage-specific functions, that are disrupted in cancer. We also show that weaker binding sites tend to occur in spatially interacting regions of the genome. Our results suggest a complex pattern of spatial cooperativity of TFs that has evolved along with the genome to support housekeeping and lineage-specific functions.
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Temple, Huygens and ‘sharawadgi’: tempering the passions to achieve tranquillity

Sir William Temple (1628–1699), the eminent English ambassador to the Dutch Republic and a widely read essayist,1 famously used the term ‘sharawadgi’ (beauty without an apparent order)2 to describe the layout of Chinese gardens in his essay ‘Upon the Gardens of Epicurus’:Among us, the Beau...
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Sir William Temple (1628–1699), the eminent English ambassador to the Dutch Republic and a widely read essayist,1 famously used the term ‘sharawadgi’ (beauty without an apparent order)2 to describe the layout of Chinese gardens in his essay ‘Upon the Gardens of Epicurus’:Among us, the Beauty of Building and Planting is placed chiefly, in some certain Proportions, Symmetries, or Uniformities; our Walks and our Trees ranged so, as to answer one another, and at exact Distances. The Chineses scorn this way of Planting, and say a Boy that can tell an hundred, may plant Walks of Trees in strait Lines, and over against one another, and to what Length and Extent He pleases. But their greatest reach of Imagination, is employed in contriving Figures, where the Beauty shall be great, and strike the eye, but without any order or disposition of parts, that shall be commonly or easily observ’d. And though we have hardly any Notion of this sort of Beauty, yet they have a particular Word to express it; and where they find it hit their Eye at first sight, they say the Sharawadgi is fine or is admirable, or any such expression of Esteem.3
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Interpretation of Natural Deconstruction Trough Pandemic Covid-19 Situation Based on “The Garden of Earthly Prosperity in Ground Zero”

"The Garden of Earthly Prosperity in Ground Zero" is a work of art by Isur Suroso. The painting reflects the story of the Sinom song in the text Babad Diponegoro. This fine art tells the story of Prince Diponegoro when he was raised by his great-grandmother in Tegalrejo Village, Yogyakarta. Tegalrej...
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"The Garden of Earthly Prosperity in Ground Zero" is a work of art by Isur Suroso. The painting reflects the story of the Sinom song in the text Babad Diponegoro. This fine art tells the story of Prince Diponegoro when he was raised by his great-grandmother in Tegalrejo Village, Yogyakarta. Tegalrejo Village has a simple community pattern. The beautiful natural environments in Tegalrejo Village are silent witnesses to Prince Diponegoro's life. This research aims to describe the concept of visual deconstruction with the COVID-19 pandemic situation. This research uses the deconstruction theory of Jacques Derrida. There are forms of deconstruction meaning through the pandemic situation in this painting. The fine art of "The Garden of Earthly Prosperity in Ground Zero" is divided into three parts. These parts in this fine art can reflect normal life conditions before the coronavirus pandemic appeared and reflect life after the coronavirus pandemic hit the world. The middle part of "The Garden of Earthly Prosperity in Ground Zero" interprets normal conditions. Meanwhile, two other parts describe a pandemic situation
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Concrete Violence – Wolf Vostell’s Disasters of War

Wolf Vostell is best known for the intermedial interactive events he staged on the streets of West Germany throughout the 1960s and 1970s. Berlin/100 Ereignisse (Berlin/100 events, 1965) exemplifies his work from the period, whichhe preferred to call ‘events’, ‘happenings’, ‘actions’, an...
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Wolf Vostell is best known for the intermedial interactive events he staged on the streets of West Germany throughout the 1960s and 1970s. Berlin/100 Ereignisse (Berlin/100 events, 1965) exemplifies his work from the period, whichhe preferred to call ‘events’, ‘happenings’, ‘actions’, and ‘demonstrations’, thus blurring the boundary between art and life while affiliating artistic practice with political activism.1 Berlin/100 Ereignisse involved driving around the Western sector of the city in a car and making one hundred stops: to bury a clock in the rubble of Go¨rlitzer train station, meet a naked woman wearing a gas mask, confront a sign prohibiting loitering with ‘der realita¨t einer straße’ (the reality of a street) by wielding posters with current headlines as lowercase slogans – ‘weinender U.S.-soldat im vietnamkrieg!’ (crying US soldier in the Vietnam War), ‘straßenkampf in rhodesien!’ (rioting in Rhodesia), ‘rocker mit motorra¨-dern!’ (bikers with motorcycles) – pour out a bag of sugar near the Berlin Wall, and perform an array of other more ordinary activities like eating and waiting, all for a ‘Zufallspublikum’ (chance public).2 These ‘events’ indicate the ambivalent politics and site-specificity of Vostell’s work, which often explored the topography of post-war Germany
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Man in the Middle: Ingres’s Portrait of Louis-Franc¸ois Bertin at the Salon of 1833 and the Problem of the Juste Milieu

In a corner of room 60 on the second floor of the Louvre’s Sully Wing, Ingres’s Portrait of Louis-Franc¸ois Bertin hangs adjacent to his study for Angelica saved by Ruggiero (1819) (Fig. 1).1 In the absence of Ruggiero, Angelica seems to look over her right shoulder, not at the hippogriff-ridin...
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In a corner of room 60 on the second floor of the Louvre’s Sully Wing, Ingres’s Portrait of Louis-Franc¸ois Bertin hangs adjacent to his study for Angelica saved by Ruggiero (1819) (Fig. 1).1 In the absence of Ruggiero, Angelica seems to look over her right shoulder, not at the hippogriff-riding knight who despatches a sea monster prior to rescuing her, but at a plump male figure resolutely oblivious to his neighbour and her peril. The juxtaposition of Bertin’s self-confident gaze and relaxed body with Angelica’s vulnerable nakedness could be read as an exercise in iconographical incongruity, if not a moment of curatorial mischief (Fig. 2). But whatever the explanation for the painting’s current display, it is hard not to regard this as a dramatic fall from grace for a work that had occupied the ‘place of honour’ when first shown at the 1833 Salon, and attracted voluminous coverage in the press. Bertin’s relegation to the upper reaches of the Sully Wing is consistent with the assumption that its standing as a work of art has been compromised by the received idea that it is, above all else, a social document: an archetypal image of the newly dominant bourgeoisie of early nineteenth-century France.2
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Virtual connectedness in times of crisis: Chinese online art exhibitions during the COVID-19 pandemic

When Chinese museums had to close their doors due to the outbreak of COVID-19, several online art exhibitions were created that were able to still create a sense of connectedness among their audience members during the pandemic. This article details three online exhibitions – by Chronus Art Center...
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When Chinese museums had to close their doors due to the outbreak of COVID-19, several online art exhibitions were created that were able to still create a sense of connectedness among their audience members during the pandemic. This article details three online exhibitions – by Chronus Art Center, by M WOODS, and by independent curator Yu Minhong – and explores how they communicate ‘being-in-common’ (a concept by Jean-Luc Nancy) in the online realm; it also proposes alternative forms of cosmopolitanism that do not rely on physical mobility. The exhibitions are analyzed using visual and discourse analysis and supported by semi-structured in-depth interviews with the curators. This study shows that a cosmopolitan art world does not need to rely on physical travel if connectedness is understood as being-incommon rather than meeting-in-person, digital technology is mobilized effectively, and cosmopolitanism is grounded in a relocalization. In an era when the global art world is looking for ways to reinvent itself and the mobility system on which it operates, the article contends that it would do well to look to and learn from the example of Chinese online exhibitions.
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IMAGES FOR INSTRUCTION: A MULTILINGUAL ILLUSTRATED DICTIONARY IN FIFTEENTH-CENTURY SULTANATE INDIA

When I began studying the Miftāḥ al-Fużalāʾ (Key of the Learned), Robert Skelton, the doyen of the art of the book in India, challenged me to imagine the many other manuscripts that would have been available to the artists who made this book. Attributed to the central Indian sultanate of Malwa...
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When I began studying the Miftāḥ al-Fużalāʾ (Key of the Learned), Robert Skelton, the doyen of the art of the book in India, challenged me to imagine the many other manuscripts that would have been available to the artists who made this book. Attributed to the central Indian sultanate of Malwa, the Miftāḥ is the only known illustrated Persian dictionary (farhang) in the Islamicate manuscript tradition. For its fifteenth-century makers, the Miftāḥ was a wholly new text, written in 1468–69 by Muhammad ibn Muhammad Da⁠ʾud Shadiyabadi. The Miftāḥ required its artists to search for and codify visual representations of particular words from canonized manuscript genres such as the Islamicate cosmography (ʿajāʾib al-makhlūqāt) or works of belles-lettres (adab). This process of selectively adapting from an array of genres in order to create a new one, namely the illustrated farhang, would have allowed artists to experiment with the Islamicate manuscript tradition in India. By illustrating definitions, the Miftāḥ also became a manual on literary and visual languages for students in the fifteenth century. This article demonstrates that the book was conceived as a didactic work intended to educate members of sultanate society.
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CAMERA, CANVAS, AND QIBLA: LATE OTTOMAN MOBILITIES AND THE FATIH MOSQUE PAINTING

As with many cultures around the globe, in the nineteenth century the Ottoman empire witnessed a fluidity of media, styles, objects, technologies, and themes in visual culture. Sultans’ portraits migrated across canvases, ivory, manuscripts, photographs, prints, and porcelain; curtain motifs featu...
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As with many cultures around the globe, in the nineteenth century the Ottoman empire witnessed a fluidity of media, styles, objects, technologies, and themes in visual culture. Sultans’ portraits migrated across canvases, ivory, manuscripts, photographs, prints, and porcelain; curtain motifs featured in tents, wall paintings, and architectural decorations; new and “neo” architectural styles spread via world expositions and cityscapes; depictions of buildings and landscapes reconfigured wall paintings, tombstones, ceramics, textiles, and cutout paper (ḳāṭʿı) works.1 The long tradition of depicting the Islamic holy cities also responded to these artistic and cultural changes, and images energetically circulated across different regions in shorter periods of time.2 Even though Mecca and Medina are physical places, their depictions—and by extension, the holy cities themselves—effectively traveled to far-flung audiences.
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On Black Affective Forms: A Conversation with Garrett Bradley

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Novel Assertions: A Reply to Mahon

In a recent paper, James Edwin Mahon (2019) argues that literary artworks—novels in particular—never lie because they do not assert. In this discussion note, I reject Mahon’s conclusion that novels never lie. I argue that a central premiss in his argument—that novels do not contain assertion...
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In a recent paper, James Edwin Mahon (2019) argues that literary artworks—novels in particular—never lie because they do not assert. In this discussion note, I reject Mahon’s conclusion that novels never lie. I argue that a central premiss in his argument—that novels do not contain assertions—is false. Mahon’s account underdetermines the content of literary works; novels have rich layers of content and can contain what I call ‘profound’ assertions, and ‘background’ assertions. I submit that Mahon therefore fails to establish that novels never lie.
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