Bibliografías temáticas / Biology in art – Exhibitions

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Literatura académica sobre el tema "Biology in art – Exhibitions"

Autor: Grafiati
Publicado: 26 de julio de 2024
Última modificación: 31 de julio de 2025

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Artículos de revistas sobre el tema "Biology in art – Exhibitions"

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Mironova, Tat'yana Yu. "REPRESENTATION OF HISTORY: CONTEMPORARY ART IN MUSEUMS OF CONSCIENCE." RSUH/RGGU Bulletin. "Literary Theory. Linguistics. Cultural Studies" Series, no. 8 (2020): 116–32. http://dx.doi.org/10.28995/2686-7249-2020-8-116-132.

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Contemporary art more and more actively interacts with the nonartistic museums. For instance, biological, historical as well as anthropological museums become spaces for contemporary art exhibitions or initiate collaborative projects. This process seeks to link different types of materials to make the interaction successful. Thus, several questions appear: can we talk about interaction, if the museum becomes a place for the exhibition devoted to the topics of history, ethnography or biology? Does any appearance of contemporary art in the museum territory become a part of intercultural dialogue
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Spivey, Nigel. "Art and Archaeology." Greece and Rome 65, no. 2 (2018): 266–69. http://dx.doi.org/10.1017/s0017383518000219.

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Passion. Nowadays everything must be done with passion. No ‘personal statement’ for university admission is complete without some sentiment of passionate motivation; you purchase a sandwich and learn that it has been ‘made lovingly’. So is there anything wrong with studying classical archaeology passionately – with the engagement of emotions, or ‘intensity of feeling’ (OED)? The question arises from the very title of a festal volume devoted to a (some would say, the) historical pioneer of the discipline, J. J. Winckelmann: Die Kunst der Griechen mit der Seele suchend. Since it is conventional
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Allmon, Warren D., Robert M. Ross, Richard A. Kissel, and David C. Kendrick. "Using Museums to Teach Undergraduate Paleontology and Evolution." Paleontological Society Special Publications 12 (2012): 231–46. http://dx.doi.org/10.1017/s2475262200009345.

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Museum exhibitions possess a long history of serving as useful tools for teaching both paleontology and evolutionary biology to college undergraduates. Yet, they are frequently under-appreciated and underutilized. However, they remain potentially outstanding resources because they can be used to meet a spectrum of learning objectives related to nature of science, real-world relevance, and student interest. Specifically, even small museum displays can provide: 1) authentic specimens, which often are more diverse, of higher quality, and historically more significant than those in teaching collec
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Mathiasson, Sven. "Museums of natural history—do we need their collections in the time of molecular biology?" European Review 1, no. 4 (1993): 319–28. http://dx.doi.org/10.1017/s1062798700000727.

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All over the world natural history museums act as storehouses. Billions of creatures are preserved. Most museum visitors never see these collections; they only meet the limited specimens presented in public exhibitions. Most people seem to know little about the value of these collections and how they are used. This article presents some aspects of natural history collections and their value in scientific and other contexts.
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Welch, Lonnie, Bruno Gaeta, Diane E. Kovats, and Milana Frenkel Morgenstern. "Art in Science Competition invites artworks to the annual exhibition on ISMB 2018 in Chicago." F1000Research 7 (March 19, 2018): 337. http://dx.doi.org/10.12688/f1000research.14242.1.

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The International Society of Computational Biology and Bioinformatics (ISCB) brings together scientists from a wide range of disciplines, including biology, medicine, computer science, mathematics and statistics. Practitioners in these fields are constantly dealing with information in visual form: from microscope images and photographs of gels to scatter plots, network graphs and phylogenetic trees, structural formulae and protein models to flow diagrams, visual aids for problem-solving are omnipresent. The ISCB Art in Science Competition 2017 at the ISCB/ECCB 2017 conference in Prague offered
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Milkova, Liliana, Colette Crossman, Stephanie Wiles, and Taylor Allen. "Engagement and Skill Development in Biology Students through Analysis of Art." CBE—Life Sciences Education 12, no. 4 (2013): 687–700. http://dx.doi.org/10.1187/cbe.12-08-0114.

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An activity involving analysis of art in biology courses was designed with the goals of piquing undergraduates’ curiosity, broadening the ways in which college students meaningfully engage with course content and concepts, and developing aspects of students’ higher-level thinking skills, such as analysis, synthesis, and evaluation. To meet these learning outcomes, the activity had three key components: preparatory readings, firsthand visual analysis of art during a visit to an art museum, and communication of the analysis. Following a presentation on the methodology of visual analysis, student
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Paz Agras, Luz. "El espacio expositivo como laboratorio arquitectónico: la Endless House de Frederick Kiesler." ZARCH, no. 24 (June 30, 2025): 134–45. https://doi.org/10.26754/ojs_zarch/zarch.20252411135.

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The model of Frederick Kiesler’s Endless House was part of the MOMA’s exhibition Visionary Architecture, organised in New York, in 1960. This project, not built, developed the concept of endless in domestic space from ideas defined by the author in the Manifesto of Correalism, where architecture, biology and technology are together. Conceived as a second skin to human body, biomorph and continuous, creates in the interior a space that reject the premises of Modern Movement in favour to the consideration of architecture psychological influence in its inhabitants. This article proves how the Enl
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Kikut, Patrick. "University of Wyoming Outdoor Studio Art Class." UW National Parks Service Research Station Annual Reports 35 (January 1, 2012): 172–73. http://dx.doi.org/10.13001/uwnpsrc.2012.3961.

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Since its inception as a Summer Innovative Course in 2000, the Department of Art Summer Outdoor Studio class has been exceptionally grateful for the opportunity to stay and work at the AMK Research Station as part of the three week summer intensive. For art students, the dramatic setting and accommodation are inspiring and it is a highlight of the experience. From the AMK Ranch, students have full access to the Teton NP, Yellowstone NP as well as the National Wildlife Museum in Jackson. Art students also appreciate the interaction with students from different disciplines in the sciences and of
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Kikut, Patrick. "University of Wyoming Outdoor Studio Art Class." UW National Parks Service Research Station Annual Reports 36 (January 1, 2013): 185–86. http://dx.doi.org/10.13001/uwnpsrc.2013.4023.

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Since its inception as a Summer Innovative Course in 2000, the Department of Art Summer Outdoor Studio class has been exceptionally grateful for the opportunity to stay and work at the AMK Research Station as part of the three week summer intensive course. For art students, the dramatic setting and accommodation are inspiring and it is a highlight of the experience. From the AMK Ranch, students have full access to Grand Teton NP, Yellowstone NP as well as the National Wildlife Museum in Jackson. Last year we scheduled a docent tour of the Wildlife museum and attended an informative lecture on
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Zelli, Veronica, Chiara Compagnoni, Roberta Capelli, et al. "Emerging Role of isomiRs in Cancer: State of the Art and Recent Advances." Genes 12, no. 9 (2021): 1447. http://dx.doi.org/10.3390/genes12091447.

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The advent of Next Generation Sequencing technologies brought with it the discovery of several microRNA (miRNA) variants of heterogeneous lengths and/or sequences. Initially ascribed to sequencing errors/artifacts, these isoforms, named isomiRs, are now considered non-canonical variants that originate from physiological processes affecting the canonical miRNA biogenesis. To date, accurate IsomiRs abundance, biological activity, and functions are not completely understood; however, the study of isomiR biology is an area of great interest due to their high frequency in the human miRNome, their p
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Tesis sobre el tema "Biology in art – Exhibitions"

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Li, Vivian Yan. "Art negotiations : Chinese international art exhibitions in the 1930s." Connect to resource, 2006. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1209143379.

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Forstrom, Melissa. "Interpretation and visitors in two Islamic art exhibitions." Thesis, University of Westminster, 2017. https://westminsterresearch.westminster.ac.uk/item/q3610/interpretation-and-visitors-in-two-islamic-art-exhibitions.

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In the past fifteen years there has been an increase is Islamic art exhibitions in the United States and Europe. Islamic art exhibition includes both reinstallations of permanent collections and temporary exhibitions. Often Islamic art exhibitions are equated with broader social and political contexts and infused with beliefs like Islamic art can “bridge divides” (Flood, 2007; Winegar, 2008) and “speak” for the humanity of Islam and Muslim peoples. This conflation or slippage is unique to the coverage of Islamic art exhibition and may, at least in part, be rooted in societal and religious ideo
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Hatcher, Lynn A. "Exhibition in the curriculum preparing students to complete the artistic cycle /." Atlanta, Ga. : Georgia State University, 2009. http://digitalarchive.gsu.edu/art_design_theses/49/.

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Thesis (M.A. Ed.)--Georgia State University, 2009.<br>Title from title page (Digital Archive@GSU, viewed July 13, 2010) Melanie Davenport, committee chair; Kevin Hsieh, Melody Milbrandt, committee members. Includes bibliographical references (p. 45-46).
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Fuller, Michele. "Reviewing medium: paint as flesh." Thesis, Nelson Mandela Metropolitan University, 2011. http://hdl.handle.net/10948/d1008590.

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The research question explored in this exhibition and dissertation was to review the conventional notions of craftsmanship and the use of the specific medium of oil paint with reference to the art of Rembrandt and Damien Hirst. The subject matter is flesh. This study foregrounds the involvement and acknowledgment of the corporeal body, the hand of the artist, and of the organic material reality of our existence and the objects that surround us. The paintings reflect a series of interventions that resulted in abstracted images based on photographs of meat. Once a detail had emerged that emphasi
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Asquith, Wendy. "Haiti and art : curating the nation for international exhibitions." Thesis, University of Liverpool, 2015. http://livrepository.liverpool.ac.uk/2027099/.

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This dissertation presents a fresh approach to the study of Haitian art through research conducted in the emerging interdisciplinary field of exhibition history. In a deliberate attempt to move away from existing notions of Haitian art as a formal or aesthetic style of art practice associated with primitivism – based on mid-twentieth-century art historical narratives – I have opted to explore the display of works by Haitian artists outside of conventional museum and gallery settings. Taking a broader cultural studies approach centred on three case studies, I examine the exhibition of artworks
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Kamata, Mayumi. "Chinese art exhibitions in Japan, ca 1900 to 1931." Connect to resource, 2001. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1233600845.

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이윤영 and Yoon Yung Lee. "The Joseon Fine Art Exhibition under Japanese colonial rule." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2013. http://hdl.handle.net/10722/196493.

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At the turn of the twentieth century, as Japan expanded its territory by colonizing other Asian nations, the Japan-Korea Annexation Treaty was signed in 1910 and Korea lost its sovereignty. In political turmoil, the formation of national and cultural identity was constantly challenged, and the struggle was not argued in words alone. It was also embedded in various types of visual cultures, with narratives changing under the shifting political climate. This thesis focuses on paintings exhibited in the Joseon Mijeon (조선미술전람회 The Joseon Fine Art Exhibition) (1922-1944), which was supervised by th
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Zhang, Linzhi. "Contemporary art and the exhibitionary system : China as a case study." Thesis, University of Cambridge, 2019. https://www.repository.cam.ac.uk/handle/1810/289428.

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The challenge of contemporary art, unlike in art history, has only recently been identified in sociology. Furthermore, an overly philosophical orientation, has undermined sociological expla- nations of artistic production. To remedy this, I propose a sociology of exhibitions. This entails a shift of focus from the elusive subject matter of art towards the tangible exhibition, and the construction of a new framework: the exhibitionary system, which also stands for the physical, institutional, and network environment of exhibitions. The central question in the sociology of exhibitions is to expl
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Cook, Shashi Chailey. ""Redress : debates informing exhibitions and acquisitions in selected South African public art galleries (1990-1994)" /." Thesis, Rhodes University, 2009. http://eprints.ru.ac.za/1631/.

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Palmer, Daniel. "Exhibiting practice : retrospective survey exhibitions of conceptual art, 1989-2000." Thesis, Kingston University, 2007. http://eprints.kingston.ac.uk/20221/.

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In recent decades, the retrospective survey exhibition has become one of the primary sites for the presentation of art historical propositions. This thesis examines the contribution of four such exhibitions to a history of Conceptual art: L'Art Conceptuel, Une Perspective (Paris, 1989); Reconsidering the Object of Art, 1965-1975 (Los Angeles, 1995-96); Global Conceptualism: Points of Origin, 1950s-1980s (New York, 1999); and Live in Your Head: Concept and Experiment in Britain, 1965-1975 (London, 2000). These exhibitions could not claim access to an objective and empirically verifiable categor
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Libros sobre el tema "Biology in art – Exhibitions"

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Potter, Carla. Carla Potter: Deviant biology. Anchorage Museum of History and Art, 2003.

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Wight, Gail. Gail Wight "Spike" - Eduardo Kac "Genesis": Ars Electronica '99, Cyberarts '99, Prix Ars Electronica Exhibition : O.K Centrum für Gegenwartskunst Oberösterreich in Kooperation mit Ars Electronica Center und ORF Landesstudio Oberösterreich. Edited by Kac Eduardo, Ars Electronica Center Linz, O.K Centrum für Gegenwartskunst., ORF-Landesstudio Oberösterreich, Ars Electronica (1999 : Linz, Austria), and Prix Ars Electronica (1999 : Linz, Austria). O.K Centrum für Gegenwartskunst Oberösterreich, 1999.

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Thibault, Annie. Les documents de la chambre des cultures. Axenéo7, 2002.

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Jeanette, Hoorn, and Ian Potter Museum of Art., eds. Reframing Darwin: Evolution and the arts in Australia. Melbourne University Pub., 2009.

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Jeanette, Hoorn, and Ian Potter Museum of Art., eds. Reframing Darwin: Evolution and the arts in Australia. Melbourne University Pub., 2009.

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Steinkraus, Volker, Frauke Willems, and Cato Jans. Haut: Fotowettbewerb, Skin Biology Center, Hamburg 2002. Junius, 2002.

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Wien, Künstlerhaus, ed. Evo Evo: 200 Jahre Darwin und 150 Jahre Evolutionstheorie : zeitgenössische Beiträge aus Kunst und Wissenschaft. Künstlerhaus Wien, 2009.

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Rickli, Hannes. Videogramme: Die Bildwelten biologischer Experimentalsysteme als Kunst- und Theorieobjekt. Scheidegger & Spiess, 2011.

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Zeitoun, Olivier. La fabrique du vivant. Éditions HYX, 2019.

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Elizabeth, Pearce, Pinker Steven 1954 author, Boyd Brian 1952 author, Miller Geoffrey 1965 author, and Changizi Mark A. author, eds. On the origin of art. Museum of Old and New Art, 2016.

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Capítulos de libros sobre el tema "Biology in art – Exhibitions"

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Codell, Julie F. "International Exhibitions." In A Companion to British Art. Blackwell Publishing Ltd, 2013. http://dx.doi.org/10.1002/9781118313756.ch10.

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Tanga, Martina. "Extramural Exhibitions." In Arte Ambientale, Urban Space, and Participatory Art. Routledge, 2019. http://dx.doi.org/10.4324/9781351187954-2.

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Zabunyan, Elvan. "Decolonizing contemporary art exhibitions." In Decolonizing Colonial Heritage. Routledge, 2021. http://dx.doi.org/10.4324/9781003100102-11.

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Mader, Rachel. "Art for Society, Whitechapel Art Gallery, London, 1978." In "When exhibitions become politics". Böhlau Verlag, 2016. http://dx.doi.org/10.7788/9783412504632-005.

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Brannigan, Erin. "Exhibitions and Exclusions." In Choreography, Visual Art and Experimental Composition 1950s–1970s. Routledge, 2022. http://dx.doi.org/10.4324/9781003253556-8.

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Frey, Bruno S. "Superstar Museums and Special Exhibitions." In Economics of Art and Culture. Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-030-15748-7_11.

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Grabar, Oleg. "On Catalogs, Exhibitions and Complete Works*." In Islamic Art and Beyond. Routledge, 2024. http://dx.doi.org/10.4324/9781003554424-24.

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Wynne-Jones, Victoria. "Introduction: Exhibitions and the Choreographic Turn." In Choreographing Intersubjectivity in Performance Art. Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-40585-4_1.

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Moscoso, Philip G., and Alejandro Lago. "The ‘la Caixa’ Foundation: Art exhibitions." In When Business Meets Culture. Palgrave Macmillan UK, 2011. http://dx.doi.org/10.1057/9780230295117_13.

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Vives, Anna. "Planells’ Participation in Two Major Exhibitions." In Àngel Planells’ Art and the Surrealist Canon. Routledge, 2019. http://dx.doi.org/10.4324/9780429439605-4.

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Actas de conferencias sobre el tema "Biology in art – Exhibitions"

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Pombo, Pedro M., Maria Isabel Azevedo, and Emanuel Santos. "Holography: art and science through exhibitions." In Practical Holography XXXIX: Displays, Materials, and Applications, edited by Hiroshi Yoshikawa and Pierre-Alexandre J. Blanche. SPIE, 2025. https://doi.org/10.1117/12.3044994.

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Bauer, Axel, Martin Kocur, and Juergen Hagler. "Augmenting Murals: Creating Playful AR Experiences for Wall Art Exhibitions." In 2025 IEEE Conference on Virtual Reality and 3D User Interfaces Abstracts and Workshops (VRW). IEEE, 2025. https://doi.org/10.1109/vrw66409.2025.00009.

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Aydoğan, Derya. "Art Exhibitions During the Pandemic." In COMMUNICATION AND TECHNOLOGY CONGRESS. ISTANBUL AYDIN UNIVERSITY, 2021. http://dx.doi.org/10.17932/ctcspc.21/ctc21.005.

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Along with other sectors and fields, art environments were also faced shutdowns during the COVID-19 Pandemic, which was caused by a type of coronavirus that affected the whole world and resulted in a new period during which people had to work from home and adjust their lives accordingly. In this period, many of the exhibitions were continued online. The prolongation and uncertainty of the period made it necessary to present online exhibitions with more realistic solutions. And this created a new trend towards virtual reality applications that offer closest experience to reality. Virtual realit
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Pittarello, Fabio. "Designing AR enhanced art exhibitions." In the 13th Biannual Conference of the Italian SIGCHI Chapter. ACM Press, 2019. http://dx.doi.org/10.1145/3351995.3352052.

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Prince, P. "A brief history of SIGGRAPH art exhibitions." In SIGGRAPH 89 Art show catalog - Computer art in context. ACM Press, 1989. http://dx.doi.org/10.1145/73877.73878.

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Coulton, Paul, Emma Murphy, Klen Čopič Pucihar, Richard Smith, and Mark Lochrie. "User curated augmented reality art exhibitions." In NordiCHI '14: The 8th Nordic Conference on Human-Computer Interaction. ACM, 2014. http://dx.doi.org/10.1145/2639189.2670190.

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Wee, C. J. "Coordinating Contemporary Asia in Art Exhibitions." In International Conference on Aesthetics and the Sciences of Art. Bandung Institute of Technology, 2020. http://dx.doi.org/10.51555/338678.

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Rina, Ratna Cahaya, Felicia Nathania, and Albert Jonathan. "Redefining Art Spaces: Interactive Features in Digital Art Exhibitions." In The Kyoto Conference on Arts, Media & Culture 2024. The International Academic Forum(IAFOR), 2024. https://doi.org/10.22492/issn.2436-0503.2024.56.

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Song, Suwan. "Discussions about Web Celebrities Frequenting Art Exhibitions." In 2022 3rd International Conference on Language, Art and Cultural Exchange（ICLACE 2022). Atlantis Press, 2022. http://dx.doi.org/10.2991/assehr.k.220706.006.

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Morozova, Anna. "SPANISH ART EXHIBITIONS IN RUSSIA: THE SOCIOCULTURAL CONTEXT." In 6th SGEM International Multidisciplinary Scientific Conferences on SOCIAL SCIENCES and ARTS Proceedings. STEF92 Technology, 2019. http://dx.doi.org/10.5593/sgemsocial2019v/6.1/s14.030.

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Informes sobre el tema "Biology in art – Exhibitions"

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Green, Rachel, and Jimmy Turner. Alternative Futures: Who Decides? A story of lived experiences told through art. University of Edinburgh, 2024. http://dx.doi.org/10.2218/ed.9781836450818.

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This mini-book tells the story of the ‘The Ripple – Past, Present, Future’ Project, conducted as a research partnership between the Ripple Project, a community organisation in the Restalrig, Lochend and Craigentinny areas in Northeast Edinburgh, and the Binks Hub (University of Edinburgh) in 2023-24. The project used community art-making, creative and curational methods and practices to co-research local people’s experiences and understandings of their community, and express their hopes, dreams and demands for the future. In this mini-book we focus on the four artworks produced through the pro
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Vena, Anne. Cultural Center Annual Report 2012. Inter-American Development Bank, 2013. http://dx.doi.org/10.18235/0006015.

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The Cultural Development Program promotes cultural development in Latin America and the Caribbean by financing innovative projects for training to restore artistic traditions, preserve cultural heritage, and educate youth. In 2012, we supported civil society organizations that submitted training programs related to new technologies, creative industries, tourism and natural heritage, among others. Concerts, lectures, films, art exhibitions held at headquarters representing the Bank's member countries cultural heritage
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Duncan, Michael. Recording, Sharing, and Futureproofing Art & Design Research in Pure: Make it count. University of Dundee, 2025. https://doi.org/10.20933/100001404.

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How can practice research be preserved, cited, and recognised for it's valuable contribution to knowledge and understanding? This presentation by Michael Duncan, Research Librarian at the University of Dundee, explores best practices for documenting and sharing art and design research using Pure. It highlights the importance of metadata, DOIs, and evidence-based records to futureproof creative work for the REF and beyond. Whether you’re submitting exhibitions, performances, or artistic outputs, you’ll learn how to boost the visibility and discoverability of your practice research. From underst
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Butyrina, Maria, and Valentina Ryvlina. MEDIATIZATION OF ART: VIRTUAL MUSEUM AS MASS MEDIA. Ivan Franko National University of Lviv, 2021. http://dx.doi.org/10.30970/vjo.2021.49.11075.

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The research is devoted to the study of the phenomenon of mediatization of art on the example of virtual museums. Main objective of the study is to give communication characteristics of the mediatized socio-cultural institutions. The subject of the research is forms, directions and communication features of virtual museums. Methodology. In the process of study, the method of communication analysis, which allowed to identify and characterize the main factors of the museum’s functioning as a communication system, was used. Among them, special emphasis is put on receptive and metalinguistic funct
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Moreno Mejía, Luis Alberto, and Iván Duque Márquez. Contemporary Uruguayan Artists: An Uruguayan Presence in the About Change Exhibition. Inter-American Development Bank, 2012. http://dx.doi.org/10.18235/0006209.

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Contemporary Uruguayan Artists is part of About Change: Art from Latin America and the Caribbean, a project of the World Bank Art Program in cooperation with the Cultural Center of the Inter-American Development Bank and AMA | Art Museum of the Americas at the Organization of American States. The initiative comprises a series of exhibitions of art from Latin America and the Caribbean being offered in various venues in Washington during 2011-12. The exhibition is presented In honor of Uruguay and the City of Montevideo, site of the 53rd Annual Meeting of the Board of Governors of the IDB. The w
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Sequeira, Dora María, Ileana Alvarado V., and Félix Angel. Young Costa Rican Artists: Nine Proposals. Inter-American Development Bank, 2007. http://dx.doi.org/10.18235/0006438.

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Nine artists, all living in Costa Rica, were selected out of thirty-four who responded to an open call to present portfolios. The selection criteria is to be forty years of age or younger, have had at least one individual show, and have participated in a minimum of three group exhibitions. The exhibition has been organized by the IDB Cultural Center in collaboration with the Foundation of the Central Bank Museums of Costa Rica. Works include installations and interactive digital art, digital graphics, conventional photography, ceramics, painting, wire drawing and design objects manufactured wi
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Crocker, Fiona, Lyndsay Carrigee, Kayla Clark, and Karl Indest. Peptide display for rare earth element binding. Engineer Research and Development Center (U.S.), 2025. https://doi.org/10.21079/11681/49647.

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Rare earth elements (REEs) are metals that are indispensable to the function of many advanced systems and materials. The supply chain of REEs is heavily dependent on foreign sources and supply shortages are a major concern to the US government. Biological recovery approaches could be an economically feasible approach to recover REEs from unconventional or secondary sources. The objective of this project was to express a lanthanide-binding tag, with an affinity for adsorption of REEs, on the surface of the biomining bacterium, Acidithiobacillus ferrooxidans. This was to be accomplished using sy
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Bloch, Guy, Gene E. Robinson, and Mark Band. Functional genomics of reproduction and division of labor in a key non-Apis pollinator. United States Department of Agriculture, 2011. http://dx.doi.org/10.32747/2011.7699867.bard.

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i. List the original objectives, as defined in the approved proposal, and any revisions made at the beginning or during the course of project. Our objectives were: 1) develop state-of-the-art functional genomics tools for B. terrestris. These resources will be then used to: 2) characterize genes and molecular pathways that are associated with reproduction, 3) characterize genes and molecular pathways associated with specialization in foraging or nursing activities, and 4) determine the extent to which juvenile hormone (JH) is involved in the regulation of reproduction and division of labor. 5)
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Lers, Amnon, Majid R. Foolad, and Haya Friedman. genetic basis for postharvest chilling tolerance in tomato fruit. United States Department of Agriculture, 2014. http://dx.doi.org/10.32747/2014.7600014.bard.

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ABSTRACT Postharvest losses of fresh produce are estimated globally to be around 30%. Reducing these losses is considered a major solution to ensure global food security. Storage at low temperatures is an efficient practice to prolong postharvest performance of crops with minimal negative impact on produce quality or human health and the environment. However, many fresh produce commodities are susceptible to chilling temperatures, and the application of cold storage is limited as it would cause physiological chilling injury (CI) leading to reduced produce quality. Further, the primary CI becom
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Burns, Malcom, and Gavin Nixon. Literature review on analytical methods for the detection of precision bred products. Food Standards Agency, 2023. http://dx.doi.org/10.46756/sci.fsa.ney927.

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The Genetic Technology (Precision Breeding) Act (England) aims to develop a science-based process for the regulation and authorisation of precision bred organisms (PBOs). PBOs are created by genetic technologies but exhibit changes which could have occurred through traditional processes. This current review, commissioned by the Food Standards Agency (FSA), aims to clarify existing terminologies, explore viable methods for the detection, identification, and quantification of products of precision breeding techniques, address and identify potential solutions to the analytical challenges presente
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