![]() ![]() I can double-tap to place an object in play or to remove it. ![]() The set of objects is displayed on the right and is always visible. I jumped into the game and then had to fumble around, losing time, figuring out how each object type worked.Įach level starts with a small set of puzzle objects to use (different for each level) and a scan of the setup so I got a good view of the level’s objective. I played a few levels and here’s what I found:įirst read the manual, if only to learn what the different puzzle objects do. Happily for me, Enigmo provides a link to sign on, but that’s it. I only mention it here for the FaceBook crowd who enjoy sharing. Since I’m not into socializing of any kind, I try to avoid Game Center like the plague, even when, as happens with some games, it gets into your face with every move. It allows users to invite friends to play a game, start a multiplayer game through matchmaking, track their achievements, and compare their high scores on a leader board. Game Center is an online multiplayer social gaming network. The graphics are clean and crisp and the overall design is pleasing, if a bit dark.Įnigmo has a connection into Apple’s Game Center. It was designed for iPhone, but works just fine on an iPad. There is a link to a web-based instruction manual. You use basic drag and drop to position them as needed. Once you have sent at least 40 droplets into each container, then you have completed that level.Ī number of puzzle objects are provided to direct the droplets into the containers. There are three types of liquids in the game: Water, Oil, and Lava. The faster that the containers are filled, the more bonus points you get. Both priced at $1.99 from iTunes.Įnigmo is a 3D puzzle game where the goal is to use the various puzzle pieces to direct droplets into their containers. This year I found an intriguing game called Enigmo from Pangea Software. Before my husband and I head out on a new cruise, I like to find some new games for my iPad to while away the hours between ports. ![]()
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It’s a cookie-cutter piece that hopes you’re so caught up in the production and the vocals that you won’t notice how bland the lyrics are or that the setting and activities are mostly recycled from the Metro-Bro era (so much for not blending in, huh?). The writing is just as lightweight and predictable as the production: The world is a fast and busy place, and the narrator wishes they “could build a world for two” where they could slow down and focus on (making out with) each other. It’s the kind of performance I hear once, think “that’s okay, I guess,” and immediately forget about the moment the next song starts playing. I also don’t find the band’s harmony vocals terribly distinct, and feel like any set of generic backup singers could have given the song the same feel. They don’t really transmit their happiness to the audience, however, so while I’m sure they’re all head over heels about someone, I don’t really feel the love myself. Technically speaking, while I can’t tell which person is showing off their falsetto on the bridge, the collective range and flow demonstrated are solid and the vocal transitions are smoothly handled, and all three lead singers have enough charisma to credibly perform the narrator’s role. As equitable as the arrangement might be, it’s also completely unnecessary: The three artists sound so similar that I didn’t realize multiple people were covering the lead until I watched the music video. The group lists three different members (Jordan Harvey, Chad Jervis, and Simon Dumas) as lead vocalists, but Harvey and Dumas do most of the heavy lifting here, each getting a verse to themselves while Jervis is left closing the choruses by himself. I can’t blame them too much for their cautious approach (visceral reactions like SCM’s coming out even before their music dropped seems to justify the move), but I’m more than allowed to be bored by it. The mix is standard “lightweight love song” fare, and almost seems afraid to be anything more than that. As it is, it’s got a bright, positive sound and a pretty decent groove, but its utter lack and power and volume keep it from generating any energy or momentum as it goes along, and it doesn’t have anything to make it stand out from its competition and entice the listener to pay attention. It’s as if everyone involved with this project anticipated the blowback from creating a country version of the Backstreet Boys, and were trying to make their sound as non-threatening as possible to try to mitigate the problem. ![]() The production is even more safe and milquetoast than you’d expect: Bright acoustic guitars with a light touch, the cleanest, slickest electric guitars providing some simple chord work, a few piano notes to indicate the depth of the narrator’s feelings, and a barely-there clap track with absolutely zero punch. I wouldn’t go rush out and buy a ticket for these guys, but I wouldn’t call up Paul Revere and sic the dogs on the sextet yet either. The reality, as it often is, lies somewhere in the middle: The band is a inoffensive, middle-of-the-road “Dan + Shay + 4” soundalike that blends seamlessly into the rest of the forgettable lightweight material on the radio these days. Their website brands them as a “multi-national supergroup” whose members “aren’t looking to blend into the crowd,” while SCM labels them a “manufactured boy band” that is “hopscotching hundreds of more worthy entertainers” on to way to a nationwide single release. My fellow Kyle over at Saving Country Music has been banging the drums of war for months now over King Calaway, the latest creation from the mad scientist labs of Music Row to hit the airwaves. Hey look, another molehill that we made into a mountain. ![]() ![]()
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Peele’s partner Keegan-Michael Key even saw the seeds of Peele’s horror career being planted while working on their show, saying in an Indiewire piece from 2017, “I would watch him solve problems on set and I just knew he was going to be a director."īy Season 3 of Key & Peele, it seemed that the show’s creative team had so many ideas for horror-themed sketches that they decided to just do an entire Halloween episode composed entirely of these sketches. ![]() However, working alongside Antecio, Key & Peele’s sketches offer a window into the duo’s - and specifically Peele’s - horror obsessions, since despite how absurd and wacky a lot of their comedy is, they’re not as detached from Peele’s work as a director as you might assume. When Peele made his transition to directing in 2017, he was still mostly known as one half of the TV sketch comedy duo Key & Peele, who had a somewhat muted transition to the big screen in 2016’s Keanu while teaming up with their frequent Key & Peele director Peter Atencio. While it now feels as if Jordan Peele’s ascendency to horror movie auteur now makes total sense, it wasn’t always that way. With his latest Nope coming out this week, it's safe to say that Peele has pretty firmly established himself as a horror director who’s well aware of the genre’s tropes, but is able to subvert them with his signature brand of social satire that also doesn’t skimp on genuinely terrifying moments. No film director has embodied this idea in recent years than Jordan Peele, who started in sketch comedy but has become one of modern horror’s defining directors, first with the genre-changing Get Out and then with its equally thought-provoking follow-up, Us. 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![]() ![]() The translational displacement scales with the effective friction induced by a PPI, thus producing a mechanical signal when a binding event occurs. METRIS measures the translational displacement of protein-coated particles on a protein-functionalized substrate. The mechanically transduced immunosorbent (METRIS) assay utilizes rolling magnetic probes to measure PPI interaction affinities. Here, we present a novel technique that leverages the fundamental concept of friction to produce a mechanical signal that correlates to binding potential. Yet, conventional methods rely upon the law of mass action and cannot measure many PPIs due to a scarcity of reagents and limitations in the measurable affinity ranges. Measuring protein-protein interaction (PPI) affinities is fundamental to biochemistry. ![]() We hope the information summarized in this article can serve as technical references for further understanding the regulation of plant adaptation to abiotic stress at the protein level. This review concludes classic PPI approaches in plant response to abiotic stresses and their limitations for identifying complex network of regulatory proteins of plant abiotic stresses, and introduces the working mechanism of TurboID-based PL, as well as its feasibility and advantages in plant abiotic stress research. TurboID-based PL has been successfully applied in animal, microorganism and plant systems, particularly to screen transient or weak protein interactions, and detect spatially or temporally restricted local proteomes in living cells. TurboID, a biotin ligase produced by directed evolution, has the advantages of non-toxicity, time-saving and high catalytic efficiency compared to other classic protein-labeling enzymes. Biotin-based proximity labeling (PL) is a recently developed technique to label proximal proteins of a target protein. Protein-protein interaction (PPI) approaches can be used to screen stress-responsive proteins and reveal the mechanisms of protein response to various abiotic stresses. In general, our studies allow high-throughput determination of protein interacting affinity without any purification, and both the approach and scientific discoveries can be applied to proteins that are difficult to be expressed in general.Ībiotic stresses are major environmental conditions that reduce plant growth, productivity and quality. We then applied this approach to determine the interaction affinities of SUMO E3 PIAS1 and Ubc9 with a SUMO substrate, influenza virus protein, NS1, and, for the first time, the SUMO E3 ligase-substrate interaction affinity is determined, which enables us to provide a kinetics explanation for the two-enzyme substrate recognition mode. The interaction affinities from two purified proteins and two un-purified proteins in the presence of BSA, bacterial extracts or two mixtures are all in excellent agreement with that obtained from the SPR measurement. We developed this approach first using SUMO E2 conjugating enzyme, Ubc9, and SUMO substrate, RanGap1c. Here, we present a development of high-throughput approach to determine protein interaction affinity for un-purified interacting proteins using quantitative FRET assay. ![]() In this article, an overview is given of the methodologies available for analysis of protein-protein interactions.Īlthough various technologies can determine protein-protein interaction affinity, Kd, current approaches require at least one interacting protein to be purified. Currently available techniques vary with respect to accuracy, reliability, reproducibility and throughput and their performances range from a mere qualitative demonstration of binding to a quantitative characterization of affinities. It is made even more demanding by the need to determine the intensity of interactions quantitatively in order to properly understand protein interplay. However, this does not meet the challenge of investigating the highly complex interaction patterns in cellular systems. Until recently, interactions of only few protein partners could be analyzed in a single experiment. Many protein isoforms that result from mutations, splice-variations and post-translational modifications also come into play. Far less information, however, exists about protein-protein interactions, which are required and responsible for cellular activities and their control. In consequence, the basic set of human proteins is generally known. Genome sequencing has led to the identification of many proteins, which had not been recognized before. ![]() ![]() Nothing that goes online is truly private and will stay there for a long time. The internet is not anonymous as you think it is. If the agenda of the group is specified, stick to it.Even if you are wishing a colleague for his/her birthday, make it a personal text rather than flooding the group. Messages or forwards meant for friends are inappropriate in a workgroup. Since a lot more of our lives are now online, it is important to separate the personal and the professional. Everybody respects the others’ video call timings and does little things, like not running the blender, to make lives easier. When you have many people living in your house, a schedule display works best. It means that it is your responsibility to ensure nothing untoward is visible when you turn on your video.Ideally, create a makeshift workspace for yourself and attend all your calls from there. We get that everyone cannot spare a room as a designated workspace, quiet and adequately furnished. ![]() It reduces ambient noises and removes distractions. In the era of video calls, netiquette dictates that you remain on mute and unmute yourself only when you are contributing to the discussion. Human error is certainly acceptable and understandable, but the steps you take to avoid them determine your worth. Whether you are answering a question or sharing a piece of information that you found online, ensure its accuracy. Brevity and clarity are your new best friends. We need to re-train our brains to be precise for, attention span online is lesser than when you are talking face-to-face. There is a significant gap between in-person and online communication. Most computers have predictive inputs and spellchecks. ![]() Personal preferences aside, the way you type, your choice of vocabulary and grammar all contribute to people’s perception of your work ethic.Take that few extra seconds to articulate your ideas grammatically and spell them correctly. A flame is a comment that involves a vicious personal attack. Never flame in a professional, pubic forum. And most of us vent and gossip to rid ourselves of the pent up anger.But that is what personal chats and phone calls are for. ![]() Disagreements and frustrations are common, more so when faced with fear and fatigue from the pandemic. It is worth going the extra mile to be affable. Your identity as a colleague or a classmate will be built from a tiny box that has your video or your display picture. Take some time to familiarise yourself with the people you are interacting with.You should have a general idea of what is acceptable and what is not, what is offensive and what isn’t. Please and thank you are still powerful words they go a long way, even in an online forum. When you want to emphasize something, underline or *asterisks* are better options than turning on your caps lock. Uppercase typing is always translated as shouting, unless you are filling out a form. Avoid typing in all uppercase letters.So, unless you know the person o the other end very well, this is a risk not worth taking. Sarcasm and dry wit are great devices of communication, but they have a tendency to fall flat without non-verbal cues to support them.Your sarcasm can be perceived as rude or blunt by the recipient. Be conscious of your tone, especially when you are texting or composing an email.You cannot always be the silent reader/observer.Figure out where you fit in and contribute effectively to the discussions, whether it is a classroom or a team meeting. Participate when required and make your presence felt. Being critical might be a job requirement, but you cannot be blunt about it just because there is a computer in front of you. ![]() Remind yourself that a Zoom call is not a YouTube video.You are still dealing with very real people and emotions. It is very easy to get depersonalised when you are sitting in front of your computer. ![]() ![]() ![]() There are no specific numbers because we do not know the exact amount of resources this imaginary economy has, nor do we know how many resources it takes to produce healthcare and how many resources it takes to produce education. The second major difference is the absence of specific numbers on the axes of the PPF. Thus, the slope is different at various points on the PPF. In contrast, the PPF has a curved shape because of the law of the diminishing returns. This is because its slope is given by the relative prices of the two goods, which from the point of view of an individual consumer, are fixed, so the slope doesn't change. The first is the fact that the budget constraint is a straight line. There are two major differences between a budget constraint and a production possibilities frontier. What’s the difference between a budget constraint and a PPF? By now you might be saying, “Hey, this PPF is sounding like the budget constraint.” If so, read the following Clear It Up feature. Just as with Alphonso’s budget constraint, the slope of the production possibilities frontier shows the opportunity cost. What would the opportunity cost be for the additional education? The opportunity cost would be the healthcare society has to forgo. Suppose it considers moving from point B to point C. Because the PPF is downward sloping from left to right, the only way society can obtain more education is by giving up some healthcare. Suppose society has chosen to operate at point B, and it is considering producing more education. Most importantly, the production possibilities frontier clearly shows the tradeoff between healthcare and education. However, it does not have enough resources to produce outside the PPF. ![]() Society can choose any combination of the two goods on or inside the PPF. In effect, the production possibilities frontier plays the same role for society as the budget constraint plays for Alphonso. Alternatively, the society could choose to produce any combination of healthcare and education on the production possibilities frontier. If it were to allocate all of its resources to education, it could produce at point F. However, it would not have any resources to produce education. If the society were to allocate all of its resources to healthcare, it could produce at point A. At D most resources go to education, and at F, all go to education.įigure 2.3 shows healthcare on the vertical axis and education on the horizontal axis. At A all resources go to healthcare and at B, most go to healthcare. Education Production Possibilities Frontier This production possibilities frontier shows a tradeoff between devoting social resources to healthcare and devoting them to education. The production possibilities frontier in Figure 2.3 illustrates this situation.įigure 2.3 A Healthcare vs. Suppose a society desires two products, healthcare and education. As you read this section, focus on the similarities.īecause society has limited resources (e.g., labor, land, capital, raw materials) at any point in time, there is a limit to the quantities of goods and services it can produce. There are more similarities than differences between individual choice and social choice. ![]() This section of the chapter will explain the constraints society faces, using a model called the production possibilities frontier (PPF). Just as individuals cannot have everything they want and must instead make choices, society as a whole cannot have everything it might want, either.
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