Visualising the inner workings of the living cell

This post was contributed by Clare Sansom, senior associate lecturer at the Department of Biological Sciences

microscopeDr Alan Lowe, who gave the second of the two Science Week lectures on March 25, is a relatively new arrival at Birkbeck. He has been a lecturer at the Institute for Structural Molecular Biology – that is, his post is jointly held between Birkbeck and UCL – for two years.

He obtained his degrees from the universities of Bath and Cambridge and spent several years in California as a postdoctoral researcher before he was appointed to this position. He is researching the development of techniques that allow him to see inside individual, living cells, to identify single molecules, and to follow biochemical processes in ‘real time’.

Lowe started his lecture by citing the so-called central dogma of molecular biology, which can be stated in simplistic terms as ‘DNA makes mRNA makes protein’: or, in other words, that the information in DNA is transformed into the molecules that implement biochemical processes, the proteins, via mRNA.

This, however, has to be very tightly regulated to ensure that the right reactions are carried out in the right cells at the right times: regulation that is out of kilter can cause serious disease.

Metabolism is generally regulated in one of three ways. Taking a simple reaction such as
A + B à C, if you want to limit the amount of C that is produced, you can remove A or B; you can inhibit the enzyme that carries out the reaction; or you can separate A and B into different compartments.

Animal and plant cells contain many specialist compartments, the most important of which is the nucleus that segregates the chromosomes that contain the DNA from the rest of the cell. Proteins that interact with chromosomes can be kept outside the nucleus and therefore inactive until they receive a signal to enter it. Disruption of this signalling or of the nuclear membrane can lead to cancer.

A diagram that shows the distribution of (for example) molecules of one protein within a cell at a given time can be thought of as a map. Like a map, too, this information is limited because it is static. It is more instructive to follow the distribution over time, and that, too, has a geographical equivalent.

Lowe explained that when he was living in California the San Francisco Exploratorium conducted an experiment in which they gave a GPS device to each taxi in the city and followed them all over 24 hours. They could follow one taxi throughout the day or see how the overall patterns changed from hour to hour; the results are still online.

Most of the taxis behaved in a fairly predictable way, but one result could never have been predicted: a taxi landed up in San Francisco Bay. Even now, nine years after the experiment, no one knows exactly why; this is, perhaps, the geographical equivalent of a molecular event that provides one of the steps leading to cancer.

Lowe explained that he would like to be able to put a mini-GPS unit on a molecule within a cell so that it could be tracked in a similar way. This is not quite possible, but it is possible to attach a glowing molecular probe to a molecule. A protein that is isolated from jellyfish and that is known, for obvious reasons, as green fluorescent protein (GFP) can be attached to other proteins to make them glow when exposed to ultra-violet light. Derivatives of this protein have been produced that fluoresce with all the colours of the visible spectrum. It is possible to label interesting proteins with a fluorescent probe and track them through a microscope as they move through the cell, just as the San Francisco taxis were tracked.

One problem with this technique, however, is that optical microscopes and fluorescent probes rely on the visible part of the electro-magnetic spectrum. The protein molecules that we are interested in tracking are smaller than the wavelength of visible light, and, therefore, they will appear fuzzy, with all the fine detail missing. This problem was only solved by the invention of the super-resolved fluorescent microscope: its developers, Eric Betzig, Stefan Hell and William Moerner, were awarded equal shares of the 2014 Nobel Prize in Chemistry.

Lowe went back to the example of proteins entering the cell nucleus to explain this further. The membrane that surrounds the nucleus, which is known as the nuclear envelope, typically contains about 2000 nuclear pore complexes. Each complex has an hourglass-like shape with a narrow aperture through which proteins enter the nucleus, and which is filled with unstructured proteins. Small molecules can diffuse at random into the nucleus through the pore. Large molecules such as proteins, however, may be excluded from the nucleus completely, or, in contrast, they may enter but not leave it.

This is an example of the workings of ‘Maxwell’s demon’, a thought experiment that explains how the Second Law of Thermodynamics – which appears to imply that disorder must always increase – can be violated by imagining a tiny demon at a gate that only lets faster-than-average molecules through.

In the case of the molecular gate in the pore complex, only certain proteins that have been attached to another protein, known as an importin, are allowed into the pore. Lowe and his group bound quantum dots, which are fluorescent nano-particles that are small and bright enough to be visible when attached to a single molecule, to importin molecules, and tracked them as they moved through the pore complex. They found the pore complex channel to go through several stages in selecting cargoes. Most of the molecules are rejected before they enter the complex, others move into the channel before returning to the cytoplasm and only a relatively small fraction enter the nucleus. Nuclear entry requires energy; if energy is removed from the system a ‘gate’ at the bottom of the complex will remain closed.

It is possible to visualise the positions of all the molecules using a technique called single-molecule localisation microscopy (SMLM), in which the fluorescence signal is turned on in one small group of molecules at a time. This enables Lowe and his group to zoom out and look at the nuclei of thousands of cells (as at all the taxis in San Francisco), or, alternatively, to zoom in on a single channel. He used this technique to look at the distribution of proteins at the bottom of the channel through which cargo proteins enter the nucleus.

This structure is composed of tendril-like proteins that reach into the centre of the channel, and these proteins are known to be able to form a solid hydrogel under some circumstances. Lowe mixed them with an importin and showed that the proteins cross-linked to form a material that fell apart when energy was added.

This suggests a molecular mechanism through which the pore may open and close to let cargo into the nucleus. However, many of the details of the system are still unknown; he is developing ways to ‘zoom out’ and combine these images of the cell at the molecular level with larger-scale visualisation of cells that grow and divide.

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Arts Week 2015: Scribblers

This post was contributed by Steve Waters, playwright for stage, radio and screen, and also senior lecturer in Creative Writing at the University of East Anglia.

A script-in-hand performance of his new radio play, Scribblers, will be performed during Birkbeck Arts Week 2015 at 43 Gordon Square on Monday, May 18 at 7.30pm. The play charts the stormy relationship between two real life characters: young playwright Henry Fielding and the First Minister Robert Walpole.

Ahead of the sneak-preview performance on May 18, Steve offers some insights into the creative spark behind his latest theatrical work.

ScribblersScribblers’ developed out of a mystery.  I was looking into the notorious Theatre Licensing Act of 1737 with which in effect Robert Walpole used to extinguish an increasingly virulent culture of theatrical satire and noticed in Hansard, published a century later, there was mention of a particular play which provoked Walpole to use the power of the law against playwrights.

This play, ‘The Vision of the Golden Rump’, was apparently brought to Walpole by theatre manager Henry Giffard; yet despite Horace Walpole’s assertion that he saw it amongst his father’s papers, no trace of it has ever been found, nor has it authorship been established.

Yet the target of the law was clear – Henry Fielding, who we now know as a great novelist, but who then was famous for his amazingly bold and inventive satirical plays which were staged outside of the safe circuit of the licensed stage, in the semi-legal world of theatres such as the Little Theatre in the Haymarket.

But on closer inspection Fielding’s reputation as arch critic of Walpole’s tired Whig government was also more complicated. Wasn’t this the playwright who’d written a sycophantic preface to his innovative drama ‘The Modern Husband’, lavishing praise on Walpole who elsewhere he sent up as a dodgy butler (in ‘The Grub Street Opera’) or as the source of all political corruption in ‘The Historical Register of 1736’?

In pondering these mysteries, and looking closer at the fascinating interplay between stage and state in the 1730s, the play emerged as a tale of patronage and revenge. It begins with Fielding thrown on the mercy of Walpole as the Great Man fears he is about to lose his position under the new king; and we see Fielding attempt to bend his wild talents to please power – but in his failure, we see the birth of a radical stage where the truth is voiced whatever the consequences.

Yet whilst my heart is with Fielding I was also compelled by the figure of Walpole, Britain’s first ‘Prime Minister’, who lived and died a political animal and presided over the gradual throttling of the bold ideas of 1688. Walpole shaped a world of politics which resembles our own in its fast-track between money and influence, its paranoia and defensiveness.

So out of these mysteries emerged SCRIBBLERS, a vivid and all too familiar world of writers, theatres and politicians….it’s a comedy that gets darker as it proceeds; and a fable about art and power that I hope illuminates our times as well as revealing this fascinating moment in our past.

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Arts Week 2015: ‘Invisible’ philosopher Zambrano brought into focus

The work and legacy of Spanish philosopher and essayist, Maria Zambrano, will be explored in a two-day conference at Birkbeck, University of London, next week.

Maria Zambrano conferenceHer philosophical standpoints and impactful writing will be discussed during Birkbeck Arts Week at a conference – Maria Zambrano amongst the Philosophers: A Reconsiderationheld in Birkbeck’s School of Arts, Gordon Square, on Thursday 21 and Friday 22 May. Places at the free-to-attend conference are still available.

Zambrano (1904-1991), who was associated with the Generation of ’36 movement of artists, poets and playwrights who worked at the time of the Spanish Civil War, wrote extensively on the theme of what she called “poetic reasoning”.

Influenced by philosopher Jose Ortega y Gasset, Zambrano’s work often reflected on hope and the importance of the divine in human life. She was exiled from her motherland by dictator Francisco Franco during the Civil War, but eventually returned to Madrid in 1984.

While considered by many to constitute one of the most original contributions to 20th Century thought, Zambrano’s work remains largely unknown to Anglo-Saxon academia – a factor which the conference seeks to highlight.

During the conference, five panels of scholars will discuss different aspects of Zambrano’s philosophical connections to 20th Century thought. Keynote speeches opening and closing the event will be delivered by Professors Roberta Johnson (University of Kansas) and Ricardo Tejada (Université du Maine, Le Mans).

Scholars attending the event will hail from France, USA, Belgium, UK, Spain and Sweden. During the conference there will also be a book launch of Zambrano’s Complete Works in Spanish, presented by its editor.

Dr Mari Paz Balibrea Enriquez, senior lecturer in Modern Spanish Literature and Cultural Studies at Birkbeck, who is coordinating the conference, said:

“This conference aims to spark interest in an intellectual who remains largely invisible to the Anglo-Saxon academia. Zambrano has a lot to offer to scholars, not only in philosophy, but in the Humanities as a whole.

 

“Her work speaks to a wide range of intellectual fields. She produced the kind of seminal work that can productively illuminate fields and approaches of enquiry ranging from democracy, totalitarianism, feminism, exile and diaspora or memory. And yet, her voice is oddly absent from most of those discussions as they take place in the English-speaking world.”

Maria Zambrano amongst the Philosophers: A Reconsideration runs at the Keynes Library, 43 Gordon Square on Thursday, May 21, and Room GORB04 on Friday, May 22. Both days run from 8.30am to 5.15pm

The conference is part of Birkbeck Arts Week, which runs in and around Bloomsbury from Monday 18 to Saturday 23 May. To book a free place at the event, and to view the full programme of Arts events, visit www.bbk.ac.uk/artsweek.

 

 

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Arts Week 2015: Precariousness in Latin American Cinema

Radical approaches to precariousness and violence in Latin American Cinema will be showcased in a stunning quartet of contemporary films from Brazil and Colombia which will be screened at Birkbeck, University of London.

A still from Mambo Cool, directed by Cao GuimarãesRealisms of Precariousness, a three-day series of free-to-attend screenings which push the boundaries between fiction and documentary, will run from Monday 18 to Wednesday 20 May at the School of Arts (43-47 Gordon Square) in the heart of Bloomsbury.

The screenings form part of Birkbeck Arts Week – the College’s annual arts and culture showcase. This year’s programme boasts more than 40 lectures, performances, workshops and discussions.

Realisms of Precariousness will feature the following cinematic works:

  • Exilados do Vulcão by Paula Gaitan (Brazil). A reflection on veiled time and emotions, on memory finding its path. (Monday 18 May, 6pm-9pm, Birkbeck Cinema)
  • Otto by Cao Guimaraes (Brazil). A film about about alterity, the intimate, the portrait, the image as devotion. (Tuesday, 19 May, 2pm-5pm, Keynes Library)
  • Colombian double feature (Wednesday, May 20, 6pm-9pm, Room B04, 43 Gordon Square):
  • Señoritas by Lina Rodriguez (Colombia). The picture goes up in flames when the girl performing at Señoritas walks on the streets. A certain fragility of the everyday is broken.
  • Mambo Cool by Chris Gude (Colombia). We are in a land of images and ‘exile´ where swing and sabor are well known. Something drowns at the same time that flashes like lightning – and emerges as a source of life.

The Realisms of Precariousness series – which comes as a result of collaboration between Hambre and Colombian Film Panorama with the support of the Centre for Iberian and Latin American Visual Studies (CILAVS) at Birkbeck – will also feature Q&A opportunities via Skype with the film makers, and an opportunity for attendees to discuss the status of current Latin American filmmaking.

Sebastian Wiedemann, Florencia Incarbone and Geraldine S. Kobilanski from Hambre, who have curated the screening series said Realisms of Precariousness aims to show a hidden reality, without excluding the absurd seriousness of violence or the essential poetics of precariousness.

Paula Bohórquez from Colombian Film Panorama said: “The series deals with the question of identity and gathers alternative views of some Latin American realities. Each work, in its own way, breaks the canon expected from films of certain geographies, by separating its stories from stereotypes and socio-political contexts.”

Realisms of Precariousness is part of Birkbeck Arts Week, which runs in and around Bloomsbury from Monday 18 to Saturday 23 May. To book a free place at the screenings, and to view the full programme of Arts events, visit www.bbk.ac.uk/artsweek.

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Notes

Hambre is an observatory and laboratory dedicated to research, discussions and the production of critical and sensitive thought by contagion and through connections with experimental cinema(s).

Colombian Film Panorama showcases Colombian documentaries and fictional films and creates relevant film programmes for London audiences