The development of targeted alpha therapy (TAT) as a viable cancer treatment requires innovative solutions to challenges associated with radionuclide retention to enhance local tumor cytotoxicity and to minimize off-target effects. Nanoparticles (NPs) with high encapsulation and high retention of radionuclides have shown potential in overcoming these issues. This article shows the influence of pH on the structure of lanthanum vanadate (LaVO4) NPs and its impact on the radiochemical yield of 223Ra and subsequent retention of its decay daughters, 211Pb and 211Bi. An acidic pH (4.9) results in a high fraction of La(223Ra)VO4 NPs with tetragonal structure (44.6–66.1%) and a 223Ra radiochemical yield <40%. Adjusting the pH to 11 yields >80% of La(223Ra)VO4 NPs with monoclinic structure and increases the 223Ra radiochemical yield >85%. The leakage of decay daughters from La(223Ra)VO4 NPs (pH 11) was <5% and <0.5% when exposed to deionized water and phosphate-buffered saline, respectively. Altering the surface chemistry of La(223Ra)VO4 NPs with carboxylate and phosphate compounds resulted in a threefold decrease in hydrodynamic diameter and a 223Ra radiochemical yield between 74.7% and 99.6%. These results show the importance of tailoring the synthesis parameters and surface chemistry of LaVO4 NPs to obtain high encapsulation and retention of radionuclides.
Intuitive Fitness is a workshop designed by dance artist and scholar Allison Peacock intended to blend practices of physical training, instant composition, and site-specific creation, while inhabiting the multiple roles of a dance artist (performers, choreographers, event planner, and audience). The workshop’s format is a result of over a decade of international research in contemporary dance and cross-training practices, and the desire to support low-tech dance performance experiences that simultaneously highlight the imaginative while training the physical. This article will detail the research and development of this workshop method, including exercise examples from the first three iterations of Intuitive Fitness, outlining responsive practices that work with site and the unique constellation of participants to build a physical and conceptual readiness for dance.
This photo essay documents the research and production of the performance Zebra, while avoiding a strict replication of the performance. This photo collection is an independent artwork, reflecting on the potential for image-based work to simultaneously represent encounters in performance and artistic research. The essay operates in the choreographic style of the performance, suggesting a connection between visual patterns and the selection of a lineage of events. The repetition, replication, and representation of a sunset is key, as it uses the photographic medium to connect the fleeting aspect of the performance with the occurrence of a sunset. The Zebra’s appearance is mediated through digital technology, a metaphor for choreographic camouflage.
In Wayward Lives, Beautiful Experiments: Intimate Histories of Social Upheaval, Saidiya Hartman threads immersive detail, sweeping narrative, and incisive critique together to chronicle the visionary labors of early-20th-century black women who dared to "live as if they were free" (xv). Narrating the "beautiful experiments crafted by poor black girls" (4) who migrated from the US South to Philadelphia and New York City between the 1880s and 1930s, Hartman establishes these "minor figure[s]" (13) as the dauntless initiators of modern struggles for black freedom, female sexual autonomy, and queer possibility. Telling stories of subjects often relegated in history as "surplus women of no significance" (xv), Hartman delivers an epic of this uncredited collective, and with it, a new scale and method for the feminist study of black women, queer life, and the social history of US American modernity.The formidable contributions of Wayward Lives arise both from the intimate histories of selffashioning and "open rebellion" (xiii) that it unearths, and from its original approach to them. Assembling a "Cast of Characters," from "Girl #1" and the "unnamed young women of the city" (xvii) who constitute the book's "Chorus," to the recognizable Ida B. Wells and Billie Holiday, Hartman deploys "close narration" (xiii), rich description, and the careful, yet nonindexical, placement of photographs to flesh out each figure and their surround. Hartman's ability to transport the reader "inside the circle" (xiv) is a feat in itself, accomplished through her scouring of archival fragments and her "speculat[ion] about what might have been" (xiv); for, as Hartman relates, where and when these figures appear in archives is often in state inventories of their criminality, not in first person narratives of their inner lives. Sustaining a critique of archival power that extends from her influential essay, "Venus in Two Acts" (2008), and from the uptake of its key terms in black studies, Hartman undertakes entirely original experiments in this new book that materialize her essay's concept of "critical fabulation" (2008:11) and make Wayward Lives a singular achievement.Book 1 propels readers into Hartman's experiment across its eight parts. Contemplating a nude photograph of the unnamed, very young Girl #2 in "A Minor Figure," Hartman exhumes the violence of the photograph's capture and its residual violence as it overdetermines Girl #2's presence in the archive. Announcing her search for "another path to her" (30), Hartman's pursuit diverts in multiple directions. Following another minor figure, Mattie Jenkins, out of the South in "An Intimate History of Slavery and Freedom," Hartman explores the desires that buoyed Jenkins while enumerating the conditions of servitude and state white supremacy that met her in New York in 1913. In "An Atlas of the Wayward," Hartman makes the first of several pivots away from the intimate lives of the wayward toward those of the reformers and Reference
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