An integrative view of diversity and singularity in the living world requires a better understanding of the intricate link between genotypes and phenotypes. Here we re-emphasize the old standpoint that the genotype–phenotype (GP) relationship is best viewed as a connection between two differences, one at the genetic level and one at the phenotypic level. As of today, predominant thinking in biology research is that multiple genes interact with multiple environmental variables (such as abiotic factors, culture, or symbionts) to produce the phenotype. Often, the problem of linking genotypes and phenotypes is framed in terms of genotype and phenotype maps, and such graphical representations implicitly bring us away from the differential view of GP relationships. Here we show that the differential view of GP relationships is a useful explanatory framework in the context of pervasive pleiotropy, epistasis, and environmental effects. In such cases, it is relevant to view GP relationships as differences embedded into differences. Thinking in terms of differences clarifies the comparison between environmental and genetic effects on phenotypes and helps to further understand the connection between genotypes and phenotypes.

Gene drive technology to control disease vectors or pests has great potential for addressing humanitarian and public health problems. Its application for pest control in agriculture, however, raises important environmental, social and ethical issues.

Response by the authors.

No abstract

No abstract

No abstract

Quels liens entretiennent la crise écologique actuelle et l’esthétique environnementale ? Ce que nous nous proposons de suivre comme piste, c’est que la crise écologique constitue aussi une crise de la sensibilité – une crise de notre sensibilité à l’égard du vivant. Par crise de la sensibilité, nous entendons un appauvrissement de ce que nous pouvons sentir, percevoir, comprendre, et tisser comme relations à l’égard du vivant. Cet article tente d’esquisser la généalogie, à travers la philosophie et l’histoire de l’art, d’un motif central de cette crise, profondément ancré dans notre cosmologie et notre histoire culturelle : l’idée d’une illisibilité et insignifiance du monde vivant.

No abstract