Apo horse spleen ferritin (apo HoSF) was reconstituted to various core sizes (100-3500 Fe3+/HoSF) by depositing Fe(OH)3 within the hollow HoSF interior by air oxidation of Fe2+. Fe2+ and phosphate (Pi) were then added anaerobically at a 1:4 ratio, and both Fe2+ and Pi were incorporated into the HoSF cores. The resulting Pi layer consisted of Fe2+ and Pi at about a 1:3 ratio which is strongly attached to the reconstituted ferritin mineral core surface and is stable even after air oxidation of the bound Fe2+. The total amount of Fe2+ and Pi bound to the iron core surface increases as the core volume increases up to a maximum near 2500 iron atoms, above which the size of the Pi layer decreases with increasing core size. Mössbauer spectroscopic measurements of the Pi-reconstituted HoSF cores using 57Fe2+ show that 57Fe3+ is the major species present under anaerobic conditions. This result suggests that the incoming 57Fe2+ undergoes an internal redox reaction to form 57Fe3+ during the formation of the Pi layer. Addition of bipyridine removes the 57Fe3+ bound in the Pi layer as [57Fe(bipy)3]2+, showing that the bound 57Fe2+ has not undergone irreversible oxidation. This result is related to previous studies showing that 57Fe2+ bound to native core is reversibly oxidized under anaerobic conditions in native holo bacterial and HoSF ferritins. Attempts to bury the Pi layer of native or reconstituted HoSF by adding 1000 additional iron atoms were not successful, suggesting that after its formation, the Pi layer "floats" on the developing iron mineral core.

This paper reflects on recent projects in a variety of media forms, in both formal and informal educational settings, discussing ways of expanding our notions of literacy practices which reflect their place in the wider lived experience of digital culture. We have collected these reflections under three headings. The first of these, Dynamic Literacies, presents an overarching view of literacy as both ideological, following the 'new literacy studies', and dynamic, incorporating both semiotic and sociocultural versions of literacy in ways which reflect the changing nature of lived experience in the digital age. The second strand, Productive Literacies, constructs an argument around digital making practices with younger learners which views these as media crafting, critique and artistry. The third strand, Playful Literacies, explores recent projects which are located in games and game authoring practices as a specific example of connecting pedagogy to contemporary media forms and learner agency in formal and informal settings. Taken together, the three perspectives allow for common ground to be established between multimodal production practices, whilst providing suggestions for framing literacy pedagogy in response to the pervasive use of media and technology in contemporary digital culture.

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Engaging with digital media is part of everyday living for the majority of children, yet opportunities to learn about, through and with media are denied many pupils in compulsory schooling. Whilst Media Studies in the UK is internationally reputed to be well established, changes made to the primary and secondary national curriculum in 2014 included removal of existing media study elements. We demonstrate what is lost by these actions in relation to the United Nations Rights of the Child and, in particular, the right of the child to express identity.We demonstrate how media literacy had previously been included in curriculum, enabling opportunities to address children's rights, and propose that the absence of media education is part of an overall trend of the non-prioritisation of children's rights in England and Northern Ireland. The paper calls for media literacy to be reintroduced into primary and secondary curriculum.

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The authors reflect on the relationships between film, digital media and new literacy and learning practices. They explore the ways in which the study and production of audiovisual texts can be integrated into school settings, and the attendant new pedagogies to which film and media-making give rise. They consider the development of fluid and less hierarchical teaching practices that speak better to the everyday digital lives of children and young people in relation to the socio-political barriers to progressive education. Arguing in favour of more collaborative, social and dynamic literacies inclusive of the moving image, the authors support the view that film is one of the foremost art forms of the last and the current century. ________The authors of this chapter would like to make suggestions as to how school experiences can be made more dynamic and more relevant to children and young people's digital lives outside school. We propose that one of the ways in which this might be achieved is through incorporating creative digital media and film production into the school day. By paying attention to existing theories on multiliteracies (Lankshear and Knobel 2011; New London Group 1996) and emerging thought on new pedagogies (Cannon 2018;Potter and McDougall 2017), we argue that a cultural and ideological shift in curriculum content and delivery will only come about after a reimagining of literacy in the digital age so as to include film and screen-based media (Bazalgette and Bearne 2010; BFI 2008;Potter 2012).

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