Archaerhodopsin-3 (AR3) is a member of the microbial rhodopsin family of hepta-helical transmembrane proteins, containing a covalently bound molecule of all-trans retinal as a chromophore. It displays an absorbance band in the visible region of the solar spectrum (kmax 556 nm) and functions as a light-driven proton pump in the archaeon Halorubrum sodomense. AR3 and its mutants are widely used in neuroscience as optogenetic neural silencers and in particular as fluorescent indicators of transmembrane potential. In this study, we investigated the effect of analogs of the native ligand all-trans retinal A1 on the spectral properties and proton-pumping activity of AR3 and its single mutant AR3 (F229S). While, surprisingly, the 3-methoxyretinal A2 analog did not redshift the absorbance maximum of AR3, the analogs retinal A2 and 3-methylamino-16-nor-1,2,3,4-didehydroretinal (MMAR) did generate active redshifted AR3 pigments. The MMAR analog pigments could even be activated by near-infrared light. Furthermore, the MMAR pigments showed strongly enhanced fluorescence with an emission band in the near-infrared peaking around 815 nm. We anticipate that the AR3 pigments generated in this study have widespread potential for near-infrared exploitation as fluorescent voltage-gated sensors in optogenetics and artificial leafs and as proton pumps in bioenergy-based applications.
Presented from an ArtScience practitioner's perspective, this paper provides an overview of Svenja Kratz's experience working as an artist within the area of cell and tissue culture at QUT's Institute of Health and Biomedical Innovation (IHBI). Using The Absence of Alice, a multi-medium exhibition based on the experience of culturing cells, as a case study, the paper gives insight into the artist's approach to working across art and science and how ideas, processes, and languages from each discipline can intermesh and extend the possibilities of each system. The paper also provides an overview of her most recent artwork, The Human Skin Equivalent/Experience Project, which involves the creation of personal jewellery items incorporating human skin equivalent models grown from the artist's skin and participant cells. Referencing this project, and other contemporary bioart works, the value of ArtScience is discussed, focusing in particular on the way in which cross-art-science projects enable an alternative voice to enter into scientific dialogues and have the potential to yield outcomes valuable to both disciplines.
The article presents Posthuman Genetic Legacies a practice-based research project that investigates avenues of producing an alternative non-human and ongoing genetic legacy via biotechnological intervention. The project aims to establish cell lines (immortalised cells) from benign tumour (fibroid) tissue removed from the artist’s uterus following abdominal surgery in 2020. Rather than simply advocating for the uptake of biotechnological reproduction, the project aims to use this provocation to interrogate gender expectations and the desire for immortality via genetic continuance. It invites consideration on how a posthuman Xenofeminist positioning that disrupts biological norms and embraces the emancipatory and world-building potential of new technologies may offer an empowered conceptual space for rethinking the anguish of situational childlessness.
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