Cover Art Research Articles

Artists' Statements: IJPS volume 11, issue 1

Ani Ganzala and Taya Mâ Shere first met in an artists’ commune on the sacred shores of Bahia, Brazil, and have remained close friends ever since. Their creative work is rooted in ancestral dreaming, earth reverence, and spiritual activism. The curation of Ani’s visual art with Taya’s music in this journal was sparked by their recent retreat time together. Ani’s two pieces featured here are: “Aruanda,” (this issue's cover art) which highlights the relationship between the Black Diaspora and botanical technologies for physical and spiritual healing; and “No mundo aquático dos peixes e réptais, nós sonhamos / In the aquatic world of fish and reptiles, we dream,” which depicts physical and spiritual connection through black and queer love. Taya Mâ’s music is deeply rooted in her ritual and spiritual practice. Her piece featured here, “solidarity,” is a love song for liberation, an invocation of interdependence, and a call for collective care across realms.

Sodium Tetrakis(hexafluoroisopropyloxy)aluminates: Synthesis and Electrochemical Characterisation of a Room‐Temperature Solvated Ionic Liquid.

AbstractInvited for this issue's Front Cover is the groups of Grey and Wright. The cover picture shows the chemical structure of sodium tetrakis(hexafluoroisopropyloxy)aluminate, with the sodium ion in the beach ball and the aluminate anion floating in a pool. The cover art uses a pool theme as the sodium aluminate salt synthesised in this work is a room‐temperature ionic liquid, thus the sodium salt in the pool represents this. The application of the salt in a sodium‐ion battery is shown in the cover design with the diving board acting as a battery, which can be seen by the positive and negative signs. Cover design by Demelza Lee. Read the full text of the Research Article at 10.1002/celc.202300381.

Investigation into the NO2 gas sensing behaviour of defect-induced heteroatom (N, B)-doped reduced graphene oxide-modified mesoporous MgFe2O4

The cover art depicts the higher gas sensing activity of a defect-induced N-doped rGO-based MgFe2O4 nanocomposite for NO2 sensing.

Artist's Statement: Grief

Artist statement for the cover art of IJPS Volume 10, Issue 2: Grief, Paper and mixed media.

W.E.B. Du Bois’s The Philadelphia Negro: A Book History

The Philadelphia Negro pioneered the field of urban sociology. As a result, scholars often highlight its academic interventions that over a century after its publication remain germane to the study of cities and multiethnic populations in urban settings. While emphasis on the text’s scholarly originality and contemporary analytic relevancy is central to demonstrate its importance, consideration of The Philadelphia Negro’s book history provides an equally compelling account of its enduring significance. Book history addresses the creation of a book as a physical publication. Book history also considers the authorial choices behind infrastructural, textual adornments such as appendixes or maps. In addition, book history deals with subjects like cover art and how publishers and authors often cocreate the external visual presentation of a book’s interior contents. In this brief book history, I explore an editorial history of critical scholarly editions of The Philadelphia Negro, an analysis occasioned by a recent 2023 University of Pennsylvania Press updated edition of the text that features sociologist Elijah Anderson’s revised editorial introduction, first published in 1996. In other words, I historicize critical scholarly editions of The Philadelphia Negro to trace the book’s reception and meaning over time. I also examine selected textual and infrastructural features of each critical edition, most especially the book covers. Historical analysis of sociological writing summons historians (like me) to perform cross-disciplinary intellectual labor while it also invites sociologists to consider historical context more expansively in their assessment of sociological texts.

From an Isolable Bismolyl Anion to an Yttrium-Bismolyl Complex with μ-Bridging Bismuth(I) Centers and Polar Covalent Y-Bi Bonds.

Invited for the cover of this issue is the group of Selvan Demir at the Michigan State University. The cover art depicts the helicopter landing of the first crystallographically characterized bismolyl anion potassium salt in a desert oasis landscape with pyramids of elemental bismuth. Read the full text of the article at 10.1002/chem.202302687.

Turning science into cover art

Turning science into cover art

Artist's Statement: Blue Water Wings

Artist’s Statement for the cover art of IJPS Volume 10, Issue 1: Blue Water Wings, Acrylic

Titelbild: Cyclotetrabenzil Derivatives for Electrochemical Lithium‐Ion Storage (Angew. Chem. 29/2023)

Organic electrode materials could break the dependency of lithium-ion batteries on minerals that are scarce and mined in conflict zones. In their Communication (e202300892), Yanliang Liang, Judy I. Wu, Ognjen Š. Miljanić, Yan Yao et al. report a naphthalene-based cyclotetrabenzil macrocycle as a promising organic electrode candidate. Its eight redox-active groups bring about a high specific capacity of 279 mAh g−1, while the low solubility—a consequence of the shape-persistent structure—results in stable cycling performance. Cover art: Ella Maru Studio.

Cover Picture: Cyclotetrabenzil Derivatives for Electrochemical Lithium‐Ion Storage (Angew. Chem. Int. Ed. 29/2023)

Organic electrode materials could break the dependency of lithium-ion batteries on minerals that are scarce and mined in conflict zones. In their Communication (e202300892), Yanliang Liang, Judy I. Wu, Ognjen Š. Miljanić, Yan Yao et al. report a naphthalene-based cyclotetrabenzil macrocycle as a promising organic electrode candidate. Its eight redox-active groups bring about a high specific capacity of 279 mAh g−1, while the low solubility—a consequence of the shape-persistent structure—results in stable cycling performance. Cover art: Ella Maru Studio.

Taking Account

Taking Account

Front Cover: Asymmetric Mannich/Radical Debromination Cascade of α‐Bromoketones by Dipeptide‐Phosphonium Salt Catalysis: Enantioselective Synthesis of β‐Amino Ketone‐Pyrazolinones (Asian J. Org. Chem. 6/2023)

Peptide-phosphonium salt (PPS) catalysts, which contain multiple hydrogen-bonding donors, have displayed remarkable phase-transfer catalytic efficiency in recent years. The cover art demonstrated that PPS catalysts can efficiently promote the enantioselective Mannich/radical debromination cascade of α-brominated ketones with pyrazolinone ketimines to access valuable chiral β-amino ketone-pyrazolinone scaffolds. This protocol would open new avenues for organocatalytic enantioselective radical reactions. More information can be found in the Research Article by Tianli Wang et al.

Front Cover: The Wild‐Type tRNA Adenosine Deaminase Enzyme TadA Is Capable of Sequence‐Specific DNA Base Editing (ChemBioChem 16/2023)

The directed evolution of the adenosine deaminase enzyme TadA from an RNA-editing enzyme to an efficient DNA-editing enzyme was crucial for the development of the adenine base editor (ABE). Previous experiments showed no detectable DNA-editing activity by an ABE utilizing wild-type TadA (ABE0.1), but here we show ABE0.1 is able to edit DNA strictly within TACG motifs. This sequence requirement is partially governed by the C-terminal α5 helix of TadA, which accumulated many mutations during the directed evolution of TadA. The evolution of TadA to better access adenines within a diverse range of sequences is reflective of the Galapagos finches, which evolved different beak shapes in order to better access the food that was available to them. This cover art shows the protein structures of ecTadA (PDB: 1Z3A) and the evolved TadA8e (PDB: 6VCA), along with two species of Galapagos finches using the different α5 helix structures to access a target adenine within different sequence contexts. More information can be found in the Research Article by A. C. Komor et al.

Contents

Contents

Keith Jarrett: The Köln Concert, re-composition for a big ensemble

As a composer, you are free to create, and often the melodic choices, the harmonic solutions are the result of something truly personal. The colors found within a piece are the representation of what the composer feels and wants to put on paper, he is free to express a concept without being bound by any kind of expectations or rules. In this project, I am exploring the ways in which I can integrate and use Keith Jarrett’s improvisations as material for writinf for large jazz ensembles. To answer this question I learned about his life, his philosophy in music and how his musical style developed through the years, to get along with his musical idea and try to respect his first intention. And to prepare myself for start writing the re-composition I analyzed the transcription of the Concert in Köln, seeing how he approached the improvisation and how he used the musical elements such as the construction of the melody, the use of the rhythm and the harmonic background; all elements that I used in my work. The project demonstrates that even if is working on an improvisation, which offers such a varied material and is developed without an apparent fixed structure, it is possible to recreate compositions that have a coherence; also respecting the intention and the sound context that characterized that moment. (cover art designed by Barbara Wojirsch, copyright believed to be owned by ECM).

Cover Feature: Triorganylphosphoranides: Realization of an Unusual Structural Motif Utilizing Electron Withdrawing Pentafluoroethyl Groups (ChemPlusChem 7/2023)

The cover image shows two cyanofluorobis(pentafluoroethyl)phosphoranide anions, [P(C2F5)2(CN)F]−, as spaceships. They feature the unusual structural motif of a small, open-chained phosphoranide with three phosphorus carbon bonds. By “shooting” substituents at each other, an exchange takes place, yielding [P(C2F5)2F2]− and [P(C2F5)2(CN)2]− ions. Cover art by Jan-Hendrik Schröder. More information can be found in the Research Article by Mira Keßler and co-workers.

Presence in the Book

Presence in the Book Gerald Vizenor (bio) Click for larger view View full resolution Native dream songs are forever in the clouds, and once more the empire wars are underway. The lilies and daffodils are in bloom, and at the same time we hark back to the stories of shamans that war never ends, since evil, envy, greed, and predatory vengeance never end. The last empire war started with a royal murder, and the next world war of resentments and revenge starts with the fiery purge of books and libraries. —Gerald Vizenor, Satie on the Seine: Letters to the Heirs of the Fur Trade (2020) "I AM IN THE BOOK," pronounced Edmond Jabès in The Book of Questions. "The book is my world, my country, my roof, and my riddle. The book is my breath and my rest. . . . I have followed a book in its persistence, a book which is the story of a thousand stories as night and day are the prow of a thousand poems. I have followed it where day succeeds the night and night the day, where the seasons are four times two hundred and fifty seasons," wrote Jabès. Native American authors are in the book and reveal the trouble and timely tease of books, or as Jabès commented, "the torment of the books." Natives are in three leagues of torment in the books, as the misnamed natives of discoverers, colonists, and counterfeit histories, the grandeur of the noble savage, and the critical tease and creative literary art by native authors. The gossip theories of race and betrayals of nations were denounced in the first books by native authors in the eighteenth century, and later ethnographic monographs were rightly mocked, and the rush of cultural models were deconstructed as ironic native stories of survivance. Cristoforo Colombo misnamed natives the Indians, and Amerigo Vespucci described natives as "worse than heathens; because we did not see that they offered any sacrifice, not yet did they have a house of prayer." Puritan John Winthrop of the Massachusetts Bay Colony declared natives "enclosed no land, neither have they any settled habitations, nor any tame cattle." Critical literary memories are the future of books, the very nature and presence of printed books in the familiar world of libraries, timely ironies, and poetic perceptions of the colophon, deckle edge, and cover art. The reminiscences of printed books are not present in the future tense of computer technology or the algorithms of [End Page 43] artificial intelligence. The primary perceptions of the actual books are hardly realized on the internet or ebook readers. Click for larger view View full resolution "The books have voices. I hear them in the library," wrote Diane Glancy in Designs of the Night Sky. "I know the voices are from the books. Yet I know the old stories do not like books. Do not like the written words. Do not like libraries. The old stories carry all the voices of those who have told them. When a story is spoken, all those voices are in the voice of the narrator. But writing the words of a story kills the voices that gather in the sound of the storytelling. The story is singular then. Only one voice travels in the written words. One voice is not enough to tell a story. Yet I can hear a voice telling its story in the archives of the university library. I hear the books. Not with my ears, but in my imagination. Maybe the voices camp in the library because the written words hold them there. Maybe they are captives with no place else to go." Almost Browne, a native philosopher, always heard more than the voice of the author in a book. He heard the traces of dream songs, the seasons of hearsay, and the crowds of natives who created, enhanced, and mocked the books in libraries. Almost was born in the back of a rickety station wagon almost on the White Earth Reservation. Almost "signed and inscribed books in the name of Jesus Christ, Vine Deloria, Crazy Horse, Geoffrey Chaucer, and William Shakespeare" in the trickster novel Chair of Tears. "Many book buyers were curious about the...

Role of Scaffold Architecture and Excess Surface Polymer Layers in a 3D‐Interconnected Ceramic/Polymer Composite Electrolyte (Adv. Energy Mater. 19/2023)

Ceramic Electrolytes In article number 2203663, Ritu Sahore, Xi Chelsea Chen, and co-workers investigate the role of ceramic architecture and excess surface polymer layers in a 3D interconnected ceramic/polymer composite electrolyte. The cover art highlights that despite the interconnectedness, the high impedance polymer/ceramic interface at the surface is a bottleneck.

Regaining Quality of Life Painting Pet Portraits

Tina Primer, an artist based in Illinois, provided the cover art for the Spring 2023 issue of The Open Journal of Occupational Therapy (OJOT). “Wriggly” is an 11” x 14” painting made from acrylic on stretched canvas. After a debilitating stroke, Tina began using art as therapy. When the strength in her dominant hand did not return, painting pet portraits provided the motivation to do things differently. Tina’s playful use of color and attention to detail capture each pet’s unique personality. Discovering a new way to paint improved Tina’s quality of life.

Mycosynthesis of Zinc Oxide Nanoparticles Exhibits Fungal Species Dependent Morphological Preference (Small 15/2023)

Mycosynthesis of ZnO Nanoparticles In article number 2205799, George D. Bachand and co-workers describe a species dependency in the synthesis of ZnO nanoparticles, resulting in the formation of three distinct morphologies. These morphologies may be related to differences in the biochemical composition of the exudates including organic acids and proteins that control the nucleation and growth of nanoparticles. (Cover art by Christopher Lynne, [email protected])