Lava Lamp Research Articles

Peran Media Pembelajaran Kreatif Dalam Peningkatan Keterampilan Sains Anak Usia Dini di Kelurahan Kebonsari, Kecamatan Citangkil, Kota Cilegon

The lava lamp exercise with the children of kebonsari urban village, citangkil sub-district is a fun and educational activity that involves making simple lava lamps using materials easily found at home. This study aims to explore the children's experience of the lava lamp experiment, and its impact on their understanding of basic chemistry concepts, and chemical interactions. Through a teaching approach based on simple science experiments and participatory observation, children were given the opportunity to experiment with a mixture of oil, water, and coloring agents to create interesting visual effects in their own lava lamps. The results showed that this practice not only increased children's interest in science, but also strengthened collaborative skills, and understanding of basic experimental concepts. This experiment highlights the importance of experiential and interactive learning approaches in developing childrens I nterest in science.

Analysis of Critical Thinking Skills Students of Sanata Dharma University Through LAVA LAMP Experiments

This study aims to describe the analysis of the implementation of learning critical thinking skills for Sanata Dharma University students through the LAVA LAMP experiment. This study uses a qualitative approach with the type of experimental research. Data from this study were obtained through participatory observation, through interviews with supervisors, and through student work, as well as documentation to support student work. The results showed that the researchers efforts were in using the LAVA LAMP experiment to improve the critical thinking skills of university students Sanata Dharma: The research results show that the researchers' efforts in using the LAVA LAMP experiment to improve the critical thinking skills of Sanata Dharma University students: focusing questions 10 % with category good, ask and answer questions that require explanation 20 % with category very good, observe and consider the results of observations 20 % very good, carry out deductions and assess the results of the deduction 10 % with category good, doing induction 10 % with category good, define terms and consider definitions using appropriate criteria 10 % with category good, identify assumptions 10 % with category very good, and integrate with others 10 % with category good.

Implementation of Lava Lamp Media on Light Material and Properties of Objects in Grade II Elementary Schools

This study aims to describe how the implementation of the use of lava lamp media in science learning in grade 2 elementary schools. This study uses a qualitative descriptive method. The flow of this research is to make preparations before implementation, implementation, and analysis of implementation results. Preparation for implementation is carried out by preparing instruments in the form of materials used to make lava lamps and Student Worksheets (LKPD). Implementation is carried out by inviting students to make a lava lamp project and make observations during the manufacturing process, the results of which will be written in the form of writing on the LKPD. Analysis of implementation results is done by reducing data, displaying, and drawing conclusions. Based on data from the results of the analysis of student responses related to the lava lamp media used in science learning on the material of light and the nature of objects, it was found that 95% of students were happy and understood in participating in science learning through the lava lamp media. It can be concluded that the lava lamp media is very suitable for use in learning science in class 2 of States Elementary School IV Lidah Wetan.

Simple Science Experiment at KB-TKIT Salman Al-Farisi 2 Yogyakarta

Early Childhood Education (PAUD) is essentially education that is held with the aim of facilitating the growth and development of children as a whole or emphasizing the development of all aspects of the child's personality. Therefore PAUD provides an opportunity for children to develop their personality and potential to the fullest. Children have a very high curiosity. This curiosity needs to be facilitated by adults, including parents/tutors/teachers who function as children's teachers. Children can learn anything from an early age, including learning science. Learning science from an early age begins by introducing nature and the environment. This will enrich the child's experience. Children learn to experiment, explore, and investigate their surroundings. This Community Service Activity (PkM) aims to improve children's skills in honing the ability to think about simple science events and provide education to children about simple experiments. This activity is carried out in the form of simulations and direct practical assistance to TK- KBIT Salman Al-Farisi 2 Yogyakarta. The first experiment was blowing up a balloon with a bottle. The second experiment is to make rainbow colors in a bottle and the third is a lava lamp. The result of this activity is that participants can carry out simple science experiments and gain scientific knowledge from the experiments carried out
 
 Keywords: experiments, childhood, science

Penerapan Practical Experience untuk Memperkenalkan Sains pada Lingkungan SD Negeri Jember Lor 01 Jember

Science is a system obtained through the scientific method of research. The application of scientific knowledge can be found in various fields such as agriculture, medicine, pharmacy, and technology. The development of scientific knowledge in various fields is the role of the academic community. Community service is one of the three main duties of higher education institutions. Community service activities are carried out by conducting visits to Jember Lor 01 Public Elementary School in order to enhance young generations' knowledge of science through primary schools. The method used in community service is practice experience, which is a learning process that provides practical experiences to facilitate students' understanding of the subject matter. The practices conducted include telekinetic and lava lamp experiments using easily accessible materials. The practices are done in groups and accompanied by one person from the community service team. Based on the enthusiasm of the participants, this activity has been very beneficial in increasing the interest in learning about science from an early age. The synchronization of this community service activity with the natural science subjects is necessary to help students understand the theoretical lessons taught by teachers.

Abstract 1495: Developing a model to investigate the roles of biomolecular condensates in papillary renal cell carcinoma

Abstract Cells are compartmentalized into “classical” membrane-bound organelles such as the endoplasmic reticulum and mitochondria. Cells also have membrane-less organelles (MLOs), which are formed through phase separation. Examples of MLOs include stress granules and nucleoli, where macromolecules (proteins, DNAs, RNAs) coherently and dynamically concentrate into biomolecular condensates resembling droplets in lava lamps. MLOs play central role in cellular processes - choreographed events such as transcription and RNA splicing take place in MLOs. MLOs are highly organized, and their dysregulation always led to diseases. Papillary renal cell carcinoma (PRCC) is the second most common RCC in America. PRCC is an aggressive cancer, yet the uncharacterized molecular etiology results in the lack of effective treatment for patients. Our lab and others have observed dysregulated oncoproteins MLOs in PRCC. However, the molecular properties and functions of these aberrant MLOs have not been characterized. The photolyase homology region of Arabidopsis thaliana Cry2 (Cry2WT) is a light-sensitive protein that self-associate with blue light exposure. We hypothesize that fusing dysregulated MLOs oncoproteins with Cry2WT will allow us to tune and study the oncoproteins condensates. We aim to develop an optogenetic model to study how oncoproteins condensates function in PRCC cells. Dysregulated oncoproteins were fused to mCherry-Cry2WT, introduced into cell line models, light-activated and imaged using a ZEISS LSM 900 microscope. We found that blue-light indeed induced proteins clustering when oncoproteins were fused to mCherry-Cry2WT but not with mCherry-Cry2WT alone. This model will allow us to tune the formation of oncoproteins condensates. Future work will involve studying how optogenetically tuned oncoproteins condensates function in PRCC patient-derived cell lines. Citation Format: Choon Leng So, Jane Lee, Binglin Huang, Danfeng Cai. Developing a model to investigate the roles of biomolecular condensates in papillary renal cell carcinoma [abstract]. In: Proceedings of the American Association for Cancer Research Annual Meeting 2023; Part 1 (Regular and Invited Abstracts); 2023 Apr 14-19; Orlando, FL. Philadelphia (PA): AACR; Cancer Res 2023;83(7_Suppl):Abstract nr 1495.

Blood Clock 2020: Challenging Culturally Mandated Acts of Feminine Discretion

Blood Clock 2020:Challenging Culturally Mandated Acts of Feminine Discretion Se Jong Cho (bio) When I read the description of, and the public reaction to, Pipilotti Rist's Blutclip (1993) in "The Colorful Worlds of Pipilotti Rist" (Calvin Tomkins's 2020 profile of the artist in The New Yorker), I recalled how I felt ashamed about my menstruation for a long time while growing up in South Korea and in the US. It occurred to me that this sense of shame must have sprung from culturally mandated acts of feminine discretion: hide your tampon when you are going to the bathroom, erase all traces of blood in the toilet, and don't talk about your period lest you make people feel uncomfortable. Rist created Blutclip—Blood Clip, in English—one year after a positive reception of Pickelporno, her response to the discussion around pornography and feminism in the 90s. Filmed with a tiny surveillance camera, Pickelporno exposes glimpses of foreplay, interspersed with shots of lush natural imagery and other human body parts, including "an erect and friendly penis." Despite the explicit sexual candor, Pickelporno, according to Tompkins, "offended no one—it even aired on Swiss television." But Blood Clip's depiction of menstrual blood, intended (in Rist's words) "to get the blood out into the open" and showcase this "marvelous liquid, this flesh-clock," did cause offense, seen by some as "taking feminism too far." What does it mean to take feminism too far? Menstrual taboos and stereotypes are still ingrained in contemporary social structures, impacted by religion, nationality, politics, economics, ethnicity, class, gender identity, and many other sociocultural factors. "Taking feminism too far" by getting "the blood out into the open" means challenging the strictures that mandate acts of feminine discretion, that necessitate economic burden on women for feminine hygiene, that equate femininity with neuroticism, and that align fertility with control. Inspired by Rist, I also wanted to get the blood out into the open, because the contemporary social structure needs to be challenged as a prerequisite for moving toward an equitable future. To get the blood out into the open, I made twelve paintings documenting my menstrual cycle: one for each month of the year 2020 when our collective sense of time had been distorted by the global pandemic. This body of work is titled Blood Clock 2020 as it is my response to Blood Clip to showcase my own "marvelous liquid, this flesh-clock." [End Page 107] Susan Sontag in Against Interpretation observed that works of art "give rise not to conceptual knowledge but to something like an excitation, a phenomenon of commitment, judgment in a state of thralldom or captivation." With Blood Clock 2020, I intend to captivate the audience in a contemplation of the red liquid without turning away with a sense of shame or disgust that is often associated with menstrual blood. Instead, I wanted to celebrate menstrual blood as the medium for human existence that nourishes our culture and gives birth to new lives. To foster a consideration of the human existence and temporal scales within the context of the larger world, I suspended the blood droplets against lush landscapes, ranging from desert plains to aquatic and mountainous environments. I integrated imagery from paintings by Georgia O'Keeffe, who masterfully painted flowery vaginal images without stirring any sense of shame nor perverting the subject. I wanted to simulate a dialogue with and learn from O'Keeffe, who famously stated, "I had to create an equivalent for what I felt about what I was looking at—not copy it." Accordingly, I integrated what I felt about O'Keeffe's paintings Deer's Skull with Pedernal (1936), Summer Days (1936), Lake George (1922) and Lake George Reflection (1921–1922), Pedernal (1945), and Black Palace II (1945) into my menstrual cycle paintings, to give rise to a new life through the synthesis of my creative desire and expression with those of O'Keefe and Rist. I also chose to depict the menstrual blood like hot wax dancing in a lava lamp. The undulation of blood droplets, like those of hot wax seamlessly and ceaselessly rising, merging, and reshaping, is meant to mesmerize and transport the...

Immunofluorescence as a Method to Study Golgi Organization in Larval Salivary Glands of Drosophila melanogaster.

Immunofluorescence is an important research tool in cell biology that reveals structural organization of subcellular organelles by detecting their associated constituents. Here, we describe an antibody staining method to detect Golgi-associated proteins in Drosophila larval salivary glands, using the cis-Golgi protein Lava lamp and the clathrin adaptor AP-1 as a suitable example. Golgi bodies immunostained using this protocol can be visualized using confocal or structured illumination microscopy.

Single and double shell ignition targets for the national ignition facility at 527 nm

Converting and using the National Ignition Facility (NIF) to deliver 527 nm light instead of its current 351 nm would allow the laser to deliver more energy and power to ignition targets. We update previous 527 nm target design work to reflect more contemporary target designs using high-density carbon capsules and low density helium gas filled Hohlraums. We extend single shell capsule designs based on current experimental results to higher energy and power and also explore double shell capsules, both driven by green light. These studies were completed using detailed pulse shapes found for targets that converged with acceptable 2D implosion symmetries and then used the Lava Lamp II code to confirm their feasibility at NIF. A 1.2× dimensional scaleup of one tuned NIF target at the limit of its current 351 nm capabilities and shot 170827 uses 3.3 MJ, at the limit of the current NIF's 527 nm capability. With the less-structured pulse of a double shell target, 3.7 MJ could be delivered by the laser. Our LPI calculations do not preclude operation at 527 nm, particularly for low fill Hohlraums, and suggest that the stimulated Raman backscatter may be no worse than the small quantities seen in 170827; stimulated forward Raman scattering may be present. If Stimulated Brillouin Scattering is too great, the much greater laser bandwidth available at 527 nm could be used to decrease backscatter. These larger targets with higher energy and power may offer a better chance of achieving ignition with only modest changes to the NIF laser.

Art, Indigenous Sovereignty, and Resistance in the Age of Big Oil: Corwin Clairmont’s Two-Headed Arrow/The Tar Sands Project

This article analyzes an art installation performed and exhibited in 2018 by the Séliš u Ksanka/Salish and Kootenai artist Corwin Clairmont: Two-Headed Arrow/The Tar Sands Project. Clairmont is a printmaker and creator of inventive and playful installations that follow conceptualist principles, which designate ideas and action as inherently aesthetic, but he is also and primarily a traditionally oriented Séliš u Ksanka artist. Concerned with petromodernity in the North American Rocky Mountain West and Great Plains, Clairmont’s installation charts the material and ideological routes of the oil flow between the Flathead Indian Reservation (and Missoula, Montana) and the Fort McMurray tar sands site located adjacent to Abathasca Chipewyan and Mikisew Cree First Nations land in Alberta. The history of energy extraction in Indian Country is largely occluded in the newly emergent interdisciplinary field of “energy humanities” and similarly rendered opaque in most official and unofficial discourses of the “West.” Clairmont’s installation responds to this social silence around indigeneity and petroleum production in this “sacrifice zone” via a collage of artworks that includes, among other things, gummy bears (a key oil commodity), lava lamps, prints, and photographs. The installation creates new historical and affective insights in the unsettling juxtapositions of its materials. Plastic functions in place of hides in Clairmont’s new “winter counts” and the focus on gummy bears allows for the unveiling of the longstanding kinship between the animals and Indigenous people. The installation participates in a powerful and historically long-standing tradition of Indigenous resistance, by challenging state forms of extractive settler colonialism.

Pain Woman Takes Your Keys and Other Essays from a Nervous System by Sonya Huber

Reviewed by: Pain Woman Takes Your Keys and Other Essays from a Nervous System by Sonya Huber Erica Trabold Sonya Huber. Pain Woman Takes Your Keys and Other Essays from a Nervous System. University of Nebraska Press, 2017. If Sonya Huber's Pain Woman Takes Your Keys was a word cloud, those billowing masses of most-used terms, the central and most prominent element drawing the reader's eye toward its center would be the bold letters P-A-I-N. Besides the minor articles a, an, and the, no other word appears more often or more consistently in the twenty-eight essays that comprise this collection. Pain functions as the book's theme, holding at the center and reaching the outer limits of the personal essay form. Huber's near constant repetition of the word "pain" invites the reader into a richly individual and often indescribable landscape—that of chronic pain—a territory the reader may have never encountered described so carefully or forcefully in literature. Huber writes of being diagnosed with both an autoimmune condition and rheumatoid arthritis at age thirty-eight. The diagnosis that names the pain taking up permanent residence in Huber's "glowing skeleton" serves as a springboard for a project attuned to a much deeper and nuanced exploration of pain itself. For Huber, living with chronic pain makes each day—and this remains an understatement—difficult. Add to that difficulty the fact that chronic pain, especially pain experienced by women, is so often distrusted, disbelieved, or dismissed, and Huber has tapped into an idea unending in its complexity. Precisely because her topic, her pain, is ever-morphing and in a constant state of flux, its edges shifting and nearly unknowable—the essay, a form without rules, boundaries, limits, or ends becomes the subject's most worthy and perfect vessel. Six sections of approximately five essays divide Pain Woman Takes Your Keys into small and specific manifestations of pain's effects. In the book's opening section, "Pain Bows in Greeting," Huber introduces pain as a concept by the things it "wants," and in the second essay, "Pain as Lava Lamp," attempts the book's first metaphorical description of the sensation the narrator experiences every day: "It wasn't the whack of an anvil or the burn of a scraped knee. This pain sat warmly on the surface of my hands up to the elbows like evil, pink evening gloves, with a sort of swimming cap clenched on my head, with blue plastic flowers at the base of the neck, and a nauseating blur in the eyes." In the essays that follow, Huber recasts her pain in images. She does this out of necessity. "In fact, if I don't feed it a metaphor on a daily basis," she writes, "my pain devours me." In the book's third act, Huber writes of the various "Side Projects and Secret Identities" pain has allowed her to create. In the following section titled, "My Machines," she pays homage to the physical objects that help her navigate "Pain Woman's" worst days, and in "Bitchiness as Treatment Protocol," an intensely-human method of coping with an invisible condition. The collection would not be complete without an intimate view of Huber's home life, an aspect of pain studied in the book's penultimate section, "Intimate Moments with the Three of Us," or a lyric [End Page 39] exploration of one woman's connectedness to the universe at large. It is in this final section, "Measuring the Sky," that Huber's voice truly soars. "Pain is not a Jesus that wants anything from me. It doesn't scold or wag its finger, doesn't judge, and doesn't give a shit how its human handles itself. It just is, like the Grand Canyon, not as a concept or a postcard but the square inches that together find themselves forming a crater without specific consciousness of their outline," she writes in the essay "Between One and Ten Thousand." The voice here, Huber has noted pages earlier, sounds much different than that of "Pain Woman," an alternate identity who keeps pace writing, working, and creating art—even in the grips of...

Learning is like a lava lamp: the student journey to critical thinking

This article explores the ways in which a university Foundation Degree programme supports undergraduate Early Years students to develop critical thinking, mindfulness and self-actualisation through their lived personal and professional experiences. It considers the impact of this on graduates employed within the Early Years sector. Findings inform future design of a university Foundation Degree programme situated within Early Childhood Education and Care (ECEC). As undergraduates, students engage in higher-level learning aligned to their practice within the workplace. An interpretive participatory qualitative research methodology is used to gather the views of six alumni who completed their studies in 2014. They participated in the research freely within ethical parameters approved by a university ethics committee. Findings revealed that the development of critical thinking is empowered by having a personal or professional impetus, which in the case of Early Years is the child as being at the heart of values-based practice. This, with the inclusion of mindfulness, drives students to a sustainable deeper layer of thinking to achieve self-actualisation. The acquisition of critical thinking has assisted students in being able to subsequently take up positions of authority within the Early Years workforce.

The First to Leave Is the Winner

The First to Leave Is the Winner Becky Mandelbaum (bio) Click for larger view View full resolution Photo by Anna and John Wilderson [End Page 132] For a brief period in my late twenties, I lived alone on a horse ranch at 9,500 feet in the San Juan Mountains. The closest human heartbeat was thirteen miles away, the nearest airport two hundred. The altitude gave me vertigo [End Page 133] and headaches and months of spectacular, disturbing dreams, but it was worth it for the sky, which was grandiose and constantly changing, a lava lamp let loose of its goblet. Never had I seen a sky like that, and I haven’t seen one since. Granted, I haven’t been looking. The ranch belonged to an ex-boyfriend of mine who was spending the year in Asia to find himself. From his itinerary, I concluded that finding oneself was best achieved in boutique hotels, five-star resorts, and spas named after rare tropical plants. To be fair, his beautiful young wife had just died from a brain bleed. One moment she was chopping a sweet onion, saying she felt funny, and the next she was dead. Just like that, an opening in the earth. “I’m so sorry, Ellison,” was what I told him when I got there. I was in a mild state of shock at the beauty of the place. Not only had he left me for another woman, but he’d been out here, living with her in paradise. There were mountains and fields of desert lupine and, just across the gravel road, the Rio Grande, which shone in the sun like a great diamond necklace cast down by a jilted lover. This was autumn, the aspens dripping with pompous starlight. Not to mention the house, which was something from a page of Country Living. The kitchen was all blond wood and chrome, multicolored vases filled with dried baby’s breath and sage. My own kitchen, in the little apartment I’d left behind in Denver, had stacks of bills and boxes of Grape Nuts from 2004. The only decoration was a plaque above the stove that read live, love, laugh, a mantra that made me genuinely gag if I read it after having a bad day, which, at this particular juncture in my life, could be any day. Once, I smashed a pregnant spider on the plaque and the babies went everywhere; instead of trying to kill all one thousand of them, I went out for a cheeseburger. I was surprised and a little annoyed to find that, despite his dead wife, Ellison looked as handsome as ever. He had always been like a human cinnamon roll, bronzed and sweet. Standing in the ranch kitchen, he wore his grief like a glaze that made you want to put your tongue against his neck and keep it there. I thought of the time, early in our relationship, when I was trying to decide what to eat for dinner and the thought legitimately crossed my mind that I was hungry for him, Ellison—that I wanted to put him in a bowl and eat him like soup. I made the mistake of telling him about it. “That’s the creepiest thing I’ve ever heard,” he said and refused to kiss me for a week. It had disappointed me that he mistook my romance for cannibalism and also made me wonder if there was something wrong with the way I loved. [End Page 134] “You don’t have to pretend to be sad,” he said. “I know you never liked Gloria.” “To be fair, I never knew her—you never gave us the chance.” As far as I knew, nobody from our old life had met her. Their wedding was a small, Pinterest-inspired affair that took place primarily on Instagram. “Maybe you would have liked her, then. Everybody liked her. She was one of those people.” “Well,” I said, astounded that there was still a part of my heart he could break, “it’s possible she wouldn’t have liked me. But I guess we’ll never know now, will we?” Once he was gone, without...

Scientists explain ‘lava lamps’ on Pluto

Scientists explain ‘lava lamps’ on Pluto

Lrrk regulates the dynamic profile of dendritic Golgi outposts through the golgin Lava lamp.

Constructing the dendritic arbor of neurons requires dynamic movements of Golgi outposts (GOPs), the prominent component in the dendritic secretory pathway. GOPs move toward dendritic ends (anterograde) or cell bodies (retrograde), whereas most of them remain stationary. Here, we show that Leucine-rich repeat kinase (Lrrk), the Drosophila melanogaster homologue of Parkinson's disease-associated Lrrk2, regulates GOP dynamics in dendrites. Lrrk localized at stationary GOPs in dendrites and suppressed GOP movement. In Lrrk loss-of-function mutants, anterograde movement of GOPs was enhanced, whereas Lrrk overexpression increased the pool size of stationary GOPs. Lrrk interacted with the golgin Lava lamp and inhibited the interaction between Lva and dynein heavy chain, thus disrupting the recruitment of dynein to Golgi membranes. Whereas overexpression of kinase-dead Lrrk caused dominant-negative effects on GOP dynamics, overexpression of the human LRRK2 mutant G2019S with augmented kinase activity promoted retrograde movement. Our study reveals a pathogenic pathway for LRRK2 mutations causing dendrite degeneration.

Race, genes, power.

. . . [T]he thing is, we treat racism in this country like it’s a style that America went through. Like flared legs and lava lamps. Oh, that crazy thing we did.We were hanging black people. We treat it like a fad instead of a disease that eradicates millions of people. You’ve got to get it at a lab, and study it, and see its origins, and see what it’s immune to and what breaks it down. (Chris Rock, interviewed by Frank Rich, New York Magazine 2014)

Time to Turn Off the Lava Lamp

Time to Turn Off the Lava Lamp

School Matters: Banish the Mid-Year Blahs

School Matters: Banish the Mid-Year Blahs

Perforating Foreign Body Reaction to Unheated Liquid Contents of Lava Lamp

A 21-month-old girl developed a local skin reaction after the unheated liquid contents of a broken lava lamp were in contact with her skin overnight. Several weeks later, small umbilicated erythematous papules containing central keratotic spines developed within the affected areas. Biopsy showed a granulomatous foreign body reaction with focal transepidermal elimination. Electron microscopy and energy-dispersive X-ray spectroscopy analysis of the tissue revealed carbon-based material, consistent with substances reported to be present in lava lamp liquid.

Seeing Is Believing

Satellite data and computational modeling provide evidence for a spheroidal magma body rising within the crust below the Altiplano Plateau in the central Andes.