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The German film director Doris Dörrie (born in 1955) concerned herself much not only with Japan but also with Zen Buddhism. This enabled her to transcend mere representations of national and cultural entities (such as “Germany” and “Japan”), their differences and relations or non-relations, and instead to imagine a trans-national and trans-cultural sphere based on human troubledness and Zen practice’s answer to that. Our paper firstly gives insight into Dörrie’s reception in Japan and finds support there to deal secondly with her tragicomic essay film Enlightenment Guaranteed (released in 2000) in regard to some correlations between Zen Buddhism and film.

During a half-day symposium, the topic 'Channels and Transporters' was covered with five lectures, including a presentation on 'Introduction and Basics of Channels and Transporters' by Beat Ernst, lectures on structure, function and physiology of channels and transporters ('The Structural Basis for Ion Conduction and Gating in Pentameric Ligand-Gated Ion Channels' by Raimund Dutzler and 'Uptake and Efflux Transporters for Endogenous Substances and for Drugs' by Dietrich Keppler), and a case study lecture on 'Avosentan' by Werner Neidhart. The program was completed by Matthias Hediger who introduced to the audience the National Center of Competence in Research (NCCR)-TransCure in his lecture entitled 'From Transport Physiology to Identification of Therapeutic Targets'.

A general method for the specific and covalent labeling of fusion proteins in vivo is described. The approach is based on the unusual mechanism of the human DNA repair protein O6-alkylguanine-DNA alkyl-transferase, which irreversibly transfers an alkyl group from O6-alkylguanine-DNA to one of its cysteine residues. Labeling is possible in bacterial as well as eukaryotic cells and is independent of the nature of the label, thereby opening up new ways to study proteins in vivo.

A way out of false alternatives which have occupied media research for a long time is primarily a matter of right description. That is mainly a description of what is going on in the process of intermeshing between culture in general and the culture of media. However, what is going on here is primarily a question of how this is happening. What is changing in this process is the way in which modern societies produce an overarching present, which is achieved by the divergent and often even heterogeneous capacity of appropriation from the side of its members. URN: urn:nbn:de:0114-fqs0103234