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Primates exhibit unusual quadrupedal features (e.g. diagonal gaits, compliant walk) compared with other quadrupedal mammals. Their origin and diversification in arboreal habitats have certainly shaped the mechanics of their walking pattern to meet the functional requirements necessary for balance control in unstable and discontinuous environments. In turn, the requirements for mechanical stability probably conflict with mechanical energy exchange. In order to investigate these aspects, we conducted an integrative study on quadrupedal walking in the olive baboon (Papio anubis) at the Primatology station of the CNRS in France. Based on kinematics, we describe the centre of mass mechanics of the normal quadrupedal gait performed on the ground, as well as in different gait and substrate contexts. In addition, we studied the muscular activity of six hindlimb muscles using non-invasive surface probes. Our results show that baboons can rely on an inverted pendulum-like exchange of energy (57% on average, with a maximal observed value of 84%) when walking slowly (<0.9 m s-1) with a tight limb phase (~55%) on the ground using diagonal sequence gaits. In this context, the muscular activity is similar to that of other quadrupedal mammals, thus reflecting the primary functions of the muscles for limb movement and support. In contrast, walking on a suspended branch generates kinematic and muscular adjustments to ensure better control and to maintain stability. Finally, walking using the lateral sequence gait increases muscular effort and reduces the potential for high recovery rates. The present exploratory study thus supports the assumption that primates are able to make use of an inverted pendulum mechanism on the ground using a diagonal walking gait, yet a different footfall pattern and substrate appear to influence muscular effort and efficiency.

The poem "The Drunken Boat" by Arthur Rimbaud and translated by Stephen Berg is presented. First Line: We sailed down the unexplored Amazon alone, Last Line: Nor dive past prison boats grazing their guns.

The author comments on the commodification of thought and its negating effects upon revolutionary aspiration. He uses the crucifiction of the apostle Paul as an example, saying it successfully comodified Jesus Christ. He illustrates the level of dialogue to be expected in a culture willing to accept the theories of evolution while still believing in God and His mandates.

In addition to their hemostatic role, platelets play a significant role in immunity. Once activated, platelets release extracellular vesicles (EVs) formed by budding of their cytoplasmic membranes. Because of their heterogeneity, platelet EVs (PEVs) are thought to perform diverse functions. It is unknown, however, whether the proteasome is transferred from platelets to PEVs or whether its function is retained.We hypothesized that functional protein processing and antigen presentation machinery is transferred to PEVs by activated platelets.Using molecular and functional assays, we showthat the active 20S proteasomeis enriched in PEVs along with MHC-I and lymphocyte costimulatory molecules (CD40L and OX40L). Proteasome-containing PEVs were identified in healthy donor blood, butdid not increase in platelet concentrates that caused adverse transfusion reactions. They were, however, augmented after immune complex injections in mice.The complete biodistribution ofmurine PEVs following injection into mice revealed that they could principally reach lymphoid organs such as spleen and lymph nodes, in addition to the bone marrow, and to a lesser extent liverand lungs. The PEV proteasome processed exogenous ovalbumin (OVA) and loaded its antigenic peptideonto MHC-I molecules which promotedOVA-specific CD8+T lymphocyte proliferation. These results suggest that PEVs contribute to adaptive immunity through cross-presentation of antigens and have privileged access to immune cells through the lymphatic system, a tissue location that is inaccessible to platelets.

The poem "YOUNG COUPLING" by Arthur Rimbaud is presented. First Line: The room is opened to a turquoise sky; Last Line: Charm, bless, the blue of their window!

The poem "SHAME" by Arthur Rimbaud is presented. First Line: If the blade will not; Last Line: Rises a prayer!

Suite à une série d’investigations conduites en Guyane par l’Agence régionale de santé, la Cire et la DIECCTE en 2011, l’hypothèse d’une surexposition au plomb des populations de l’Ouest guyanais liée aux habitudes alimentaires est soulevée. Dès 2012, une mesure de la plombémie est proposée à toutes les femmes enceintes sur ce territoire. L’objectif de cette étude était d’estimer le niveau d’imprégnation au plomb de la population des femmes accouchant à la maternité du CH de l’Ouest guyanais (CHOG) et d’identifier les facteurs associés à des niveaux de plombémie élevée.

Presents the poem "Ophelia," by Arthur Rimbaud, translated by Joshua Mehigan.

Presents the poem "My Bohemian Life (Fantasy)," by Arthur Rimbaud, translated by Susan Osterman.

Pesents the poem "The Sleeper in the Valley," by Arthur Rimbaud, translated by Nathaniel Smith.

The article emphasizes that social networking sites help musicians and their listeners communicate. The author claims that although music centers on social engagement, a distance between listeners and musicians exists because of management companies and record labels. He adds that online social networks have enabled fans and musicians to develop an emotional relationship. Also noted is the advantages of Internet communication to music collaborations.

Presents an untitled drawing by Dee Rimbaud.

Presents the poem "Morts de Quatre-Vingt-Douze et de Quatre-Vingt-Treize...," by Arthur Rimbaud, translated by John Kinsella. First Line: Oh Dead of Ninety-two and Ninety-three, Last Line:—Again of you the de Cassagnac gentlemen talk to us!

Presents the poem "Rages Des Césars," by Arthur Rimbaud, translated from the French by John Kinsella. First Line: The pallid Man down the flowery lawn traipses his way; Last Line: As on Saint-Cloud evenings, a fine blue vapour.

Presents the poem "La Maline," by Arthur Rimbaud, translated from the French by John Kinsella. First Line: In the brown dining room, fragrant; Last Line: Very quietly: "Hey, feel this: I gotta cold spot on my cheek."

Presents a letter to the editor concerning standard of the periodical "subTerrain".

Presents the poem "Les Corbeaux," by Arthur Rimbaud, translated from the French by John Kinsella.

Presents the drawing "At Times Like These My Thoughts Escape Me," by Dee Rimbaud.

Presents the drawing "Above the Haze is a Clear Space That Only Mad Dreamers Can Reach," by Dee Rimbaud.

Presents the etching "The Shaman Casts the King Adrift," by Dee Rimbaud.

Presents the black and white charcoal drawing "Freedom Threatens to Overwhelm," by Dee Rimbaud.

Presents the black and white photograph "What's Mummy Crying For," by Dee Rimbaud.

Presents the black and white photograph "You Matter," by Dee Rimbaud.

Presents an untitled painting by Dee Rimbaud.

Presents the cover art of the January 2001 issue of the journal "Fine Madness."