He has four children: Christian, Jonathan, Jason, and Jessica.ĭavy Jones (born David Thomas Jones December 30, 1945) is a Grammy winning English pop singer-songwriter and Emmy-nominated actor, he is best known as a member of The Monkees. Nesmith was divorced and remarried to Kathryn Bild from 1976 to 1988. Their second son, Jonathan, was born in February 1968. Because they were practicing Christian Scientists, they decided to just rest instead of seeking medical treatment. In late 1967, Phyllis was pregnant with the Nesmiths' second child when she suffered a head injury in a car accident. In October 1967, the episode "Monkees in Texas" was filmed, in which a brief cameo appearance was given to Nurit Wilde, a socialite and former mistress of John Phillips (of the Mamas and the Papas), and close friend of Peter Tork. Nesmith landed a role in the Monkees pilot, which was filmed in October 1965. Nesmith and Phyllis moved back and forth from Texas. During this time John Kuehne decided to move to Los Angeles to pursue a musical career, and Nesmith decided to follow him. He also met 16-year-old Phyllis Ann Barbour, whom he later married. Nesmith enrolled in San Antonio College, where he met John Kuehne (later to be known as John London) and began a musical collaboration. and then moved in with an uncle, Chick Adair. After leaving the Air Force, Nesmith obtained a G.E.D. Their fortunes changed when Bette invented typewriter correction fluid, later known commercially as Liquid Paper. With his father gone, Nesmith's mother worked as a secretary. Nesmith was an only child, and his parents, Warren Audrey Nesmith and Bette Nesmith Graham, separated when he was very young. Nesmith also holds the honor of winning the first Grammy Award (1981) given for Video of the Year for his hour-long Elephant Parts. Michael Nesmith is also notable as a hit songwriter, including "Different Drum" sung by Linda Ronstadt with the Stone Poneys, as well as, executive producer of the cult film, Repo Man. December 30, 1942) in Harris County, Texas, is an American musician, songwriter, actor, producer, novelist, businessman, and philanthropist, perhaps best known for his time in the musical group The Monkees and on the TV series of the same name.
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Leaving none of His Deity behind, He did voluntarily release some of His divine prerogatives. This is why Jesus, the eternal Son of God, entered fully into humanity, in a time and place. Thus only a man should pay for sin, and only God can pay for sin. It follows that only an infinite God can solve that problem. However, our sin is an offense agains the holiness of an infinite God. So it follows that only man should pray for sin. As humans, our sin problem is a real problem, a deadly problem. This is a major force in the Gospel accounts of Jesus because only a read Jesus can qualify as a real savior. This fact might be lost on us who fail to see Jesus’ words and deeds through eastern eyes in ancient times.Ĭonsider how critical it is for us to see Jesus as a real person, a full human. No one, even the great rabbis, would have dared to say such a thing of God. The reference to “My Father” would have been so wildly out of place and radical to the Jews of Jesus’ day. He also clearly understood His mission and His relationship to God the Father. It is both beautiful and challenging to see Jesus as a kid, growing and learning and exploring and understanding. In this we see Jesus as maturing spiritually, physically and relationally. He did, however, mature and “grow” in wisdom and stature. His “son of God” status was not something later “given” to Him at His baptism or later understood. Jesus, even at this young age, clearly understood His identity. These announcements are obviously veiled in some way to protect the timing and trajectory of Jesus’ ministry, but they are pronouncements nonetheless. In many ways, at least in the Gospel of Luke, this event serves alongside Jesus’ baptism and His triumphal entry as three key events where He announces His identity, ministry focus and fulfillment of God’s plan/prophecy. With this balancing statement of context, we can finally see the story for what it is meant to be, a pronouncement event. “And He went down with them and came to Nazareth, and He continued in subjection to them.” We see this in the summary and response statement in verse 51. Luke makes it clear that Jesus was not being this way, in Luke’s typical style of strict clarity. We need not see this story as evidence that Jesus was being a sassy or belligerent kid. Finally, third, we see in Jesus’ statement the fact that His relationship and proximity to the Father takes precedent over all other relationships in His life, including His relationship with His earthly family. Second, Jesus fully understands His relationship to God the Father and sees it appropriate to be in His presence on the earth, which was in the Holy of Holies within the Temple. He had a divine directive and understands his place in the temple as a necessity. There are at least three key things we need to see and expand upon in this single statement. In response to Mary’s very frightened and frustrated “mom” question, Jesus respond, “Why is it that you were looking for Me? Did you not know that I had to be in My Father’s house?” Consider the weight and import of the first words of a story’s hero and focus. These words, and this is not unimportant, are the first words Jesus speaks in the Gospel of Luke. Perhaps the answer is in the center of this story, which is the statement from Jesus in verse 49. Why is it important for us to see Jesus as a kid? Why would Luke include this episode? It happens when Jesus is twelve years old and occurs during the annual pilgrimage to Jerusalem from Nazareth for Passover. Only Luke, who records the longest and most detailed account of Jesus’ birth and the prophecies and angelic witnesses surrounding it, shares a story from these hidden years. Matthew records the birth of Jesus through a focus on Joseph and then moves directly to the ministry of John the Baptist and the baptism of Jesus. John and Mark’s gospel begin with Jesus’ public ministry as an adult. This passage in Luke 2 is the only account of any of the so-called “hidden years” of Jesus’ childhood. The boldest font, Chicago, was used as the Macintosh system font from 1984–1997.ĭesigning the icons proved to be more of a challenge. The Macintosh shipped with an original, custom-designed font set, which was intended to provide a screen legibility as well as variety. I made it easy on myself by limiting the letterforms to vertical, horizontal or 45-degree lines, and the capital letters were nine pixels tall. “The boldness of the verticals inspired its original name, Elefont. “The first typeface I designed was Chicago because we needed a bold system font,” she says. Because of the limited resolution of early computer screens, Kare made sure the design was basic and easy to read while being stylish and eye-catching. She quickly learned what she needed to know and set about creating the first font family for the Macintosh system. Kare had never designed a typeface before, but she didn’t let her unfamiliarity stop her. She was a young sculptor when she received a call from an old friend asking if she would be interested in applying for a job creating graphics and typefaces for the new personal computer Apple was planning to release in 1984. Known today as “ the woman who gave the Macintosh a smile,” Kare had little experience with computers when she first went to work for Apple in 1983. She receives the honor October 17 at the 20th Annual National Design Awards in the Arthur Ross Terrace and Garden at the museum. Patent and Trademark Office-for Apple, Facebook, IBM, Microsoft and other clients have earned her the Lifetime Achievement Award from the Cooper Hewitt, Smithsonian Design Museum. Her icons and graphics-many of which were patented through the U.S. They are so recognizable that they are legendary. Kare’s breakthrough designs for the Macintosh, which included the smiling computer at startup, trash can for recycling and a computer disk for saving files, are now commonplace in the digital era. I was lucky to have had a mother who enjoyed crafts.” “The process reminded me of working needlepoint, knitting patterns or mosaics. “It just so happened that I had small black and white grids to work with,” she says. Pioneering designer Susan Kare was taught by her mother how to do counted-thread embroidery, which gave her the basic knowledge she needed to create the first icons for the Apple Macintosh 35 years ago. If it wasn’t for needlepoint, the computer graphics we have come to know and love today might have looked a lot different. Bauer started to roll out of the pocket, but was tripped up by an incoming Jaguar defender. On third-and-five from their own 30-yard line, Bauer took the snap and was immediately met with pressure. The Chippewas weren’t done yet however, with Jase Bauer pulling off perhaps his best play of the night after the fourth quarter ticker started. South Alabama stopped the 20-point unanswered point rally with 53 seconds to go in the third quarter, having to settle for a 36-yard Diego Guajardo field goal to end a 12-play, 61-yard drive which saw an endzone shot dropped on third-down. Once again, CMU found whatever they liked on the ensuing 10-play, 56-yard drive, culminating in Jase Bauer’s third rushing touchdown of the day from one yard out to put the Chips in the lead for the first time at 20-14 with 8:31 to go in the third quarter. Instead, South Alabama went three-and-out, and punter Jack Martin had his worst boot of the night, a 30-yard howler which gifted CMU the ball at their own 44-yard line. A conversion could have offered the opportunity to double up points on the halftime flip. This play loomed large, as the Jaguars got the ball back to start the third quarter. The conversion attempt failed, as Trey Jones III met Webb two yard behind the line of scrimmage to force a turnover-on-downs. USA head coach Kane Wommack opted to go for it with a one-point lead, calling an inside hand-off to La’Damian Webb. South Alabama looked to answer with a strong offensive drive of their own, and managed to get all the way to CMU’s 29-yard line with around 45 seconds to go thanks to an eight-yard reception by Caullin Lacy on third-and-nine, setting up a fourth-and-one attempt. Tristan Mattson would hook the extra point attempt wide left, however, allowing South Alabama to preserve their lead at 14-13 with 4:13 to go in the second quarter. Jase Bauer would come into the game on the third offensive series for Central, and never gave the keys back, leading an 11-play, 75-yard drive over five minutes, capping it off with a powerful 15-yard touchdown run, shedding multiple defenders to cross the goal line and put the score at 14-7 with 13:37 to go in the second quarter.Ī quick three-and-out forced by the Chippweas defense gave the offense the ball back within a minute, and once again, CMU matriculated down the gridiron on a nice 14-play, 69-yard drive, giving Bauer the opportunity to score on a QB sneak and give CMU a chance to tie. stalled on two straight three-and-out possessions, allowing the Jaguars to build a quick 14-0 lead on the back of a La’Damian Webb three-yard run and a Carter Bradley pass to Caullin Lacy on a 35-yard wheel route. Given all that background, Saturday’s matchup in Mobile, Alabama proved to be an exorcising of several ghosts, as the Central Michigan Chippewas (2-2) took down the South Alabama Jaguars in their shiny new stadium by a final score of 34-30 thanks to a gritty last-gasp drive led by backup quarterback Jase Bauer.Ĭentral crawled out of the gate to start the game, as the offense under starting quarterback Bert Emanuel Jr. They’ve proven competitive at points in 2023 thus far despite their imperfections, with punching early against Michigan State and Notre Dame, while taking FCS powerhouse New Hampshire to the wire. Since then, the Chippewas have been a state of self-discovery and adversity. It was the first sign that something was amiss in the 2022 campaign, and proved to be a bellweather game, as the Chippewas finished 4-8 and looked head-long at a litany of departures and perhaps a potential rebuild. The Chips were five-point favorites going into last year’s game, but came out a wounded mess, scratched by the Jaguars for a 31-10 halftime lead which ultimately stretched into a 38-24 final for the road team. The contest was the second game of the season for a CMU team expected to make a run at the MAC West division title once again in 2022 after getting left out of the championship game due to a tiebreaker. It was an emphatic and definitive statement, rooted in fact thanks to the box score from the last time these two programs met in Mt. “They killed us,” Central Michigan head coach Jim McElwain said when quizzed about last year’s contest against South Alabama. Example Free Body Diagram of Person in a Lift Here, fixed support is replaced with the appropriate forces. On the right-hand side of the diagram we can see the free body diagram representation. We can also see a variety of point loads on the left acting on the wing. On the left we can see that the beam is fixed into the wall this could be the aircraft fuselage for instance. The example shown above show us a representation of a cantilever beam which can be thought of as representing a simple aircraft wing. Example Free Body Diagram (FBD) of a Cantilever We also can omit a lot of the unnecessary detail such as the individual truss members. Note how we have removed the supports from the left and replaced them with corresponding reaction forces on the right in the FBD. The example shown above shows how we can represent an entire structure (on the left) as a simple FBD (on the right). Example Free Body Diagram (FBD) of a Truss The wall prevents the beam moving in the x-direction, hence the inclusion of a reaction force, Rx. The wall prevents the beam from falling down, hence the inclusion of a reaction force, Ry, upwards. The fixing at the wall prevents any rotation hence the inclusion of a reaction moment, M, to represent the resistance in the rotational sense provided by the wall. This represents a simple beam fixed at one end, often referred to as a cantilever beam. Ry is still present to represent the reaction force upwards due to the weight of the structure. Correspondingly, there is no resistance in the x-direction, hence there is no need for a reaction force, Rx in this case. In each case the structure is either on a roller (frictionless wheel) or in the centre a frictionless table. Rx is present because we know that if we try to push the structure in the x direction there will be a resistance of some sort. In the diagram above, the top row shows the structure and the bottom row shows the FBD.įor the simple joints shown there is a reaction Ry due to the presence of the surface reaction force pushing upwards on the structure – this is the reaction force due to the weight of the structure acting down. Structures that interact with the ground can be modelled with different types of ‘supports’. Put on essential dimensions but do not clutter the diagram with unnecessary information. The calculations will give a negative value for the force if wrong.ĥ. + or – direction) is unknown assume the positive direction. Unknown forces should have the magnitude and direction represented by a symbol. Include the weight of the bodies where appreciable. Add all known forces as vector arrows showing position and direction and with magnitude (including units) written alongside. Draw the boundary which isolates the body from all surrounding bodies and supports.ģ. Decide which body or combination of bodies is to be isolated.Ģ. The free-body diagram is one of the most important steps in the solution of problems in engineering. The forces may result from externally applied pushes or pulls, from gravity forces such as the bodies own weight, from forces exerted by other bodies and must include reactions from any supports. It shows the external forces and couples acting on the system (drawn carefully with respect to location, direction and magnitude). Representing supports in Free Body DiagramsĪ free-body diagram is a sketch of a body, a portion of a body, or two or more bodies completely isolated from all other bodies.In this free engineering tutorial we shall review: The above forces are the most common, but other forces such as pressure from fluids, spring forces and magnetic forces exist and may act on the body.How to Draw and Analyse Free Body Diagrams (FBDs) \): The tension force in cables always acts along the direction of the cable and will always be a pulling force. If the specified file exists, it will override all other JVM options files. The location specified by the GOLAND_VM_OPTIONS environment variable. If you are not sure where GoLand is getting its JVM options, check the following: Open the Toolbox App, click next to the relevant IDE instance, and select Settings. If you are using the Toolbox App, it manages the installation and configuration directory and lets you configure JVM options for every IDE instance. This file will override both the original default file and the copy located in the GoLand configuration directory. If you do not have write access to the GoLand configuration directory, you can add the GOLAND_VM_OPTIONS environment variable to specify the location of the file with your preferred JVM options. If you cannot start GoLand, manually copy the default file with JVM options to the GoLand configuration directory. If you do not have any project open, on the Welcome screen, click Configure and then Edit Custom VM Options. Configure JVM optionsĭo one of the following to create a copy of the default file with JVM options in the configuration directory that will override the original file:įrom the main menu, select Help | Edit Custom VM Options. Moreover, in case of macOS, editing this file violates the application signature. To extend the editor area, you can hide all tool windows by pressing Control+Shift+F12 or by double-clicking the current editor tab, or you can hide all IDE elements in the Zen Mode by choosing View | Appearance | Toggle Zen mode from the menu.Do not change JVM options in the default file, because it is replaced when GoLand is updated. Now you can use these shortcuts to manipulate font size in the current document.Īs an alternative to assigning custom shortcuts, you can invoke these actions via Find Action Control+Shift+A. Use the search box to find Increase font size, Decrease font size, and Reset font size actions.Īssign the desired shortcuts to these actions and save the changes. Press Control+Alt+S to open the IDE settings and then select Keymap. Use the keyboard to change font size in the current document To disable it, open the Settings dialog ( Control+Alt+S), go to Advanced Settings, and clear the Show zoom indicator option in the Editor section. The zoom indicator is enabled by default. GoLand displays a zoom indicator on the bottom of the editor that shows the current font size and the default one, which you can roll back. to increase the font size globally, and Alt+Shift+, to decrease it. Use the keyboard to change font size in all documents On macOS, you can also use the Pinch gesture to zoom in the editor if Change font size with Ctrl/Cmd+Mouse Wheel is enabled. If necessary, you can change it on the Editor | Color Scheme | Color Scheme Font page of the IDE settings Control+Alt+S. When you change the font size this way, the new font size is saved in the current color scheme and will apply to all open documents as well as to the newly opened ones. Now you can press Control and while holding it, rotate the mouse wheel to increase or decrease the font size for all documents. Use Ctrl/Cmd+mouse wheel to change font size for all documents In the popup that opens, start typing jump to colors and fonts, select the corresponding item and press Enter. To change the color and font of any item in the editor, set the caret to that item, press Control+Shift+A or choose Help | Find Action from the main menu. If you close and reopen the document, the font size will be reset to the default font or to the color scheme font according to your settings. Now you can press Control and while holding it, rotate the mouse wheel to increase or decrease the font size in the current document. Select Change font size with Ctrl/Cmd+Mouse Wheel in:Ĭhoose Active editor below that checkbox. Press Control+Alt+S to open the IDE settings and then select Editor | General. There are also several ways to change the editor font size without specifying it in the settings: Use Ctrl/Cmd+mouse wheel to change font size in the current document To do so, select View | Appearance | Switch Zoom IDE from the menu and choose the desired scaling percentage. Instead of changing editor font size, you can zoom the entire IDE with all its UI elements. That is controlled with the Use color scheme font instead of default checkbox on the Editor | Color Scheme | Color Scheme Font page of the IDE settings Control+Alt+S, and the new font size is also set on that page. The default font size can be overridden in the selected color scheme. It will be used in the editor by for all newly opened documents, unless overridden in the current color scheme. The default font size is set on the Editor | Font page of the IDE settings Control+Alt+S. The editor font size is configured as follows: In this sense the Abyss was also a temptress, seducing even the demons themselves with its own hunger for destruction, urging them to dominate it utterly and promising ultimate power to the demon who could. All demons heard its whispers in their visions and dreams, potent murmurings offering insight and greatness. Though demons possessed a primal impulse to kill and destroy, these instincts were exacerbated by the Abyss itself, which was possessed of a strange semi-sentience by which it communed. For some this merely meant being free to run rampant spreading mayhem as they so desired, while other, more ambitious fiends had intentions on a wider scale. All demons had an instinctive sense of their own relative power however, and the less powerful or intelligent ones had correspondingly modest ideas about what being the center of the universe meant and how to get there. Every demon viewed itself as the rightful ruler of all reality, the perfect being for which even the laws of the multiverse would one day bend and shift, the end of their manifest destiny being their envisioned, perfect world with them at the center. Īll demons sought to use others to serve their will and satisfy their whims, the specific motivations often varying greatly both between and within individuals, but demonic egocentrism went beyond mere pride. However, while their caprice did mean they regularly devoured unwanted servants in bloody-minded frenzies, they also mostly followed through on their promises of vast rewards, gifting great boons disproportionate to the servant if they favored them. Demons were utterly self-centered and respected only power, possessing no special affinity even for each other and as a result seldom cooperating unless forced to. They made for mercurial masters and infamously oppressive overlords, struggling to engender loyalty due to their love of chaos and commitment to cruelty. ĭespite being driven to destroy all other creatures, demons could temper this desire when presented with those willing to help them ascend to further power, though where destruction was untenable, absolute dominance was demanded. On a grander scale, they undid the works of the divine and brought despair to the cosmos. When left to their own devices in a world they ripped apart nature, hunted down wildlife and tore down civilizations. Indeed, there were seemingly endless ways to destroy all understood the cravings for carnage and consumption, for absolute ruination and the end all things, but this led to different actions. For the majority of demons, murder was simply one aspect of destruction, the climax to be prolonged in the hopes of enhancing the suffering caused along the way. While demons generally loved death, most found killing on its own boring, their innate desire to destroy coupled with the wish to cause as much pain as possible in the process. ĭespite this, it would be reductive to simply brush demons off as no more than killers. The nature they existed to spread was that of the Abyss itself, and that meant that demons existed purely to destroy, an imperative above even their own survival. At once creator, destroyer, and renewer, the Abyss was the nexus of every demon's existence, and most who planned to be away for long either found or created places that reminded them of home. It was the Abyss that gave them life and within its power to permanently take it away, or to see them reborn anew. To demonkind, the Abyss was more than just their world. They craved the opportunity to be unleashed upon the cosmos, always searching for ways out of the Abyss, and would open more purely to expand the influence of chaos and evil in the multiverse. They despised benevolence and sought to tear down order, because first and foremost, demons existed to spread chaos and evil, and all other activities served this ultimate goal of sowing strife and disorder. Every thought that crossed their minds was tainted by hate and malice, each believing that only its own desires were important. Beings of utterly wanton wickedness, demons were cruel and savage, without compassion or empathy and unfamiliar with concepts like fear or mercy. Acura's ELS Studio setup offers much greater clarity and punch.Copyright © Poquet Auto Sales Privacy | Sitemap Infiniti offers the QX60 with a nine-speaker sound system as standard, but the Sensory and Autograph trims get a nicer 17-speaker Bose sound system it sounds just ok. The screen looks similar to what's found in the Pathfinder and Rogue, albeit with a different color scheme. Stepping up to the mid-spec Luxe replaces the analog gauges with a 12.3-inch configurable digital gauge cluster. Bluetooth, a Wi-Fi hotspot, SiriusXM Radio, HD Radio, and six USB ports throughout the cabin are all standard. At least Infiniti improved its bird's eye camera, which now features higher resolution and no more stitch lines. You need to access a separate menu for this, and it's maddening. This means you can never fully use the real estate, and unlike Hyundai/Kia, Infiniti made it cumbersome to change what's on the smaller side of the screen. The screen boasts decent graphics and snappy responses, but Infiniti made the unfortunate choice to always keep the layout in split-screen. The Infiniti QX60 has a 12.3-inch touchscreen that comes standard with wireless Apple CarPlay and wired Android Auto. The Autograph gets a 10.8-inch head-up display as standard, which can be optionally added on the upper trims, too. Moving up through the trims adds ProPILOT assist, adaptive cruise control, front parking sensors, traffic-sign recognition, blind-spot intervention, a surround-view monitor, and lane-departure prevention. In terms of driver assistance, a rearview monitor, Siri Eyes Free, automatic headlights with auto high beams, rain-sensing wipers, cruise control, rear parking sensors, blind-spot warning, forward-collision warning, forward emergency braking with pedestrian detection, rear cross-traffic alert, lane-departure warning, and rear auto braking are standard from the entry-level model. The top trim gets advanced climate control, additional adjustments on the front seats with memory, and second-row captain's chairs with pivoting armrests. Second-row seat heating is standard on Sensory models, as are massaging front seats. From the base model, the front seats are heated, with ventilation added from the Luxe trim. The features list on the new Infiniti QX60 is generous enough to support its luxury aspirations, with all models featuring tri-zone climate control, an auto-dimming interior rearview mirror, a panoramic moonroof, a heated steering wheel, and eight-way power-adjustable front seats. 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Your mobile cybersecurity just got an upgrade. Malwarebytes brings the anti-malware, ad blocking, filtering, & web security features you need to stay safe. The ER closely interacts with many organelles including mitochondria, Golgi, endosomes, lysosomes, peroxisomes and the plasma membrane to allow the transfer of lipids and intracellular signals, and interactions with the cytoskeleton play key roles in its dynamics and distribution.Īt the cellular level the ER consists of an extended polygonal network of tubules connecting to sheet-like cisternae and the nuclear envelope (NE) to form one contiguous membrane network with a common luminal space ( Figure 1a). Little, however, is known about the biogenesis and organization of these sites. Specialized regions of the ER, termed ER exit site (ERES), have been defined by their unique role in the assembly of the COPII vesicles that mediate ER-to-Golgi traffic. Conversely, the SER is devoid of ribosomes and tends to be more tubular in structure. The RER has a sheet-like morphology and is characterized by the presence of ribosomes associated with the biosynthesis of secretory and membrane proteins. At an ultrastructural level it can be classified into two types, smooth ER (SER) and rough ER (RER). The endoplasmic reticulum (ER), typically the largest membrane-bound organelle in a eukaryotic cell, plays a critical role in many cellular processes, including protein synthesis, protein modification, lipid synthesis and the regulation of Ca 2+ homeostasis and secretion. |
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