title: Virtual world

text: The plot of "San Junipero", series 3, episode 4 of the anthology TV series "Black Mirror", revolves around a virtual world in which participants can choose time periods to visit. Living people may visit only 5 hours per week; while the dying can choose to permanently preserve their consciousness there.


title: Virtual world

text: An upcoming South Korean sci-fi fantasy film "Wonderland", is about a virtual simulated place for people to reunite with a person they may not meet again, by using artificial intelligence.


title: Virtual world

text: Virtual worlds may lead to a "mobility" of labor that may impact national and organizational competitiveness in a manner similar to the changes seen with the mobility of goods and then the mobility of labor.


title: Virtual world

text: Virtual worlds may increasingly function as centers of commerce, trade, and business. Virtual asset trade is massive and growing; e.g., Second Life revenue reached approximately 7 million US Dollars per month, in 2011. Real world firms, such as Coca-Cola, have used virtual worlds to advertise their brand.


title: Karyn Kusama

text: Karyn Kiyoko Kusama (born March 21, 1968) is an American filmmaker. She made her directorial and writing feature film debut with the sports drama film "Girlfight" (2000) for which she received a nomination for the Independent Spirit Award for Best First Feature.


title: Karyn Kusama

text: Kusama went on to direct the science fiction action film "Æon Flux" (2005), based on Peter Chung's animated series of the same name and the cult horror comedy film "Jennifer's Body" (2009). After working extensively as a television director, Kusama directed the horror film "The Invitation" (2015), a segment in the all-female horror anthology film "XX" (2017), and the crime drama film "Destroyer" (2018).


title: Karyn Kusama

text: Among her accolades, Kusama has received awards from the Cannes Film Festival and the Sundance Film Festival. She has been married to screenwriter Phil Hay since 2006 with whom she has a son. Hay has co-written three of her films with his writing partner Matt Manfredi. Together the trio formed Familystyle Films, under which "Destroyer" was released.


title: Karyn Kusama

text: Kusama was born in St. Louis, Missouri, the daughter of Haruo Kusama, a Japanese child psychiatrist and Susan McGuire, a Midwestern educational psychiatrist. She graduated from Ladue Horton Watkins High School in St. Louis, and in 1990 she earned a BFA in Film & TV from New York University's Tisch School of the Arts.


title: Karyn Kusama

text: After graduating from NYU, where she won a Mobil Prize for a student film called "Sleeping Beauties," Kusama worked as an editor on documentary films, in production on independent film and music videos, as a nanny, and painting houses. Through her nanny job she met filmmaker John Sayles and worked as his assistant for three years while he was making the film "Lone Star," as well as the development of his films "Men with Guns" and "Limbo". While working for Sayles, she continued to write screenplays. In 1992, Kusama started boxing at Gleason's Gym in Brooklyn, training with Hector Roca. She began collecting ideas for "Girlfight", but didn't start writing it until two years later.


title: Karyn Kusama

text: At age 31, Kusama wrote and directed her debut feature, "Girlfight". It took several years to find financing for the film, reportedly due to her insistence that the main character be a Latina rather than allowing the film to become a vehicle for a well-known white actress. After financing fell through shortly before shooting began, "Girlfight" was partially financed by filmmaker John Sayles, for whom she worked as an assistant at the time and who served as a mentor. The film was released in 2000 and won the Director's Prize and shared the Grand Jury Prize at the Sundance Film Festival, as well as the Prix de la Jeunesse at the Cannes Film Festival. With a budget of around US$1 million was critically well received. However, it brought in only US$1,667,000, which was considered a poor return. Despite this, the film launched the career of Michelle Rodriguez, who had no previous acting roles prior to being cast in "Girlfight".


title: Karyn Kusama

text: In 2005, Kusama directed her second film, "Æon Flux", a Paramount Pictures studio production that starred Charlize Theron and had a budget of US$62,000,000. The film had been ushered through production by Paramount studio chief Sherry Lansing but during production Lansing left, which resulted in the film being recut and reworked, with significant changes from Kusama's original vision. Following this experience, Kusama said she would never again work on a film in which she doesn't have control of the final cut. The film was largely panned by critics and grossed $52 million worldwide, putting Kusama's career on ice for years afterwards.


title: Karyn Kusama

text: In 2009, Kusama directed the horror film "Jennifer's Body," which was written by Diablo Cody and starred Megan Fox and Amanda Seyfried in the lead roles. The film grossed approximately US$31,000,000 on a budget of around US$16,000,000. Despite its box office success, the film received mixed reviews from critics upon its release but has since become a cult classic. The film was critically reassessed over time as a "forgotten feminist classic". According to Cody, the film was marketed incorrectly by executives who focused their efforts on the young male audience. In regards to the reappraisals of the film, Kusama credited its "distinctly female perspective," stating she had intended to make a film where young women could see themselves represented. Kusama has since described working on both "Æon Flux" and "Jennifer's Body" as "learning experiences," wherein she learned how to navigate the Hollywood studio system.


title: Karyn Kusama

text: In 2013, Kusama directed the short film "Speechless". Starting in 2014, Kusama began working regularly in television as a director on several series, such as "Halt and Catch Fire", "The Man in the High Castle", "Casual", "Billions", and "The Outsider". Kusama was slated to direct an adaptation of "Breed", an adult horror novel by Scott Spencer under the pen name Chase Novak. The film was to be produced and written by Kusama's husband Phil Hay and his partner Matt Manfredi, but there have been no updates since the film's announcement.


title: Karyn Kusama

text: In 2015, Kusama directed "The Invitation", a horror film written by Hay and Manfredi, and starring Logan Marshall-Green. The film was funded by a film consortium called Gamechanger Films, who fund films directed by women. It premiered at the 2015 SXSW Festival, to great acclaim, and was released by Drafthouse Films. The film would win the International Critic's Award at the 2015 Neuchâtel International Fantastic Film Festival, and was also nominated for Best Picture. Other accolades won by the film included Best Film at the 2015 Sitges Film Festival and the Golden Octopus at the 2015 Strasbourg European Fantastic Film Festival.


title: Karyn Kusama

text: Part of the film's inspiration were the experiences of loss that Kusama, Hay, and Manfredi had. Kusama's brother, Kevin died when she was young, as did a close friend in New York. The film was shot in sequence, cost US$1 million and was filmed in 20 days in Los Angeles. Due to the low production cost and time of the film, Kusama noted that despite the challenges involved with making a film in this manner she had the creative control she lacked on her previous Hollywood films.


title: Karyn Kusama

text: In 2017, Kusama wrote and directed a segment, titled "Her Only Living Son", in the all-female directed anthology horror film "XX". In 2018, Kusama directed the crime drama film "Destroyer", which starred Nicole Kidman and Tatiana Maslany. According to Kusama, Kidman had lobbied for the part after reading the script. The film made its debut at the Telluride Film Festival to positive reactions for Kusama's direction and Kidman's performance, but disappointed at the box office, grossing slightly over $5 million globally with a budget of over $10 million.


title: Karyn Kusama

text: In 2020, a new Dracula film was announced as in development by Blumhouse Productions, featuring Kusama as director and Phil Hay and Matt Manfredi as writers. The film was to be set in modern times and follow the character Mina Harker; however, the film was cancelled in April 2022, just three weeks before it was to start filming.


title: Karyn Kusama

text: Kusama's films have been noted for their strong feminist themes, and with the exception of "The Invitation", all have featured female protagonists. They are often flawed, with the filmmaker citing an interest in ambiguity and difficulty in characters. Kusama has described herself as a "feminist unapologetically" and has criticized the barriers that women face in the film industry. In addition to themes of feminism, Kusama has also explored existential themes such as loss, despair, and anxiety in her films.


title: Karyn Kusama

text: Her interest in being a filmmaker comes from the "disparate elements" of art in storytelling from dialogue to music, and the opportunity that being a filmmaker allows in uniting these elements into a single vision. Kusama's films have often drawn upon and been influenced by her own experiences and connections.


title: Karyn Kusama

text: Some of her films have been set in the city of Los Angeles. On the city's usage in "The Invitation", Kusama said that despite the film being primarily set and shot in a single interior space it had to be set in Los Angeles due to the mythology and history of the city and the surrounding Southern California region. With "Destroyer", she aimed to authentically depict parts of the city not often seen in popular culture, resulting in its location shooting going "off the beaten path."


title: Karyn Kusama

text: Kusama married screenwriter Phil Hay in October 2006. They have a son. Although they had known each other since meeting at Sundance when "Girlfight" premiered in 2000, it wasn't until they worked together on "Æon Flux" that they began dating.


title: Karyn Kusama

text: Kusama has named Jonathan Glazer and Jacques Audiard as two current filmmakers who have influenced her. She also said Chantal Akerman's arthouse film "Jeanne Dielman" is one of her favorite female-directed films. Kusama was initially inspired to make films–particularly centered around women–by her viewings of Amy Heckerling's "Fast Times at Ridgemont High" (1982) as well as Martha Coolidge's "Valley Girl" (1983).


title: Genetic recombination

text: During meiosis in eukaryotes, genetic recombination involves the pairing of homologous chromosomes. This may be followed by information transfer between the chromosomes. The information transfer may occur without physical exchange (a section of genetic material is copied from one chromosome to another, without the donating chromosome being changed) (see SDSA pathway in Figure); or by the breaking and rejoining of DNA strands, which forms new molecules of DNA (see DHJ pathway in Figure).


title: Genetic recombination

text: Recombination may also occur during mitosis in eukaryotes where it ordinarily involves the two sister chromosomes formed after chromosomal replication. In this case, new combinations of alleles are not produced since the sister chromosomes are usually identical. In meiosis and mitosis, recombination occurs between similar molecules of DNA (homologous sequences). In meiosis, non-sister homologous chromosomes pair with each other so that recombination characteristically occurs between non-sister homologues. In both meiotic and mitotic cells, recombination between homologous chromosomes is a common mechanism used in DNA repair.


title: Genetic recombination

text: Gene conversion - the process during which homologous sequences are made identical also falls under genetic recombination.


title: Genetic recombination

text: Genetic recombination and recombinational DNA repair also occurs in bacteria and archaea, which use asexual reproduction.


title: Genetic recombination

text: Recombination can be artificially induced in laboratory ("in vitro") settings, producing recombinant DNA for purposes including vaccine development.


title: Genetic recombination

text: V(D)J recombination in organisms with an adaptive immune system is a type of site-specific genetic recombination that helps immune cells rapidly diversify to recognize and adapt to new pathogens.


title: Genetic recombination

text: During meiosis, synapsis (the pairing of homologous chromosomes) ordinarily precedes genetic recombination.


title: Genetic recombination

text: Genetic recombination is catalyzed by many different enzymes. Recombinases are key enzymes that catalyse the strand transfer step during recombination. RecA, the chief recombinase found in "Escherichia coli", is responsible for the repair of DNA double strand breaks (DSBs). In yeast and other eukaryotic organisms there are two recombinases required for repairing DSBs. The RAD51 protein is required for mitotic and meiotic recombination, whereas the DNA repair protein, DMC1, is specific to meiotic recombination. In the archaea, the ortholog of the bacterial RecA protein is RadA.


title: Genetic recombination

text: In eukaryotes, recombination during meiosis is facilitated by chromosomal crossover. The crossover process leads to offspring having different combinations of genes from those of their parents, and can occasionally produce new chimeric alleles. The shuffling of genes brought about by genetic recombination produces increased genetic variation. It also allows sexually reproducing organisms to avoid Muller's ratchet, in which the genomes of an asexual population tend to accumulate more deleterious mutations over time than other types of beneficial or reversing mutations.


title: Genetic recombination

text: Chromosomal crossover involves recombination between the paired chromosomes inherited from each of one's parents, generally occurring during meiosis. During prophase I (pachytene stage) the four available chromatids are in tight formation with one another. While in this formation, homologous sites on two chromatids can closely pair with one another, and may exchange genetic information.


title: Genetic recombination

text: Because recombination can occur with small probability at any location along chromosome, the frequency of recombination between two locations depends on the distance separating them. Therefore, for genes sufficiently distant on the same chromosome, the amount of crossover is high enough to destroy the correlation between alleles.


title: Genetic recombination

text: Tracking the movement of genes resulting from crossovers has proven quite useful to geneticists. Because two genes that are close together are less likely to become separated than genes that are farther apart, geneticists can deduce roughly how far apart two genes are on a chromosome if they know the frequency of the crossovers. Geneticists can also use this method to infer the presence of certain genes. Genes that typically stay together during recombination are said to be linked. One gene in a linked pair can sometimes be used as a marker to deduce the presence of another gene. This is typically used in order to detect the presence of a disease-causing gene.


title: Genetic recombination

text: The recombination frequency between two loci observed is the "crossing-over value". It is the frequency of crossing over between two linked gene loci (markers), and depends on the mutual distance of the genetic loci observed. For any fixed set of genetic and environmental conditions, recombination in a particular region of a linkage structure (chromosome) tends to be constant, and the same is then true for the crossing-over value which is used in the production of genetic maps.


title: Genetic recombination

text: In gene conversion, a section of genetic material is copied from one chromosome to another, without the donating chromosome being changed. Gene conversion occurs at high frequency at the actual site of the recombination event during meiosis. It is a process by which a DNA sequence is copied from one DNA helix (which remains unchanged) to another DNA helix, whose sequence is altered. Gene conversion has often been studied in fungal crosses where the 4 products of individual meioses can be conveniently observed. Gene conversion events can be distinguished as deviations in an individual meiosis from the normal 2:2 segregation pattern (e.g. a 3:1 pattern).


title: Genetic recombination

text: Recombination can occur between DNA sequences that contain no sequence homology. This can cause chromosomal translocations, sometimes leading to cancer.


title: Genetic recombination

text: B cells of the immune system perform genetic recombination, called immunoglobulin class switching. It is a biological mechanism that changes an antibody from one class to another, for example, from an isotype called IgM to an isotype called IgG.


title: Genetic recombination

text: In genetic engineering, recombination can also refer to artificial and deliberate recombination of disparate pieces of DNA, often from different organisms, creating what is called recombinant DNA. A prime example of such a use of genetic recombination is gene targeting, which can be used to add, delete or otherwise change an organism's genes. This technique is important to biomedical researchers as it allows them to study the effects of specific genes. Techniques based on genetic recombination are also applied in protein engineering to develop new proteins of biological interest.


title: Genetic recombination

text: DNA damages caused by a variety of exogenous agents (e.g. UV light, X-rays, chemical cross-linking agents) can be repaired by homologous recombinational repair (HRR). These findings suggest that DNA damages arising from natural processes, such as exposure to reactive oxygen species that are byproducts of normal metabolism, are also repaired by HRR. In humans, deficiencies in the gene products necessary for HRR during meiosis likely cause infertility In humans, deficiencies in gene products necessary for HRR, such as BRCA1 and BRCA2, increase the risk of cancer (see DNA repair-deficiency disorder).


title: Genetic recombination

text: In bacteria, transformation is a process of gene transfer that ordinarily occurs between individual cells of the same bacterial species. Transformation involves integration of donor DNA into the recipient chromosome by recombination. This process appears to be an adaptation for repairing DNA damages in the recipient chromosome by HRR. Transformation may provide a benefit to pathogenic bacteria by allowing repair of DNA damage, particularly damages that occur in the inflammatory, oxidizing environment associated with infection of a host.


title: Genetic recombination

text: When two or more viruses, each containing lethal genomic damages, infect the same host cell, the virus genomes can often pair with each other and undergo HRR to produce viable progeny. This process, referred to as multiplicity reactivation, has been studied in lambda and T4 bacteriophages, as well as in several pathogenic viruses. In the case of pathogenic viruses, multiplicity reactivation may be an adaptive benefit to the virus since it allows the repair of DNA damages caused by exposure to the oxidizing environment produced during host infection. See also reassortment.


title: Genetic recombination

text: Molecular models of meiotic recombination have evolved over the years as relevant evidence accumulated. A major incentive for developing a fundamental understanding of the mechanism of meiotic recombination is that such understanding is crucial for solving the problem of the adaptive function of sex, a major unresolved issue in biology. A recent model that reflects current understanding was presented by Anderson and Sekelsky, and is outlined in the first figure in this article. The figure shows that two of the four chromatids present early in meiosis (prophase I) are paired with each other and able to interact. Recombination, in this version of the model, is initiated by a double-strand break (or gap) shown in the DNA molecule (chromatid) at the top of the first figure in this article. However, other types of DNA damage may also initiate recombination. For instance, an inter-strand cross-link (caused by exposure to a cross-linking agent such as mitomycin C) can be repaired by HRR.


title: Genetic recombination

text: As indicated in the first figure, above, two types of recombinant product are produced. Indicated on the right side is a “crossover” (CO) type, where the flanking regions of the chromosomes are exchanged, and on the left side, a “non-crossover” (NCO) type where the flanking regions are not exchanged. The CO type of recombination involves the intermediate formation of two “Holliday junctions” indicated in the lower right of the figure by two X shaped structures in each of which there is an exchange of single strands between the two participating chromatids. This pathway is labeled in the figure as the DHJ (double-Holliday junction) pathway.


title: Genetic recombination

text: The NCO recombinants (illustrated on the left in the figure) are produced by a process referred to as “synthesis dependent strand annealing” (SDSA). Recombination events of the NCO/SDSA type appear to be more common than the CO/DHJ type. The NCO/SDSA pathway contributes little to genetic variation, since the arms of the chromosomes flanking the recombination event remain in the parental configuration. Thus, explanations for the adaptive function of meiosis that focus exclusively on crossing-over are inadequate to explain the majority of recombination events.


title: Genetic recombination

text: Achiasmy is the phenomenon where autosomal recombination is completely absent in one sex of a species. Achiasmatic chromosomal segregation is well documented in male "Drosophila melanogaster". Heterochiasmy occurs when recombination rates differ between the sexes of a species. This sexual dimorphic pattern in recombination rate has been observed in many species. In mammals, females most often have higher rates of recombination. The "Haldane-Huxley rule" states that achiasmy usually occurs in the heterogametic sex.


title: Genetic recombination

text: Numerous RNA viruses are capable of genetic recombination when at least two viral genomes are present in the same host cell. Recombination is largely responsible for RNA virus diversity and immune evasion. RNA recombination appears to be a major driving force in determining genome architecture and the course of viral evolution among picornaviridae ((+)ssRNA) (e.g. poliovirus). In the retroviridae ((+)ssRNA)(e.g. HIV), damage in the RNA genome appears to be avoided during reverse transcription by strand switching, a form of recombination.


title: Genetic recombination

text: Recombination also occurs in the reoviridae (dsRNA)(e.g. reovirus), orthomyxoviridae ((-)ssRNA)(e.g. influenza virus) and coronaviridae ((+)ssRNA) (e.g. SARS).


title: Genetic recombination

text: Recombination in RNA viruses appears to be an adaptation for coping with genome damage. Switching between template strands during genome replication, referred to as copy-choice recombination, was originally proposed to explain the positive correlation of recombination events over short distances in organisms with a DNA genome (see first Figure, SDSA pathway).


title: Genetic recombination

text: Recombination can occur infrequently between animal viruses of the same species but of divergent lineages. The resulting recombinant viruses may sometimes cause an outbreak of infection in humans.


title: Genetic recombination

text: Especially in coronaviruses, recombination may also occur even among distantly related evolutionary groups (subgenera), due to their characteristic transcription mechanism, that involves subgenomic mRNAs that are formed by template switching.


title: Genetic recombination

text: When replicating its (+)ssRNA genome, the poliovirus RNA-dependent RNA polymerase (RdRp) is able to carry out recombination. Recombination appears to occur by a copy choice mechanism in which the RdRp switches (+)ssRNA templates during negative strand synthesis. Recombination by RdRp strand switching also occurs in the (+)ssRNA plant carmoviruses and tombusviruses.


title: Genetic recombination

text: Recombination appears to be a major driving force in determining genetic variability within coronaviruses, as well as the ability of coronavirus species to jump from one host to another and, infrequently, for the emergence of novel species, although the mechanism of recombination in is unclear.


title: Genetic recombination

text: During the first months of the COVID-19 pandemic, such a recombination event was suggested to have been a critical step in the evolution of SARS-CoV-2's ability to infect humans. SARS-CoV-2's entire receptor binding motif appeared, based on preliminary observations, to have been introduced through recombination from coronaviruses of pangolins. However, more comprehensive analyses later refuted this suggestion and showed that SARS-CoV-2 likely evolved solely within bats and with little or no recombination.


title: Genetic recombination

text: Nowak and Ohtsuki noted that the origin of life (abiogenesis) is also the origin of biological evolution. They pointed out that all known life on earth is based on biopolymers and proposed that any theory for the origin of life must involve biological polymers that act as information carriers and catalysts. Lehman argued that recombination was an evolutionary development as ancient as the origins of life. Smail et al. proposed that in the primordial Earth, recombination played a key role in the expansion of the initially short informational polymers (presumed to be RNA) that were the precursors to life.


title: Anti-folk

text: Anti-folk (sometimes referred to as unfolk) is a music genre that emerged in the 1980s in response to the remnants of the 1960s folk music scene. Anti-folk music was made to mock the perceived seriousness of the time's mainstream music scene, and artists have the intention to protest with their mocking and clever lyrics.


title: Anti-folk

text: Anti-folk was introduced by artists who were unable to obtain gigs at established folk venues in Greenwich Village such as Folk City and The Speakeasy. In the mid-1980s, singer-songwriter Lach started The Fort, an after-hours club on NYC's Rivington Street in the Lower East Side. The Fort's opening coincided with the New York Folk Festival. Because of this, Lach dubbed his event the New York Antifolk Festival. Other early proponents of the movement included The Washington Squares, Cindy Lee Berryhill, Brenda Kahn, Paleface, Beck, Hamell on Trial, Michelle Shocked, Zane Campbell, and John S. Hall. Roger Manning, Kirk Kelly, and Block.


title: Anti-folk

text: The original Fort was shut down in 1985 by the police, and because of this the club moved locations several times, including East Village bars Sophie's and Chameleon, before settling in the back room of the SideWalk Cafe starting in 1993. The New York Antifolk Festival was held annually at the SideWalk Cafe until its closure in 2019 (long outlasting the original Folk Festival). Events have also taken place in the band shells in Tompkins Square Park and Central Park. While living in San Francisco in the early 1990s, Lach helped establish a West Coast anti-folk movement at the Sacred Grounds Coffee House.


title: Anti-folk

text: Other artists to have achieved a notable level of success who have been considered anti-folk include Jeffrey Lewis, Regina Spektor and The Moldy Peaches.


title: Anti-folk

text: In the 2000s the term was adopted in Britain, particularly in the London underground scene, with acts including David Cronenberg's Wife and The Bobby McGee's. The UK anti-folk scene, largely centred in London and Brighton, has established its own identity, which has been written about in a six-page feature in the September 2007 issue of "Plan B" magazine. In 2004 the lo-fi musician Filthy Pedro started seasonal anti-folk festivals, which he promoted with Tom Mayne of the band David Cronenberg's Wife. An anti-folk scene in Brighton, curated primarily by Mertle, was quick to follow that of London.


title: Anti-folk

text: Other key figures within the UK anti-folk community include Dan Treacy of Television Personalities, Jack Hayter, Milk Kan, Extradition Order, Benjamin Shaw, Lucy Joplin, Candythief, JJ Crash, Larry Pickleman and Paul Hawkins. Emmy the Great and Laura Marling were added to the roster of antifolk artists as they play antifolk music with mocking lyrics. Kate Nash started her music career playing anti-folk-style shows, including a concert promoted by Larry Pickleman and Mertle in Brighton.


title: Anti-folk

text: Dan Willson, who performs under the name Withered Hand, is an Edinburgh-based musician often considered part of the genre. His first studio album, Good News, was released in 2009.


title: Anti-folk

text: Welsh anti-folk artist Mr Duke has gained some popularity in Wales, and Crywank, an anti-folk project from Manchester, surfaced in 2009. Crywank's popularity can be seen through the disappointment of fans when the break-up was announced in 2019. Though in 2021, Crywank released a final album.


title: DNA microarray

text: A DNA microarray (also commonly known as DNA chip or biochip) is a collection of microscopic DNA spots attached to a solid surface. Scientists use DNA microarrays to measure the expression levels of large numbers of genes simultaneously or to genotype multiple regions of a genome. Each DNA spot contains picomoles (10 moles) of a specific DNA sequence, known as "probes" (or "reporters" or "oligos"). These can be a short section of a gene or other DNA element that are used to hybridize a cDNA or cRNA (also called anti-sense RNA) sample (called "target") under high-stringency conditions. Probe-target hybridization is usually detected and quantified by detection of fluorophore-, silver-, or chemiluminescence-labeled targets to determine relative abundance of nucleic acid sequences in the target. The original nucleic acid arrays were macro arrays approximately 9 cm × 12 cm and the first computerized image based analysis was published in 1981. It was invented by Patrick O. Brown. An example of its application is in SNPs arrays for polymorphisms in cardiovascular diseases, cancer, pathogens and GWAS analysis. It is also used for the identification of structural variations and the measurement of gene expression.


title: DNA microarray

text: The core principle behind microarrays is hybridization between two DNA strands, the property of complementary nucleic acid sequences to specifically pair with each other by forming hydrogen bonds between complementary nucleotide base pairs. A high number of complementary base pairs in a nucleotide sequence means tighter non-covalent bonding between the two strands. After washing off non-specific bonding sequences, only strongly paired strands will remain hybridized. Fluorescently labeled target sequences that bind to a probe sequence generate a signal that depends on the hybridization conditions (such as temperature), and washing after hybridization. Total strength of the signal, from a spot (feature), depends upon the amount of target sample binding to the probes present on that spot. Microarrays use relative quantitation in which the intensity of a feature is compared to the intensity of the same feature under a different condition, and the identity of the feature is known by its position.


title: DNA microarray

text: Many types of arrays exist and the broadest distinction is whether they are spatially arranged on a surface or on coded beads:


title: DNA microarray

text: DNA microarrays can be used to detect DNA (as in comparative genomic hybridization), or detect RNA (most commonly as cDNA after reverse transcription) that may or may not be translated into proteins. The process of measuring gene expression via cDNA is called expression analysis or expression profiling.


title: DNA microarray

text: Specialised arrays tailored to particular crops are becoming increasingly popular in molecular breeding applications. In the future they could be used to screen seedlings at early stages to lower the number of unneeded seedlings tried out in breeding operations.


title: DNA microarray

text: Microarrays can be manufactured in different ways, depending on the number of probes under examination, costs, customization requirements, and the type of scientific question being asked. Arrays from commercial vendors may have as few as 10 probes or as many as 5 million or more micrometre-scale probes.


title: DNA microarray

text: Microarrays can be fabricated using a variety of technologies, including printing with fine-pointed pins onto glass slides, photolithography using pre-made masks, photolithography using dynamic micromirror devices, ink-jet printing, or electrochemistry on microelectrode arrays.


title: DNA microarray

text: In "spotted microarrays", the probes are oligonucleotides, cDNA or small fragments of PCR products that correspond to mRNAs. The probes are synthesized prior to deposition on the array surface and are then "spotted" onto glass. A common approach utilizes an array of fine pins or needles controlled by a robotic arm that is dipped into wells containing DNA probes and then depositing each probe at designated locations on the array surface. The resulting "grid" of probes represents the nucleic acid profiles of the prepared probes and is ready to receive complementary cDNA or cRNA "targets" derived from experimental or clinical samples.


title: DNA microarray

text: This technique is used by research scientists around the world to produce "in-house" printed microarrays in their own labs. These arrays may be easily customized for each experiment, because researchers can choose the probes and printing locations on the arrays, synthesize the probes in their own lab (or collaborating facility), and spot the arrays. They can then generate their own labeled samples for hybridization, hybridize the samples to the array, and finally scan the arrays with their own equipment. This provides a relatively low-cost microarray that may be customized for each study, and avoids the costs of purchasing often more expensive commercial arrays that may represent vast numbers of genes that are not of interest to the investigator.


title: DNA microarray

text: Publications exist which indicate in-house spotted microarrays may not provide the same level of sensitivity compared to commercial oligonucleotide arrays, possibly owing to the small batch sizes and reduced printing efficiencies when compared to industrial manufactures of oligo arrays.


title: DNA microarray

text: In "oligonucleotide microarrays", the probes are short sequences designed to match parts of the sequence of known or predicted open reading frames. Although oligonucleotide probes are often used in "spotted" microarrays, the term "oligonucleotide array" most often refers to a specific technique of manufacturing. Oligonucleotide arrays are produced by printing short oligonucleotide sequences designed to represent a single gene or family of gene splice-variants by synthesizing this sequence directly onto the array surface instead of depositing intact sequences. Sequences may be longer (60-mer probes such as the Agilent design) or shorter (25-mer probes produced by Affymetrix) depending on the desired purpose; longer probes are more specific to individual target genes, shorter probes may be spotted in higher density across the array and are cheaper to manufacture.


title: DNA microarray

text: One technique used to produce oligonucleotide arrays include photolithographic synthesis (Affymetrix) on a silica substrate where light and light-sensitive masking agents are used to "build" a sequence one nucleotide at a time across the entire array. Each applicable probe is selectively "unmasked" prior to bathing the array in a solution of a single nucleotide, then a masking reaction takes place and the next set of probes are unmasked in preparation for a different nucleotide exposure. After many repetitions, the sequences of every probe become fully constructed. More recently, Maskless Array Synthesis from NimbleGen Systems has combined flexibility with large numbers of probes.


title: DNA microarray

text: "Two-color microarrays" or "two-channel microarrays" are typically hybridized with cDNA prepared from two samples to be compared (e.g. diseased tissue versus healthy tissue) and that are labeled with two different fluorophores. Fluorescent dyes commonly used for cDNA labeling include Cy3, which has a fluorescence emission wavelength of 570 nm (corresponding to the green part of the light spectrum), and Cy5 with a fluorescence emission wavelength of 670 nm (corresponding to the red part of the light spectrum). The two Cy-labeled cDNA samples are mixed and hybridized to a single microarray that is then scanned in a microarray scanner to visualize fluorescence of the two fluorophores after excitation with a laser beam of a defined wavelength. Relative intensities of each fluorophore may then be used in ratio-based analysis to identify up-regulated and down-regulated genes.


title: DNA microarray

text: Oligonucleotide microarrays often carry control probes designed to hybridize with RNA spike-ins. The degree of hybridization between the spike-ins and the control probes is used to normalize the hybridization measurements for the target probes. Although absolute levels of gene expression may be determined in the two-color array in rare instances, the relative differences in expression among different spots within a sample and between samples is the preferred method of data analysis for the two-color system. Examples of providers for such microarrays includes Agilent with their Dual-Mode platform, Eppendorf with their DualChip platform for colorimetric Silverquant labeling, and TeleChem International with Arrayit.


title: DNA microarray

text: In "single-channel microarrays" or "one-color microarrays", the arrays provide intensity data for each probe or probe set indicating a relative level of hybridization with the labeled target. However, they do not truly indicate abundance levels of a gene but rather relative abundance when compared to other samples or conditions when processed in the same experiment. Each RNA molecule encounters protocol and batch-specific bias during amplification, labeling, and hybridization phases of the experiment making comparisons between genes for the same microarray uninformative. The comparison of two conditions for the same gene requires two separate single-dye hybridizations. Several popular single-channel systems are the Affymetrix "Gene Chip", Illumina "Bead Chip", Agilent single-channel arrays, the Applied Microarrays "CodeLink" arrays, and the Eppendorf "DualChip & Silverquant". One strength of the single-dye system lies in the fact that an aberrant sample cannot affect the raw data derived from other samples, because each array chip is exposed to only one sample (as opposed to a two-color system in which a single low-quality sample may drastically impinge on overall data precision even if the other sample was of high quality). Another benefit is that data are more easily compared to arrays from different experiments as long as batch effects have been accounted for.


title: DNA microarray

text: One channel microarray may be the only choice in some situations. Suppose formula_1 samples need to be compared: then the number of experiments required using the two channel arrays quickly becomes unfeasible, unless a sample is used as a reference.


title: DNA microarray

text: This is an example of a DNA microarray experiment which includes details for a particular case to better explain DNA microarray experiments, while listing modifications for RNA or other alternative experiments.


title: DNA microarray

text: The advent of inexpensive microarray experiments created several specific bioinformatics challenges: the multiple levels of replication in experimental design (Experimental design); the number of platforms and independent groups and data format (Standardization); the statistical treatment of the data (Data analysis); mapping each probe to the mRNA transcript that it measures (Annotation); the sheer volume of data and the ability to share it (Data warehousing).


title: DNA microarray

text: Due to the biological complexity of gene expression, the considerations of experimental design that are discussed in the expression profiling article are of critical importance if statistically and biologically valid conclusions are to be drawn from the data.


title: DNA microarray

text: There are three main elements to consider when designing a microarray experiment. First, replication of the biological samples is essential for drawing conclusions from the experiment. Second, technical replicates (e.g. two RNA samples obtained from each experimental unit) may help to quantitate precision. The biological replicates include independent RNA extractions. Technical replicates may be two aliquots of the same extraction. Third, spots of each cDNA clone or oligonucleotide are present as replicates (at least duplicates) on the microarray slide, to provide a measure of technical precision in each hybridization. It is critical that information about the sample preparation and handling is discussed, in order to help identify the independent units in the experiment and to avoid inflated estimates of statistical significance.


title: DNA microarray

text: Microarray data is difficult to exchange due to the lack of standardization in platform fabrication, assay protocols, and analysis methods. This presents an interoperability problem in bioinformatics. Various grass-roots open-source projects are trying to ease the exchange and analysis of data produced with non-proprietary chips:


title: DNA microarray

text: For example, the "Minimum Information About a Microarray Experiment" (MIAME) checklist helps define the level of detail that should exist and is being adopted by many journals as a requirement for the submission of papers incorporating microarray results. But MIAME does not describe the format for the information, so while many formats can support the MIAME requirements, no format permits verification of complete semantic compliance. The "MicroArray Quality Control (MAQC) Project" is being conducted by the US Food and Drug Administration (FDA) to develop standards and quality control metrics which will eventually allow the use of MicroArray data in drug discovery, clinical practice and regulatory decision-making. The MGED Society has developed standards for the representation of gene expression experiment results and relevant annotations.


title: DNA microarray

text: Microarray data sets are commonly very large, and analytical precision is influenced by a number of variables. Statistical challenges include taking into account effects of background noise and appropriate normalization of the data. Normalization methods may be suited to specific platforms and, in the case of commercial platforms, the analysis may be proprietary. Algorithms that affect statistical analysis include:


title: DNA microarray

text: Microarray data may require further processing aimed at reducing the dimensionality of the data to aid comprehension and more focused analysis. Other methods permit analysis of data consisting of a low number of biological or technical replicates; for example, the Local Pooled Error (LPE) test pools standard deviations of genes with similar expression levels in an effort to compensate for insufficient replication.


title: DNA microarray

text: The relation between a probe and the mRNA that it is expected to detect is not trivial. Some mRNAs may cross-hybridize probes in the array that are supposed to detect another mRNA. In addition, mRNAs may experience amplification bias that is sequence or molecule-specific. Thirdly, probes that are designed to detect the mRNA of a particular gene may be relying on genomic EST information that is incorrectly associated with that gene.


title: DNA microarray

text: Microarray data was found to be more useful when compared to other similar datasets. The sheer volume of data, specialized formats (such as MIAME), and curation efforts associated with the datasets require specialized databases to store the data. A number of open-source data warehousing solutions, such as InterMine and BioMart, have been created for the specific purpose of integrating diverse biological datasets, and also support analysis.


title: DNA microarray

text: Advances in massively parallel sequencing has led to the development of RNA-Seq technology, that enables a whole transcriptome shotgun approach to characterize and quantify gene expression. Unlike microarrays, which need a reference genome and transcriptome to be available before the microarray itself can be designed, RNA-Seq can also be used for new model organisms whose genome has not been sequenced yet.


title: The Zeta Project

text: The Zeta Project is an American science fiction animated television series produced by Warner Bros. Animation. It first aired on Kids' WB in January 2001. It is a spin-off series based on the character Zeta from the "Batman Beyond" episode of the same name and the sixth series of the DC Animated Universe. The show was created by Robert Goodman and Warner Bros. Animation.


title: The Zeta Project

text: The story's main character, Infiltration Unit Zeta, is a humanoid robot (synthoid) designed to carry out covert assassinations on the behalf of the National Security Agency. When Zeta discovers that one of his targets is innocent, he experiences an existential crisis about goodness and the value of life; following this epiphany, Zeta finds that he can no longer kill. The newly enlightened Zeta refuses to continue on as an infiltration unit and abandons his mission, going rogue. Zeta is pursued by a team of NSA agents, led by the obsessed Agent Bennett, and is aided by a 15-year-old runaway, Rosalie "Ro" Rowan.


title: The Zeta Project

text: Inspired by "Frankenstein", "Blade Runner", and "The Fugitive", "The Zeta Project" follows the exploits of Zeta and Ro as they attempt to prove that he is genuinely non-violent, whereas the NSA agents pursuing him believe that the terrorists he was investigating before going rogue have reprogrammed him for some unknown purpose. To prove his innocence, Zeta and Ro search for his creator, the elusive Dr. Selig.


title: The Zeta Project

text: A spin-off of Batman Beyond, Bob Goodman initially pitched the show with plans to be darker than its point of origin, but when the pitch went to the Network, Kid's WB was looking for shows that would skew to a younger demographic, and "The Zeta Project" was ultimately picked up with the thought process "It's a Robot, and it's a teenage girl. How much fun can that be?" Promises were made by the show staff that most of the locations Zeta would encounter would not be as dark, gothic, and oppressive feeling as Batman Beyond's Gotham City. Among this, and other constraints, Bob's original vision for the show's messages on dark government, misuse of technology, and a wide range of social and political issues became more difficult to execute.


title: The Zeta Project

text: Despite the lighter tone adopted by the final product, Kid's WB still felt "The Zeta Project" was too dark all throughout its run, and almost canceled the show entirely following the September 11 attacks due to its plot lines involving terrorism and critical commentary on the NSA. Ultimately, the show went on for one more season before Goodman walked away, believing the networks demands were pushing the show too far away from his creative vision.


title: The Zeta Project

text: Created in a lab just over a year ago, Zeta is like a child in a grown-up's body. He has a high-endurance metal frame, that was built to carry an array of weapons and tools. He can project a hologram around himself and alter his voice, allowing him to become anyone. He was created to fight The United States' enemies, but learned the value of human life and refused to harm a man he believed was innocent, threw away his weapons, and ran from his programmed destiny. Ever since, the government agents that controlled Zeta have been after him, convinced that he's been reprogrammed by terrorists. Zeta hopes that his creator, Selig, will believe that his change of heart is real, and convince the agents to drop their pursuit. But Selig himself is a man on the move, and Zeta hasn't found him yet. Though Zeta no longer possesses the vast array of weapons that he originally came equipped with, his arms are equipped with saw blades and cutting lasers. He also possesses a wide array of other non-lethal tools, such as handheld welding lasers, a computer interface, and an unlimited cred card. He's faster than a human. His "eyes" and "ears" pick up wavelengths outside human perception. And to a limited degree, he's self-repairing.


title: The Zeta Project

text: Ro grew up in foster care, and was then assigned to a state-run girls' home. The only thing she even knows about her family is a vague memory of an older brother; the pair was separated by the foster care system years ago. She ran away from the state system at fifteen-years-old and hooked up with a gang just to have a roof over her head. But when she refused to do a hold-up to prove herself to the leader, she burned the last bridge she had. As she and Zeta search for his creator Ro embarks on a parallel journey on her own search for a "family" to belong to. Ro is the source of humor for the series. She's also Zeta's guide to "passing" among humans, and teaches him all those endless lessons we all take for granted about being human. She is visually inspired by Priss from Blade Runner.


title: The Zeta Project

text: Agent Bennet is the leader of the NSA team sent to capture Zeta. He vehemently believes that, regardless of Zeta's behavior, there is some sinister motive behind Zeta's sudden change in attitude and believes that he is working with the terrorist organization Brother's Day. Despite his supposed professionalism, he is seen to disobey orders himself, when it suits him, as well as abuse his authority. Although he overhears Dr. Selig's confession about giving Zeta a conscience, there is no sure sign that he will cease to be Zeta's enemy. Bennet is inspired by Lt. Philip Gerard from "The Fugitive"


title: The Zeta Project

text: Once the head of the government's Infiltration Unit Program, Doctor Eli Selig is the man who created Zeta. Selig knows Zeta's abilities and limitations better than anyone else on Earth. Since building Zeta, he's moved on to another government project—one far more confidential than his past work. At his current level of secrecy, Selig has become a phantom—appearing where and when his work demands, but always keeping his itinerary close to the vest. He will on occasion surface, to aid other scientists or lecture at conferences, but because his security is so sensitive, his appearances are never announced until the last minute.


title: The Zeta Project

text: Formerly Scout Unit Four, partner NSA Agent ORIN WEST and MARCIA LEE botch a chance to capture Zeta at the Wood Valley Maryland hoverbus station - and get assigned to Agent Bennet's personal detail as their punishment. Now West and Lee work right at Bennet's side (where he can keep an eye on them), dedicated to the single mission of capturing Zeta.


title: The Zeta Project

text: West is a clumsy, overeager bumbler, constantly firing weapons too soon, tripping over his own feet and blowing chances to catch Zeta. Lucky for him, Lee's there to keep him in check. She's more controlled, and by-the-book—but Lee has her doubts about Zeta's guilt. She's willing to believe Zeta might really be peaceful - and that open-mindedness sometimes puts her at odds with Agent Bennet. Lee eventually leaves Bennet's team and is replaced by Agent Rush


title: The Zeta Project

text: While West shares a last name and is similar in appearance to Wally West (the Flash), who is also voiced by Rosenbaum, showrunner Bob Goodman has stated this was coincidental.


title: The Zeta Project

text: 12 year old Bucky is a bona fide genius. Emancipated by his parents, he lives in an academic think tank. He's a hacker who loves to invade high security corporate computers and expose sensitive government secrets, just to show that he can and will give Big Brother the occasional goose. Unchecked by grown-ups, Bucky travels around freely, orchestrating his pranks—and keeping an interested eye on Zeta and Ro.


title: The Zeta Project

text: IU7 is the next generation of Infiltration Unit to come after Zeta, which Agent Bennet unleashes with the sole assignment of capturing its robotic predecessor. This synthoid has the same mimicking skills as Zeta, but the metal frame beneath its hologram is larger, more powerful, and more heavily armed. IU7 still carries a dangerous arsenal of weapons—and has none of Zeta's compunctions about using it. Because of the extreme single-mindedness of IU7's programming, Zeta and Ro usually find ways to misdirect and outsmart the synthoid monster.


title: The Zeta Project

text: Following the September 11 attacks, Kid's WB considered canceling "The Zeta Project", but Bob Goodman convinced them he could keep the show running without even mentioning terrorists. However, Kid's WB demanded that if the show were to be picked up for a third season, this season needed to end on a cliffhanger that appeared to kill Zee's creator, Dr. Selig. Eventually, Kid's WB! told Bob that the finale would be the end of Zeta's search for Selig, and that a third season would reveal that Ro was also a robot, and follow the "Scooby-Doo", adventure of the week, formula. Tired of network demands getting in the way of his vision, Bob ultimately quit the show. Interviews were held to replace him as show runner, but enthusiasm for the show lowered following his exit.


title: The Zeta Project

text: In December 2004, John Schneider revealed he was working on a filmed version of the show with series creator Bob Goodman. Bob later expanded, saying Warner Bros. Television Studios was interested in adapting the show in an hour long format. As producers, John and Bob developed a live action series that took liberties with the Zeta concept to fit the sensibilities of the network at the time, which included lessening the similarities to The Fugitive, since the recent reboot underperformed expectations. The show would have featured Ro working in the FBI's cyber crimes unit, with Zee having replaced her partner in the pilot. The show would have had them solving cases week to week while hunting down Zeta's creator and Ro's family.


title: The Zeta Project

text: Over the years, Bob Goodman stated he would love to have a chance to finish the story, and has expressed willingness to do so in comic form or long-form straight-to-DVD format. Over the years, he has hinted at many plot points for the unproduced seasons, including:


title: The Zeta Project

text: Despite the show's relative obscurity, "The Zeta Project" has made its way into many other DC projects. Early synthoid models bearing the resemblance of Zeta from his appearance in "Batman Beyond" and named Z-8s were seen in "Justice League" and "Justice League Unlimited" as a means of showing the evolution of government robots in the DCAU. In 2013, Zeta appeared in Batman Beyond Unlimited #16 as part of the new Terrific Trio, alongside Plastic Man and "Batman Beyond" villain, Earth Mover. In 2019, "Arrow" Season 7 saw the cast take a time travel trip to the 2040s set future where a company named Galaxy One unleashed robot soldiers named Zeta. In 2021, "Young Justice" mentioned The Zeta Project in the Episode "Needful". The AI in 2022's Batman Unburied was named Zeta, after The Zeta Project.


title: The Zeta Project

text: As with other DCAU shows before it, "The Zeta Project" was scored by Lolita Ritmanis, Michael McCuistion, Kristopher Carter and supervising composer Shirley Walker. Working concurrently with the final season of "Batman Beyond", for Zeta's first season, the Walker team worked to compose original music for each episode that blended the sound of a live orchestra composed of musicians hired from American Federation of Musicians Local 47, with more contemporary electronic elements the team recorded in their own studio.


title: The Zeta Project

text: According to McCuistion, "Each episode was a different take, musically, and there were some threads of course, but I remember several of them having different musical environments, and that was really interesting creatively. [...] it certainly didn’t share any of the flavor of Batman Beyond in terms of music, I don’t think. It was very futuristic and very fun, but yeah, it didn’t have that sort of gritty, underworld cultural thing going on."


title: The Zeta Project

text: The Zeta Project was the final show the Dynamic Music Partners (Ritmanis, McCuistion, Carter) had a live orchestra on, and played a hand in the Dynamic Music Partner's being hired to score Treyarch's Spider-Man


title: The Zeta Project

text: First announced at Warner Home Video's annual Home Theater Forum chat in September 2008, WHV (via DC Comics and Warner Bros. Family Entertainment) released the first season of "The Zeta Project" as a 2-DVD set for Region 1 on March 17, 2009. The bonus material for the set was handled by Retrofit Films, who reached out to fans of the series to help field interview questions for the cast and crew. While the released disc featured a 16-minute documentary featurette, titled "The Making of Zeta", about the show's origin with commentary from the voice cast and production staff, the original press release stated the set would include a since unreleased 15–20 minute featurette titled "Finding Freedom", a roundtable discussion, in which the cast speculates on various theories of where the show would have gone while producer/show runner Robert Goodman and his team give the fans the definitive answers.


title: The Zeta Project

text: The second season was initially reported to be on the way as early as December 2008. The following month, series creator Bob Goodman teased that bonus features for the season 2 set were filmed at the same time of the season 1 features, and later expanded that the season was slated to release in mid-2009 with a panel discussion featurette with Julie Nathanson, Liz Holzman, Joe Kuhr and himself that covered behind-the-scenes anecdotes. However, sales for season one did not meet Warner Home Video's expectations, resulting in the cancelation of the Season 2 release.


title: The Zeta Project

text: Alongside a re-printing of Season 1, Season 2 was finally announced for release by Warner Archive in February 2017 and arrived March 14, 2017. Attempts to locate the originally planned bonus features were unsuccessful, and they remain lost. To promote the release, Warner Archive held the "Warner Archive Collection's Kids' WB Flashback" panel at WonderCon Anaheim, featuring Diedrich Bader, Julie Nathanson, and Bob Goodman, as well as Phil LaMarr, who was representing WAC's recent Static Shock DVD releases.


title: The Zeta Project

text: Zeta Quest 3D was launched May 24, 2001. Advertised as a unique multi-environment, multi-level “walk-through” online video game, “Zeta Quest 3D,” let players assume the identity of Zeta, staying one step ahead of the NSA, while trying to clear his name. The game was built for the short lived CyberWorld QBORGs Browser System. According to Bob Goodman, he and Joe Kuhr contributed to vetting the writing process of the game. Not much is known about the plot, but many of the games original files are archived online and include a room named "IU8 Lab", suggesting the existence of an Infiltration Unit 8, as well as sprites of doctors seen in the episode "Absolute Zero".


title: Victim mentality

text: Victim mentality is an acquired personality trait in which a person tends to recognize or consider themselves a victim of the negative actions of others, and to behave as if this were the case in the face of contrary evidence of such circumstances. Victim mentality depends on clear thought processes and attribution. In some cases, those with a victim mentality have in fact been the victim of wrongdoing by others or have otherwise suffered misfortune through no fault of their own. However, such misfortune does not necessarily imply that one will respond by developing a "pervasive and universal" victim mentality where one frequently or constantly perceives oneself to be a victim.


title: Victim mentality

text: The term is also used in reference to the tendency for blaming one's misfortunes on somebody else's misdeeds, which is also referred to as victimism.


title: Victim mentality

text: Victim mentality is primarily developed, for example, from family members and situations during childhood. Similarly, criminals often engage in victim thinking, believing themselves to be moral and engaging in crime only as a reaction to an immoral world and furthermore feeling that authorities are unfairly singling them out for persecution.


title: Victim mentality

text: In the most general sense, a victim is anyone who experiences injury, loss, or misfortune as a result of some event or series of events. This negative experience, however, is insufficient for the emergence of a sense of victimhood. Individuals may identify as a victim if they believe that:


title: Victim mentality

text: The desire for empathy is crucial in that the mere experience of a harmful event is not enough for the emergence of the sense of being a victim. In order to have this sense, there is the need to perceive the harm as undeserved, unjust and immoral, an act that could not be prevented by the victim. The need to obtain empathy and understanding can then emerge.


title: Victim mentality

text: Victim mentality is often the product of violence. Those who have it usually had an experiences of crisis or trauma at its roots. In essence, it is a method of avoiding responsibility and criticism, receiving attention and compassion, and evading feelings of genuine anger.


title: Victim mentality

text: A victim mentality may manifest itself in a range of different behaviours or ways of thinking and talking:


title: Victim mentality

text: It has been typically characterized by attitudes of pessimism, self-pity, and repressed anger. People with victim mentality may develop convincing and sophisticated explanations in support of such ideas, which they then use to explain to themselves and others of their situation.


title: Victim mentality

text: Victims of abuse and manipulation are often trapped in a self-image of victimization. The psychological profile of victimization includes a variety of feelings and emotions, such as pervasive sense of helplessness, passivity, loss of control, pessimism, negative thinking, strong feelings of guilt, shame, self-blame , and depression. This way of thinking can lead one to hopelessness and despair. The victim role can be reinforced by individuals viewing themselves as having had the same agency at the time they were victimized as they have in the present.


title: Victim mentality

text: It is common for a therapist to take a long period of time to build a trusting relationship with a victim. Oftentimes, victims will develop a distrust of authority figures, along with the expectation of being hurt or exploited.


title: Victim mentality

text: Sexual abuse and victim mentality appear to have strong connections. Regardless of gender, all age groups forced to participate in and perform non-consensual sexual acts are more likely to develop feelings of self-recrimination, guilt, and self-blame for acts that they were forced to perform. Sexual abuse may also manifest in other ways such as petting, lewd verbal suggestions and communication, and exposure of one's body for sexual pleasure.


title: Victim mentality

text: According to Koçtürk, Nilüfer et al. the timing of disclosure among victims of abuse may vary, especially when it comes to sexual abuse. If the event occurred during their childhood or teenage years, they may not tell anyone until adulthood. The reasons for doing so are numerous, such as not wanting to draw attention to the event, not wanting the event to become a public spectacle, fear that their peers, friends, and others would think negatively of them, and not wanting to cause problems within the household. It has been found that victims who disclose to their family members early on usually have higher levels of support from family members and their community. Encouragement to disclose their traumatic experience sooner, rather than later, is greatly needed.


title: Victim mentality

text: Studies conducted by Andronnikova and Kudinov sought to determine a correlation between the degree of abuse and victimhood, and the victim's likelihood to exhibit behaviors consistent with a victim mentality. Studies were successful in identifying a strong correlation between those with a victim mentality and negative behaviors such as catastrophizing, self-demandingness, demandingness to others, and low frustration tolerance.


title: Victim mentality

text: In 2005, a study led by psychologist Charles R. Snyder indicated that if a victim mentality sufferer forgives themselves or the situation leading to that mental state, symptoms of PTSD or hostility can be mediated.


title: Victim mentality

text: For adolescent victims, group support and psychodrama techniques can help people gain a realistic view of past traumas, seeing that they were helpless but are no longer so. These techniques emphasize the victims' feelings and expressing those feelings. Support groups are useful in allowing others to practice assertiveness techniques, and warmly supporting others in the process.


title: Victim mentality

text: Successful techniques have included therapeutic teaching methods regarding concepts of normative decision theory, emotional intelligence, cognitive therapy, and psychological locus of control. These methods have proven helpful in allowing individuals with a victim mentality mindset to both recognize and release the mindset.


title: Victim mentality

text: Trauma can undermine an individual's assumptions about the world as a just and reasonable place and scientific studies have found that validation of trauma is important for therapeutic recovery. It is normal for victims to want perpetrators to take responsibility for their wrongdoing and studies conducted on patients and therapists indicate that they consider the validation of trauma and victimization as important for therapeutic recovery. De Lint and Marmo identify an 'antivictimism' mentality existing within society as a whole, and those who choose to use the label "victim mentality"; expecting individuals to only be "true victims" by showing fortitude and refusing to show pain, with displays of pain being seen as a sign of weakness. This will create an environment where a victim is expected to share their emotions, only to be judged for displaying them.


title: Victim mentality

text: Victimology has studied the perceptions of victims from sociological and psychological perspectives. People who are victims of crime have a complicated relationship with the label of a victim, may feel that they are required to accept it to receive aid or for legal processes; they may feel accepting the label is necessary to avoid blame; they may want to reject it to avoid stigmatization, or give themselves a sense of agency; they may accept the label due to a desire for justice rather than sympathy. There can be a false dichotomy between the roles of victim and survivor, which either does not acknowledge the agency that victims exerted (for example, leaving their abusers) or the fact that others' behaviour caused them harm.


title: Victim mentality

text: Political psychologists Bar-Tal and Chernyak-Hai write that collective victim mentality develops from a progression of self-realization, social recognition, and eventual attempts to maintain victimhood status.


title: Star Trek uniforms

text: "Star Trek" uniforms are costumes worn by actors portraying personnel of a fictitious Starfleet in various television series and films in the "Star Trek" science fiction franchise. The costume design often changed in the various series, to represent different time periods, and for reasons of appearance and comfort. Sometimes different styles were deliberately mixed to enhance the sense of time travel or alternative universes.


title: Star Trek uniforms

text: The original uniform designs were the product of costume designer Bill Theiss. These uniforms consisted of a colored top and dark pants, with significant variations between the designs used in the pilot episodes and the rest of the series.


title: Star Trek uniforms

text: The Starfleet uniforms seen in the unaired pilot "" (footage of which was re-used in a later episode, "") and the second pilot "Where No Man Has Gone Before", consisted of a tunic with a heavy ribbed turtle neck collar for men, and a cowl neck variation for women, each in three colors: gold, beige ("sand"), and light blue, worn over charcoal slacks. Gray jackets were sometimes worn on landing party duty.


title: Star Trek uniforms

text: Officers in the first "Star Trek" pilot, "The Cage", wore a single solid gold sleeve stripe, and only the officer grades of "lieutenant" and "captain" were used in dialog. A "chief" was also visible, but wearing a different sleeve stripe, consisting of two thin lines encircling the cuff, with a wavy gold line appearing above and below these lines. Characters addressed as "crewman" wore no sleeve insignia. The gray coats also bore silver rank stripes on the sleeves. In the second pilot episode, "Where No Man Has Gone Before", most officers again wore a single stripe; Captain James T. Kirk wore two stripes.


title: Star Trek uniforms

text: The rank indicators used in the pilots and the production series differed because Roddenberry and Theiss had not yet worked out a consistent system for officer-grade indicators on the uniforms; this they would do after the second pilot.


title: Star Trek uniforms

text: The original series Starfleet uniforms do not include headgear of any sort, including the officer's combination cap and service side cap.


title: Star Trek uniforms

text: The original uniform material was velour. This was used in the first and second seasons because it was cheap and easy to care for, but it shrank after it was dry-cleaned, and it tore easily. It was replaced in the third season by a nylon fabric used in professional baseball uniforms. Differently colored shirts were worn with charcoal slacks – which appeared black on camera – only by men.


title: Star Trek uniforms

text: While women wear trousers in the pilots, most female Starfleet personnel wear more revealing costumes per request from NBC; Grace Lee Whitney suggested miniskirts. William Shatner observed that "Star Trek", "to the appreciation of all the men on the set, in fact all around the world, would boast the shortest skirts on women of any regular series on television". Miniskirt-length dresses (of the same materials and colors as the shirts) with cheer briefs and dark tights were worn by the women. Black boots were worn by both sexes. Nichelle Nichols did not believe that the miniskirts were unusually short or revealing:


title: Star Trek uniforms

text: Once the series went into production, use of the jackets on landing parties stopped, even in inclement weather (e.g. "Mudd's Women").


title: Star Trek uniforms

text: On certain occasions, the characters would wear dress uniforms ("TOS:" first shown in "" and later used in "", "Space Seed", "Journey to Babel", and "The Savage Curtain") that are made of a shinier fabric, presumably a polyester satin, and are decorated with gold piping and colored badges that vary depending on rank. Montgomery Scott's dress uniform, especially as seen in "The Savage Curtain", includes a Scottish tartan. Specifically, it is the tartan of the Clan Scott, one of Scotland's oldest clans. Jumpsuits in the same colors with black undershirts were also worn, mostly by background characters.


title: Star Trek uniforms

text: Beginning with the first production episode "The Corbomite Maneuver", the department colors were slightly altered from the pilot versions: command and helm personnel wear gold shirts; operations, engineering and security personnel wear red; and science and medical personnel wear blue, all with black collars and undershirts. The most commonly used Command Section shirts were actually chartreuse-green in color, but they appeared to be a golden-yellow color both under the lights used on the set and in the post-development film stock. In later series, the gold color was canonized in dialog. However, some uniforms – the alternate shirts worn by Captain Kirk, and the Command Section dress uniforms – were made of a different material which, while the same color, showed up as chartreuse-green even under the lights and when photographed. The green shirts (seen in "TOS": "The Trouble with Tribbles", "Charlie X" and "") may have the rank stripes on the sleeves or on the collar ("TOS": ""), and always feature the "Enterprise" assignment patch near the waist as a belt fastener.


title: Star Trek uniforms

text: The production rank system worked out by series creator Gene Roddenberry and costume designer Bill Theiss resembles that of the United States Navy, in contrast to other science fiction franchises that use an army ranking system. In "" ("TOS") and "", ranks are indicated by sleeve stripes. While these were originally planned to follow the U.S. Navy and Coast Guard model, the pattern was modified to avoid an overly flashy or militaristic look by removing one stripe from each Starfleet rank. Thus: a Commodore, when seen, wears a wide gold braid with a gold stripe above and below; a captain’s insignia resembles that of a naval lieutenant commander (two and a half stripes); a commander’s resembles a naval lieutenant (two stripes); a lieutenant commander's resembles a naval lieutennant junior grade (LtJG) (one and a half stripes); a lieutenant's resembles a naval ensign (one stripe), and an ensign wears no sleeve stripes. The LtJG rank was not used in TOS (though there have been references to "sub-lieutenants" in subsequent works). Also, there was no distinction made between ensigns and non-commissioned officers or enlisted crew members in TOS; everyone below the rank of lieutenant was presumed to be an ensign. (This was later determined to be unrealistic when the movies were made and thus was reversed.)


title: Star Trek uniforms

text: In later movies based on "The Original Series", ranks are indicated by pins on a shoulder strap and the left sleeve. These are unique symbols for each rank like those worn universally by officers in all branches of the U.S. Armed Forces.


title: Star Trek uniforms

text: In most franchise television series, ranks are indicated by varying numbers of gold or black dots (“pips”) or bars worn on the uniform collar. These more closely follow the naval officer pattern, with gold pips equating to a whole stripe and black pips equating to a half stripe.


title: Star Trek uniforms

text: Theiss designed a shield-shaped badge in 1964 which he called the "arrowhead", with input from Roddenberry. This came to be known as the "Star Trek delta insignia", and has since become iconic of the Starship "Enterprise" and the entire Star Trek franchise. Roddenberry's intent was that personnel of all starfleet starships would wear this, but in production of the first season episode "The Omega Glory”, Theiss mistakenly got the idea that each starship would have a unique insignia, from the fact that some starship officers in an earlier episode "Charlie X" wore a different insignia (see "Civilian starship duty"). He therefore designed a rectangular insignia worn by the captain and the chief medical officer of the USS "Exeter". Shortly before October 7, 2018, a December 18 1967 memo to Theiss from producer Bob Justman was discovered. Justman noticed the error while reviewing footage and consulted with Roddenberry, who clarified that this indeed was a mistake: all Starfleet starship personnel are to wear the delta insignia as seen on the Enterprise crew uniform. Footage was not reshot to correct the error, but Justman made it clear it was not to be repeated. Going forward, the delta symbol remained consistent for all starship personnel, as seen in “” and “The Tholian Web”.


title: Star Trek uniforms

text: This was not publicized, leading to the "unique starship insignia" theory taking hold among fans. Confusion returned to the franchise during production of the "Star Trek: Enterprise" episode “In a Mirror Darkly”, which shows what happened to the lost USS "Defiant" appearing in the original series episode “The Tholian Web”. The "Enterprise" costume designers designed an insignia for the "Defiant", based on the incorrect assumption that universal use of the delta symbol was in honor of the NCC-1701 Enterprise completing its first five-year mission.


title: Star Trek uniforms

text: In all other Star Trek series and movies, the delta insignia is universal regardless of duty posting.


title: Star Trek uniforms

text: There were slight variations in the delta insignia among the two pilots and production. In the first pilot, all delta insignia were bordered in gold; this changed to black for the second pilot and subsequent productions. Also, in the pilots, the science and operations symbols were switched (spiral for science and planet circle for operations).


title: Star Trek uniforms

text: The early first season episode "Charlie X" shows the captain and first officer of the "Antares" wearing a differently shaped insignia. As Roddenberry clarified


title: Star Trek uniforms

text: this was due to their service on a civilian (merchant marine) vessel, but led to Theiss' mistaken idea that every starship had a unique insignia.


title: Star Trek uniforms

text: Commodore Matt Decker is seen in the second season episode "", wearing a pretzel-shaped insignia. This designates Decker's rare status as a flag officer in command of a single starship, the USS "Constellation". This likely added to the confusion of the "unique starship insignia" theory.


title: Star Trek uniforms

text: This insignia is a gold-colored stylized representation of an evening starflower; this is mainly seen worn by commodores, admirals, JAG personnel, and support staff in episodes revolving around courts-martial such as Spock's in "" and Kirk's in "".


title: Star Trek uniforms

text: A gold spikelet on a black background is worn by persons on special duty posted in the Federation frontier. These are second only to the security redshirts as "cannon fodder".


title: Star Trek uniforms

text: Starfleet Academy cadets wear a smaller, pewter-colored version of the Evening Starflower worn by Starbase personnel. A simulacrum of Kirk's academy rival and bully Finnegan is seen wearing it in "".


title: Star Trek uniforms

text: Based on the success and increasing popularity of "Star Trek" in syndication, an of the series was produced from 1973 to 1974. The uniforms depicted in this series matched the general parameters and appearance of those used in the live action series. The perception by fans of the command uniforms being yellow/gold instead of green, thanks to set lighting and other factors, resulted in the producers committing to a definitive gold-color for animation purposes. The command dress uniforms remained green to match the perceived colors represented by the live action series. However, the uniform pants were colored gray to match the actual fabric used in the live action series as opposed to the black they had appeared to be when filmed.


title: Star Trek uniforms

text: The original plans for the aborted "" television series involved retaining "TOS" uniforms but when the project became "", they were replaced with a new design by Robert Fletcher, because, according to Susan Sackett and Gene Roddenberry in "The Making of Star Trek: The Motion Picture", the bright colors of the 1960s original, so vibrant on television, would distract viewer attention on the big screen.


title: Star Trek uniforms

text: The film has multiple uniform styles, including one-piece jumpsuits, matching shirt and pants, and tunics either with buttons or a sash around the waist. All uniform variants include shoes ("foot coverings") built into the trousers. Some uniforms have short sleeves, while others are long-sleeved, with either standing, v-neck, or turnover collars. Uniforms come in gray, white, gray and white, blue, brown, and beige.


title: Star Trek uniforms

text: The Star Trek delta still remains the symbol for all "Enterprise" staff members, but the science department's planetary circle and the operations 6-sided spiral are discontinued, replaced with the elongated star. Divisions or section assignments are indicated by a colored circle behind the delta, rather than the uniform color itself: red is for engineering, pale green for medical, orange for science, white for command, pale gold for operations, and gray for security.


title: Star Trek uniforms

text: Most of the uniforms in the first movie also included a personal scanner ("perscan") medical monitoring device in the position where one would expect to see a belt buckle. This is mentioned in the Roddenberry's novelization of "The Motion Picture".


title: Star Trek uniforms

text: Rank is indicated by stripes on long sleeves as per TOS, but now shoulder board stripes are employed when there are no long sleeves. Also, ensigns are now given a dotted braid (half stripe). Non-commissioned officers wear a hollow gold square on the shoulder boards but not at the sleeves. New rank insignia for admirals are shown, in the shape of three solid braids side-by-side, followed by another solid braid on its own, with an 8-pointed star on shoulder boards. The number of stripes was kept lower than on U.S. Navy uniforms to avoid an overly militaristic look as per TOS, reflecting Roddenberry's insistence that the role of Starfleet was expressly non-military.


title: Star Trek uniforms

text: Security guards (non-commissioned personnel) wear white uniforms with brown helmets and breastplates. Engineering personnel (commissioned and non-commissioned) wear white pressure suits with large black ribbed collars.


title: Star Trek uniforms

text: The new officers' uniform designs proved unpopular with the regular cast, and when Harve Bennett took over as producer of the second motion picture, he ordered another redesign because he did not want "an all-gray crew on an all-gray ship."


title: Star Trek uniforms

text: Fletcher redesigned the costumes for "". This design is used in the following movies, up to "Star Trek Generations," and variations appear in some flashback scenes of "" and "." In this version, Starfleet officers wear rank insignia on the shoulder strap and left sleeve just above the armband. A service bar is worn just below the sleeve rank pin, denoting how long the officer has served in Starfleet in five-year and ten-year increments.


title: Star Trek uniforms

text: The second movie-era uniform consists of a burgundy ("blood") double-breasted jacket with a black stripe along a sealing mechanism (admirals also had smaller gold stripes below, the number depending on rank), with a colored strap over the right shoulder to close the tunic, attached to which is a rank pin. All uniforms include the command star arrowhead insignia from "TOS," now adopted as the Starfleet emblem, on the left chest; officers have a white rectangular piece behind the arrowhead, while enlisted personnel do not. Characters also wear a black belt with a buckle shaped like the Starfleet arrowhead in a circle, complete with "TOS" command star.


title: Star Trek uniforms

text: Departments are indicated by the color of the shoulder strap, arm band, and undershirt, rather than insignia. The colors include white for command; gold for engineering; gray for science, communications and navigation; dark green for security; light green for medical; dark blue for operations; light blue for special services; and red for low-grade officers and officer cadets. All officer uniforms have a division colored stripe on the trousers or skirt that matches the shoulder strap and service bar, except for command branch, whose stripes are red, rather than white. Instead of the foot coverings built into the trousers, this uniform design had black boots whose uppers were eight or ten inches high. This costume was nicknamed "The Monster Maroon" uniform because of the difficulty fans often encountered duplicating it.


title: Star Trek uniforms

text: An alternate "bomber" jacket was worn by Kirk and Scott, as well as Admiral Morrow ("", "", ""). In later years Scotty would often remove the jacket altogether, simply wearing a black vest, with numerous pockets useful for an engineer, with his undershirt. Scotty's undershirt itself is inconsistent - he wears a white shirt (consistent with his rank of Captain) with the vest or bomber, but a gold one (used by Engineering crew) with his formal duty tunic.


title: Star Trek uniforms

text: Security and engineering personnel wear armor and radiation suits respectively, similar to those worn in "The Motion Picture", although security guards wear a red, turtle-necked uniform underneath (""). The engineering radiation suits have a colored collar ("Star Trek II"): black indicates officer, red indicates cadet. There is also a field jacket for away missions with several large pockets, arm patches, white ribbing and a large white turnover collar. Starfleet cadets in "The Wrath of Khan" wear the same uniforms as officers, but with bright red undershirts and a red shoulder strap instead of one indicating department.


title: Star Trek uniforms

text: Enlisted personnel wear a one-piece red jumpsuit in a similar color to the officer uniform, with tan shoulders and upper chest and black undershirts. Enlisted trainees wear the same uniform, except with a red undershirt instead of a black one. ("Star Trek II").


title: Star Trek uniforms

text: Uniforms similar to this style are shown in the "Next Generation" television series, although without the turtleneck or belt ("TNG": "Yesterday's Enterprise", "Dark Page", ", "").


title: Star Trek uniforms

text: The Starfleet officers and crewmembers seen in "" wear a jumpsuit with a Starfleet communicator badge (or 'combadge' as it was sometimes called) on the left chest and rank insignia on the right side of the collar. The black areas are seen on the shoulders and the pants, and the uniforms's sleeves and abdominal area are colored to indicate the individual's division, with red indicating command and helm; gold for engineering, security, and operations; and blue for science and medical ("TNG": "Encounter at Farpoint"). The division colors for command and operations switched from those used in "Enterprise" and "TOS" while the division color for science stayed the same. In early episodes some crew members can be seen wearing a tunic version of the uniform with bare legs and boots ("skant").


title: Star Trek uniforms

text: Beverly Crusher often wears a blue laboratory coat over her standard uniform, beginning in "TNG:" "The Naked Now." The lab coat was used extensively to hide Gates McFadden's pregnancy in the fourth season. The blue tended to appear teal under certain lighting conditions in the later seasons and subsequent spinoffs. In some episodes of the later seasons, starting in "TNG:" "Darmok", Jean-Luc Picard would sometimes wear a different uniform that consisted of a gray shirt with black ribbed shoulders and collar with a "bomber jacket" that was red overall with black ribbed shoulders, often worn open or very loosely fastened. The uniforms could be fitted with pouches for carrying tricorders and Type 2 phasers on the waist, and the early versions had a small pocket built in on the left side of the waist for carrying a smaller Type 1 phaser when appearing openly armed was not desired. The removable gear pouches were also incorporated into the uniforms used in "DS9" and the "TNG"-era films from "First Contact" onward.


title: Star Trek uniforms

text: In the show's early seasons the uniforms were one-piece jumpsuits made of Spandex, and sized slightly too small so that they would be stretched when worn and provide a smooth appearance. But the cast members hated the uniform's painfully tight fit and lack of pockets, and after Patrick Stewart's chiropractor warned that they risked permanent injury, the actors persuaded the costumers to gradually replace them with wool uniforms. The wool uniforms, which most main cast members wear from the third season onward, are two-piece (tunic and pants) designs that lack colored piping on the shoulders and edges of the pant leg cuffs and have a raised collar. The collar of the tunic has a colored piping similar to that of the original diamond-shaped shoulder piping. The spandex uniforms continued to make appearances throughout "TNG", usually worn by extras in various scenes. These were later altered to lack the piping on the shoulders and trouser hems and include a raised collar as a cost-cutting measure.


title: Star Trek uniforms

text: Admirals wore numerous different uniform variations in the early years of "TNG"; a final design was settled on in the sixth season, featuring a jacket with gold piping along a centered front closure, and rank pips (indicating the number of "stars"), in gold squares on either side of the collar.


title: Star Trek uniforms

text: The "TNG" dress uniform, which continued to be used in "Deep Space Nine" and "Voyager", is a colored wraparound robe-like coat of a solid division color, save for black shoulders. The edges of the coats are piped in silver for field officers and in gold for flag officers.


title: Star Trek uniforms

text: Other uniform designs appeared briefly in individual episodes, always following the theme of a colored or differentiated shoulder yoke. Examples include cadet uniforms in several episodes (including "The First Duty"). Wesley Crusher's 'Acting Ensign' gray costume was never specifically identified as a uniform, but it also exhibited a shoulder yoke design.


title: Star Trek uniforms

text: Theiss, the costume designer from the original series, returned to design the initial "TNG" uniforms; they marked his last contribution to "Star Trek" wardrobe before he died. The costumes adopted from season 3 onward and later series' costumes were designed by Robert Blackman.


title: Star Trek uniforms

text: During all the shows set in the 24th century, a consistent insignia scheme is used for officers: a series of gold pips, either a solid color or an outline, worn on the right collar. After the first season of "Star Trek: The Next Generation", a consistent scheme is also used for admiral insignia: a series of gold circles inside a black rectangle with a gold border worn on both collars.


title: Star Trek uniforms

text: For the first season of "TNG", admirals wear a different insignia, consisting of a triangle or stripe resembling gold weave along the right collar; one or two gold pips are sometimes underneath the weave. Three variants are visible in "": Admiral Quinn's insignia has no pips, Admiral Savar's has one, and Admiral Aaron's has two.


title: Star Trek uniforms

text: A Starfleet insignia is worn on the left breast: this also functions as a communicator badge. This combadge insignia was redesigned for the movie "Star Trek Generations" (the only surviving part of a planned redesign of the uniforms), replacing the oval with a trapezoid with a cutout oval in the center. This new combadge is also used in "" from season three onward, and in "Star Trek: Voyager".


title: Star Trek uniforms

text: Cadet ranks are rarely ever seen, with the exception of the various visits from Wesley Crusher to the "Enterprise" in "TNG". As it appears in those instances, it can be surmised that the insignia of a Cadet consists of one, two, three, or four copper and black bars, similar to those of a modern Lieutenant in the United States Army. It can also be surmised that if a cadet has one bar, he has one year at the academy, two bars for two years, and so on.


title: Star Trek uniforms

text: "" introduced a new style of uniform that appeared to run in parallel to the one seen on "TNG". The new uniform comprised a single two-piece open-necked jumpsuit with the colored and black areas of the "TNG" uniform reversed (black torso/sleeves/pants and colored shoulders) with the upper part being a removable jacket along with a visible zipper, resembling the "TNG" cadet uniforms. The division colors use the same "TNG" scheme, though the science division is now blue-green. A grayish-indigo mock turtleneck undershirt was added, to which rank pips are affixed. Interestingly, Miles O'Brien (who is the first character to wear the "DS9" uniform) is the only character in the series to have the sleeves of the uniform rolled up. The characters of Major Kira and Odo did not wear Starfleet uniforms, as they were part of the Bajoran militia. Throughout the run of "DS9", ship-based Starfleet personnel continue to wear the older uniform design. Sisko also wore the "TNG" uniform on certain formal occasions, during his first arrival at "DS9" (in the series pilot episode, ""), and when he was temporarily given the duties of "Head of Security" for Starfleet Headquarters on Earth (in the Season 4 episode, "Paradise Lost"). Admirals also retained the "TNG" style. A uniform similar to that appearing in the "DS9" series can be seen in the "TNG" Season 3 episode "Allegiance", worn by the alien masquerading as a Starfleet cadet. The "DS9" uniforms were first used in the premiere episode, "" and would continued to be used up to the Season 5 episode, "".


title: Star Trek uniforms

text: Following the release of "Star Trek: First Contact", the new gray movie uniform design also appeared in "DS9"s fifth season and for the remainder of the series. However, the old "DS9" uniform appears four more times following the introduction of the movie gray uniform design in the Season 5 episodes, "In Purgatory's Shadow" and "By Inferno's Light" worn by the real Dr. Julian Bashir while still being trapped in the Internment Camp 371 as well as the Season 7 episode, "" in a photograph and in the flashback scenes of the series finale, "What You Leave Behind".


title: Star Trek uniforms

text: New uniforms were designed and made for the film "Star Trek Generations", but were abandoned at the last minute. These included a fastening on the right side of the chest and a slightly more militaristic approach with rank bandings on the sleeves (similar to the "TOS" uniforms) and a colored collar and the lack of a black "W" shape on the abdomen. The costumes for the female crew-members were different - instead of the additional fastening, there was a higher than previously seen black band around the waist. Nonetheless, Playmates Toys released a number of action figures wearing these planned uniforms. "Generations" instead has the crew wearing both "TNG" and "DS9" uniforms, sometimes in the same scene (for instance, Worf and Riker in the battle against the Duras Sisters' Bird of Prey or Data and Geordi scanning the Amargosa Observatory for trilithium) as Jonathan Frakes and LeVar Burton had to borrow Avery Brooks and Colm Meaney's costumes respectively since the time was so short while there was enough time to make "DS9"-style costumes to fit on Patrick Stewart and Brent Spiner, though neither of the costumes fit very well on both Frakes and Burton as Brooks' costume was too small on Frakes, which resulted in having the sleeves rolled up (similar to Miles O'Brien's on "Deep Space Nine") and Meaney's costume looked too big on Burton. Picard, Riker, Data and LaForge are the only four characters in the "TNG" crew to wear the "DS9" uniform in the film. However, Worf is the only male character in the "TNG" crew to not wear the "DS9" uniform in the film, although he would later join the "DS9" crew in the fourth season of "Deep Space Nine" and none of the female characters wear the "DS9" uniform in the film, although Alyssa Ogawa is the only female to wear the "DS9" uniform in the film. Strangely, Picard wears a black belt around the waist while wearing the "DS9" uniform.


title: Star Trek uniforms

text: As the film progresses, some characters alternate between the "TNG" and "DS9" uniforms and sometimes switch back to the old "TNG" uniforms (for instance, Picard switches back to the "TNG" uniform in the film's last scene). This introduces the new design as standard shipboard wear for "".


title: Star Trek uniforms

text: The new style combadge (with the previous gold oval background replaced by a rectangular gold background with a cutout in the center) was also introduced for all uniform types. This combadge was subsequently adopted for "DS9" (at the beginning of its third season) and "Star Trek: Voyager".


title: Star Trek uniforms

text: The crew in "Star Trek: Voyager" use the same uniforms seen in the early episodes of "Deep Space Nine" throughout the show's run. Because they were stuck in the Delta Quadrant and out of contact with Starfleet, the "Voyager" crew never made the switch to the updated uniform seen in later "DS9" episodes and in the last three "TNG" films; they continued to use the old "DS9" uniforms, although in the episode "" the EMH mark II is wearing the later "DS9"/movie gray "TNG" uniform. Starfleet personnel back in the Alpha Quadrant are seen wearing this uniform in later seasons of the show as well, when "Voyager" reestablishes contact with home. The crew also wears the "TNG"-style dress uniforms ("VOY": "", "", "", "").


title: Star Trek uniforms

text: B'Elanna Torres is sometimes seen wearing an overcoat over her normal uniform which matches the colors of her normal uniform, but has a pocket on the right breast for carrying small tools. The jacket was added to help conceal actress Roxann Dawson's pregnancy in the fourth season. She wore it again during the character's pregnancy in the seventh season, beginning in the episode "".