This thesis discusses the process of blood formation—hematopoiesis, its stages, main organs, and biological significance. Hematopoiesis ensures the continuous renewal of blood cells in the body.
Keywords: hematopoiesis, erythrocyte, leukocyte, platelet, bone marrow, stem cells
Introduction
Hematopoiesis is the process of formation and development of blood cells in the body. This process continues throughout human life and is essential for the normal functioning of the organism.
Main part
Stages of hematopoiesis
Hematopoiesis is divided into embryonic and postnatal periods. During the embryonic period, blood formation initially occurs in the yolk sac, then in the liver and spleen. After birth, the main hematopoietic organ is the red bone marrow.
Formation of blood cells
All blood cells develop from hematopoietic stem cells. They differentiate into the following main types:
Erythrocytes – responsible for oxygen transport
Leukocytes – involved in immune defense
Platelets – play an important role in blood clotting
Regulation of hematopoiesis
Hematopoiesis is regulated by hormones and biologically active substances. For example, erythropoietin stimulates the production of erythrocytes.
Clinical significance
Disorders of hematopoiesis can lead to various diseases, including anemia, leukemia, and other blood system disorders.
Conclusion:
Hematopoiesis is a vital biological process that ensures the continuous renewal of blood cells. Its normal functioning is essential for maintaining a healthy life.
“Essentially an artist does one thing throughout his career, but over the years he discovers its various implications and expands upon and deepens aspects of what had been present in his work. Perhaps that’s the difference between a serious artist and an entertainer. The artist is constantly deepening a single, obsessive theme, rather than decorating a succession of topical themes.”
~Richard Foreman
Rus Khomutoff’s poem Kaos Karma suggests an encounter between a body of literary writing and a body of magickal/philosophical writing, thus crossing (nonstop) various thresholds of consistency. This despite the consistent all caps no punctuation of its form that positions it on brink of resembling Jenny Holzer’s Truisms (1978–87), though she did not center the text as Khomutoff usually does.
So I read Kaos Karma as an abstract machine that consists of formed and unformed formal functions expressing the relationship of literature to a philosophy of cut-up chaos magick (and vice-versa). As such, Khomutoff offers a way of saying something about the philosophy of poetry that began with Stéphane Mallarmé’s Un coup de dés jamais n’abolira le hasard, but also of the philosophy that is claimed by and for, and sometimes of, chaos magick’s labyrinthine conception of multiplicity and singularity.
In Kaos Karma the reader is not linked by means of period, genre, nationality, style, theme or political ideology; for it has a relentless high-wire flow of exposition that exposes a conniving with transcendence. Especially when its apparently cut-up philosophical transactions (without transitions) are underway. It is with this privilege I am according to Kaos Karma the sign of art that can force thought. This, while at the same time, it is busy effectuating dispersal and fragmentation, rather than totalization.
Khomutoff, on an aesthetic plane, screams in all caps urgent questions that confronts the reader with phrases from different disciplines as the poem oscillates between manifesto and chance. Yet the jump-cuts encountered in Kaos Karma are an encounter between a poetic discipline which decrees a level of specificity and irreducibility. The poet has an immanent manner when he is considered on quite another terrain: that of literature ‘itself’. For, Kaos Karma is important for what it can do as an ABSTRACT MACHINE, rather than for what it might be said to mean.
This evaluative enterprise involves an assessment of the degree of affect produced by Khomutoff’s dramatic work as an impure intercourse between literature and manifesto. But Kaos Karma has a very particular slant deriving from two distinct (but intimately related) bodies of work, Beat literature on the one hand, and the rhizomatic philosophy of Gilles Deleuze and Félix Guattari on the other, as it gestures towards the preposition of its title.
Of course rhizomatic philosophy is itself already subjected to particular encounters with connectivity in our poetic thinking, but the liaisons found in Kaos Karma reads as if the writer is pushing the reader to be impatient and to get on to the next phrase without pause. There is a privileging of a certain speed-flow of words here that merges the possibility that some of Kaos Karma is inscribe or prescribe with a heavy dose of something irrational.
While I would not wish to stress this view, what emerged out of reading Kaos Karma a number of times, is a fact that certain words used here (more than others) gravitate comprehensively towards specific mysteries around passion through the text’s emphasis on being and judgement.
It might be objected that the encounters with passion I found in Kaos Karma are arbitrary (validated by a mere coincidence). But each poem page, to a greater or lesser extent, bears the imprint of a coincidence of this sort.
To identify a specific philosophical passion or problem in each of the pages of Kaos Karma would be reductive and subject the poet’s word-flows to the demands of rationality, instead of feeling. My point, however, is quite to the contrary, even though Kaos Karma read the third time through illuminated through these encounters with passion the philosophical tradition of Deleuze and Guattari for me. Particularly, their critique of interpretation which they together launched in The Anti-Oedipus. In that sense, Kaos Karma may assist the reader in the unlearning of romantic word-image-thoughts which have dominated the poetic discipline.
This is only in part explained by the frequent recourse which Khomutoff makes in his work to ecstatic celebration. The uniqueness of the pertinence of the colorist Dionysian non-space he creates as a form of modulation questions the relationship of poetry to passion to the extent to which the magickal chaotic philosophy of Austin Osman Spare pervades his practice.
Transfiguration forms the corpus of Khomutoff’s writing in this dramatic poetry. But the reader does not encounter a programmatic statement which might be applied by one attempting to write about literature and philosophy in the manner of, or after Kaos Karma. This singular body of work enters the bloodstream of this reader at a rate quite distinct but similar to William S. Burroughs’s Beat poetic transfusions. And yet there is a noncorrosive quality in these Kaos Karma poetic interventions which renders any attempt at a general theory of literature decadent. An intellectual-artistic enterprise doomed in advance.
For me, the reading of Kaos Karma required an exploration of my memories of the work of Antonin Artaud, James Joyce, Henry Miller, José Saramago, Maurice Blanchot, Comte de Lautréamont, Samuel Backett, Jack Kerouac, André Breton, F. Scott Fitzgerald and the stream of consciousness writing that originated with Surrealism and the works of psychologist William James; even as the poem invents unknown or unrecognized affects and brings them to light. For Kaos Karma outlines a plane of consistency which enables, activates or prolongs mental fluxes and becomings as it unfolds a possible world of declaration which secretes and promotes incommensurability, heterogeneity and multiplicity. Such an encounter with such a world entails the crossing of a threshold of becoming, a displacement which scrambles positions of psychoanalytic or karmic interpretation. It consists of a stream of semiology which is anti-psychoanalysis.
This banging bit of poetic writing is precisely an affair of becoming, but it is important to note that becoming in Deleuzeian terms does not entail the attainment of form by means of identification, imitation, or mimesis; but finding, rather, the zone of indiscernibility such that it is not possible to identify or distinguish this or that specific thing. It is a process, that is, a passage which traverses the livable and the lived inseparable from becoming.
I’m still that foolish child in this strange life of mine.
Are all mothers like you—I wonder so,
Who never blame when children hurt them so?
One question lives inside my restless heart:
From where does such deep endless love all start?
My dearest mother, patient through it all,
My life, my hope, the one who lifts me tall.
It’s true I’m not the child you hoped I’d be,
But you’re the greatest mother there could be.
My name is Tursunova Mehrinoz Oybek qizi. I was born on February 28, 2005, in Andijan region. Currently, I am a third-year student at Andijan State Pedagogical Institute. I chose primary education because I enjoy working with children.
My favorite activities are reading books and learning languages. At the moment, I work as a Turkish language teacher. In my free time, I enjoy writing poems.
Lucid Breathing of Light by the Mexican poet Beatriz Saavedra Gastélum, reviewed by Juan Vadillo
Lucid Breath of Light
Juan Vadillo
This book opens like a halo of light.
In a travelogue, light breathes and takes shape as it draws form.
The theme of this collection of poems is the journey of light, its memory, its becoming, its breath. In these verses, light, captured in an instant, is freed from its essence to create the shadow that—paradoxically—is also its root. Between shadow and light—as in Genesis—a single verb creates the world; hence, the book abounds in monostics, verses of a single word, where—among the multiple possibilities of reading—punctuation, what precedes it, and what follows are irrelevant; what matters is the fact that the verse stands alone, with all its connotative power. When a verse is shorter, it tells us more. This is especially evident in the monostic “deaf” of the poem “Silent Light,” which not only expresses the balance between light and silence, but also the kinship—in a Brahmanic sense—between silence and shadow. Everything arises from silence and everything returns to silence.
Between shadow and light, a single word creates the world.
These brief verses by Beatriz Saavedra tell us that a single word is more real than reality itself, because reality was born from a single word. In that very instant, light was born, the delirium of form, the evocation of contour, the imagination of color.
In this book, light appears in all its senses, in all its directions, in all its seeds, in all its voices: the light that filters into dreams, the light that expands in the air, brushing against the skin, the light that unfolds like a fan. The most lucid light in the sculpture of Apollo, but also in the hallucination of Dionysus.
Intoxicating light that blurs the contours in an Impressionist painting, light that draws the contours in a Renaissance portrait. Light of delirium and reason. Light as a metaphor for days and nights, light as a metaphor that reconnects the world as it scatters it. Light that erases itself, that escapes from itself in order to be light.
The book contains 18 poems, each one (except for three of them, “Fugitive Gravity of the Instant,” “Immense Form of Light,” and “Natural Impulse”) includes its respective sections numbered with Arabic numerals. We are struck by the ample spacing between both the lines and the stanzas. In general, the stanzas are very brief, like brushstrokes of light. In most of the eighteen poems, light is the protagonist, appearing in its various facets of synesthesia and kinesthesia, as well as in its mythical and evocative possibilities.
In the poem “Lucid Nakedness,” the wound of light unfolds, converging with lyricism. The formula is: light, beauty, pain for beauty, lament, song, voice with a crack, strumming, light of delirium, all immersed in silence.
In this poem, light is a simile that builds bridges between objects; it is a metaphor that creates identity between the most dissimilar beings, connecting all forms, so that we feel that we are all touched by a single light, that we are all wounded by touching each other, even though we are distantly separated. “All matter of light / exposes its analogies,” read two verses by Beatriz that complement this idea.
In the poem “Invocation,” light is a question that has no answer; we think of Cernuda’s desire (“Because desire is a question whose answer no one knows”), of Ives’s symphonic work (the unanswered question).
In its mystery, light asks us what color is, what form is. The entire poem also feels like a question: why does light become another light once it touches us, while remaining constantly the same? This paradox is one of the central themes of the collection. From this paradoxical thought, many questions arise: “From what light does form hastily spring forth? / Into what cistern is your thought reintegrated?” two lines of the poem tell us. Here, the still water of the cistern bridges the mystery of light and thought. Let us recall that *Lucid Breath of Light* is the title of the collection. The light that breathes in the mystery illuminates thought, gives it vigor, but in turn, the clearer the thought becomes, the more it hides in the shadow at the bottom of the cistern.
The interplay between silence-shadow and the word light unfolds not only in this poem but also throughout the entire collection.
“An atom contains the universe,” Beatriz tells us with a cadence that reveals the infinite and eternal essence of every tiny thing that exists.
If everything contains the universe, the body also contains it; the body, wounded by light, extends beyond the word, which is also body.
In this collection of poems, paradoxical thought invites us to navigate between dream, wakefulness, and the state of semi-sleep. These three forms of experience are traversed by the translucent word, which, fleeting, finds everything only to lose everything. We lose ourselves in all its essences, on the well-trodden paths of light. Light unfolds to infinity on a horizon full of nuances; for an instant, we discover the mystery in the deepest spark of darkness. Light reaches itself when it reaches the most intimate night. It has the virtue of being all forms and none. At the same time that it divides, it also unites.
This collection of poems presents all the diversity of light and momentarily reveals its mystical qualities. Light is flesh because it is also the word that creates flesh; light is the beginning of everything because it is also its end, beginning and end in a snap, beginning and end like a lament for the expulsion from paradise; when the woman bites the fruit, the light begins to wound our skin.
These are the coordinates of a collection of poems that is infinite in each of its words, because in each syllable it evokes the universe that manifests itself in light.
The diaphanous light, the light refracted through a poetic prism, the light found in the darkest depths. Inner light, light that we imagine and that imagines us; light that illuminates an illusory world.
Lucid breath of light, a paranomasia that links the light of thought with the light of wakefulness and sleep, with the light of half-sleep and inner light, with the light of the poem.
Juan Vadillo
He was born in Mexico City in 1970. In 1995, he earned a diploma in jazz composition from Berklee College of Music in Boston. In 1996, he received a grant from the National Fund for Culture and the Arts (FONCA) to pursue postgraduate studies in contemporary improvisation at the New England Conservatory under the direction of Ran Blake. He taught guitar at the Escuela de Música Creativa in Madrid.
In 2020, Bonilla Artigas Editores and the Humanities Coordination of the National Autonomous University of Mexico (UNAM) published his book of literary criticism, *El romancero gitano, de la tradición a las vanguardias* (The Gypsy Ballads: From Tradition to the Avant-Gardes). In 2023, Bonilla Artigas Editores published his second book of poetry, *Tu cuerpo es un jardín de mil instantes* (Your Body Is a Garden of a Thousand Moments). Since January 2020, he has been a Level 1 National Researcher in the National System of Researchers. He currently teaches literature at the Faculty of Philosophy and Letters of UNAM, where he has been a professor for eight years.
Beatriz Saavedra Gastélum
Beatriz Saavedra Gastélum
A Mexican, she is a writer, academic, researcher, journalist, lecturer, and poet. She holds two master’s degrees from Spain and has been awarded four honorary doctorates. To date, she has published more than 30 books in Mexico and abroad, and her work has been translated into more than 10 languages. She is a columnist for the Diario de Madrid, Diario Siglo XXI in Spain, and the newspaper El Capitalino. Among her most recent awards are the Pavlovich Korolev Medal in Russia 2023, the Alejandra Pizarnik International Literature Prize in Spain 2024, the Il Canto di Dafne Prize in Italy 2024, the Mexico Journalism Prize in 2024 and 2025, the Anaïs Nin International Erotic Literature Prize in Spain 2025, and the “Aristotle” Essay Prize in Spain 2025. She is the Director of the Center for Women’s Studies and the International Festival “Women in Letters” at the National Academy of History. Geography UNAM and President of the Mexico chapter in the North American Academy of Modern Literature.
This article analyzes professions and fields that are expected to develop in the future. In particular, it highlights the importance of information technology, artificial intelligence, medicine, ecology, and creative industries. It also discusses the skills required to succeed in the modern labor market.
Introduction
Today, technology is developing rapidly and is entering all areas of human life. This process has a significant impact on the labor market. While some professions are disappearing, new ones are emerging. Therefore, it is important for young people to understand which professions will be in demand in the future.
Main Part
1. Information Technology (IT)
The IT sector is one of the fastest-growing fields today. Programmers, web developers, mobile application developers, and cybersecurity specialists are in high demand. As digitalization continues, the need for these professions will increase even more.
2. Artificial Intelligence and Robotics
Artificial intelligence and robots are automating many tasks. In the future, they will be widely used in industry, healthcare, and services. Therefore, specialists in these fields will play an important role.
3. Medicine and Biotechnology
Due to population growth and the emergence of new diseases, the medical field remains highly important. Specialists in biotechnology, genetic engineering, and modern diagnostic methods will play a key role in the future.
4. Ecology and Green Technologies
Environmental problems are becoming more serious. As a result, professions related to environmental protection, renewable energy, and waste recycling will continue to develop.
5. Education and Creative Fields
As technology advances, human creativity and critical thinking remain essential. Teachers, psychologists, designers, and content creators will continue to be in demand because creativity cannot be fully replaced by machines.
Conclusion
In conclusion, future professions will mainly be related to technology, science, and creativity. Every individual should choose a profession based on their interests and abilities and continuously work on self-development. Only in this way can they find their place in modern society.
I am Satimboyeva Risolat Ilhomboy qizi. I was born on February 16, 2007, in the Hazorasp district of the Khorezm region. I am currently a first-year student at the Tashkent International University of Financial Management and Technologies in Tashkent.
I studied at School No. 12 in the Hazorasp district of the Khorezm region, where I actively participated in numerous academic olympiads and achieved honorable 1st and 2nd places.
I hold several international certificates in Russian and Turkish languages. I have also worked as a tutor, teaching Russian to students, and I can speak both Russian and Turkish fluently. During my school years, I actively participated in reading competitions and was repeatedly awarded certificates in the “Best Reader” and “Exemplary Student” nominations.
I also took part in intellectual competitions such as “Zakovat,” where I advanced to the regional level. My photos were displayed at school as one of the most exemplary young readers and role-model students. I am the holder of many certificates and frequently participate in literary anthologies.
In addition, many of my articles have been indexed on Google, which I consider one of my greatest achievements, as not everyone’s work is recognized and published online. My poems have also been published in Turkey, which is another important milestone in my creative journey. In my free time, I write poetry and continue to develop my creative skills. One of my books has already been published.
Reaching this level at the age of 18 has been largely possible thanks to the support of my parents and grandmother, whose encouragement has played a significant role in my achievements.
