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Here we describe the LifeTime Initiative, which aims to track, understand and target human cells during the onset and progression of complex diseases, and to analyse their response to therapy at single-cell resolution. This mission will be implemented through the development, integration and application of single-cell multi-omics and imaging, artificial intelligence and patient-derived experimental disease models during the progression from health to disease. The analysis of large molecular and clinical datasets will identify molecular mechanisms, create predictive computational models of disease progression, and reveal new drug targets and therapies. The timely detection and interception of disease embedded in an ethical and patient-centred vision will be achieved through interactions across academia, hospitals, patient associations, health data management systems and industry. The application of this strategy to key medical challenges in cancer, neurological and neuropsychiatric disorders, and infectious, chronic inflammatory and cardiovascular diseases at the single-cell level will usher in cell-based interceptive medicine in Europe over the next decade. ; We acknowledge all participants that have attended and contributed to LifeTime meetings and workshops through many presentations and discussions. We thank J. Richers for artwork and A. Sonsala, A. Tschernycheff and C. Lozach for administrative support. LifeTime has received funding from the European Union's Horizon 2020 research and innovation framework programme under grant agreement 820431. ; Peer Reviewed ; "Article signat per 52 autors/es: Nikolaus Rajewsky, Geneviève Almouzni, Stanislaw A. Gorski, Stein Aerts, Ido Amit, Michela G. Bertero, Christoph Bock, Annelien L. Bredenoord, Giacomo Cavalli, Susanna Chiocca, Hans Clevers, Bart De Strooper, Angelika Eggert, Jan Ellenberg, Xosé M. Fernández, Marek Figlerowicz, Susan M. Gasser, Norbert Hubner, Jørgen Kjems, Jürgen A. Knoblich, Grietje Krabbe, Peter Lichter, Sten Linnarsson, Jean-Christophe Marine, John C. Marioni, Marc A. Marti-Renom, Mihai G. Netea, Dörthe Nickel, Marcelo Nollmann, Halina R. Novak, Helen Parkinson, Stefano Piccolo, Inês Pinheiro, Ana Pombo, Christian Popp, Wolf Reik, Sergio Roman-Roman, Philip Rosenstiel, Joachim L. Schultze, Oliver Stegle, Amos Tanay, Giuseppe Testa, Dimitris Thanos, Fabian J. Theis, Maria-Elena Torres-Padilla, Alfonso Valencia, Céline Vallot, Alexander van Oudenaarden, Marie Vidal, Thierry Voet & LifeTime Community Working Groups" ; Postprint (published version)

In her article 'Border Talks: The problematic status of media borders in the current debate about intermediality' Rajewsky points out that the concept of intermediality as a crossing of media borders has come under scrutiny. Critics emphasize that today's art is characterized by an increasing dissolution of media borders and claim that the criterion of medial border crossing no longer applies. We can frame this stance within the context of the digitalization of contemporary culture where hybridity has replaced media specificity. A similar shift in thinking has occurred in the work of the Intermediality working group. The group's first book (2006) emphasized the notion of the 'in-between'. Intermediality was put forward as an artistic force that operates in-between performer and audience, media and realities. The intermedial was conceived of as a creative gap, an enabling space where distinct media met and new modes of representation and experience came into existence. The group's second book (2010) set out to investigate intermediality in the context of digital culture. The focus shifted from the notion of the in-between towards the idea of 'both-and', that seemed better to characterize contemporary performance culture. Concepts such as 'gap', 'clash' and 'hypermediacy' were replaced by 'node', 'network' and 'immediacy'. Intermediality was addressed as an aesthetic rather than an artistic force, implying a shift from a focus on art to a broader perspective on cultural production. I will address the group's shifts in conception of 'the intermedial' over the last decade by way of the question as to what is gained and lost in those shifts. For example, what are the consequences of no longer thinking about intermediality in terms of medial gaps, clashes and disturbances for the previously vaunted critical and political potential of intermediality?

Preliminary Material -- Metareference across Media: The Concept, its Transmedial Potentials and Problems, Main Forms and Functions /Werner Wolf -- Metareference from a Semiotic Perspective /Winfried Nöth -- The Case is 'this': Metareference in Magritte and Ashbery /Andreas Mahler -- Beyond 'Metanarration': Form-Based Metareference as a Transgeneric and Transmedial Phenomenon /Irina O. Rajewsky -- Metalepsis and Its (Anti-)Illusionist Effects in the Arts, Media and Role-Playing Games /Sonja Klimek -- Generic Titles: On Paratextual Metareference in Music /Hermann Danuser -- "Music about Music": Metaization and Intertextuality in Beethoven's Prometheus Variations opus 35 /Tobias Janz -- Exploring Metareference in Instrumental Music – The Case of Robert Schumann /René Michaelsen -- Phantasmic Metareference: The Pastiche 'Operas' in Lloyd Webber's The Phantom of the Opera /David Francis Urrows -- Intramedial Reference and Metareference in Contemporary Music /Jörg-Peter Mittmann -- "Please Play This Song on the Radio": Forms and Functions of Metareference in Popular Music /Martin Butler -- "L'architecture n'est pas un art rigoureux": Jean Nouvel, Postmodernism and Meta-Architecture /Henry Keazor -- Of Museums, Beholders, Artworks and Photography: Metareferential Elements in Thomas Struth's Photographic Projects Museum Photographs and Making Time /Katharina Bantleon and Jasmin Haselsteiner-Scharner -- The Gradable Effects of Self-Reflexivity on Aesthetic Illusion in Cinema /Jean-Marc Limoges -- Novel in/and Film: Transgeneric and Transmedial Metareference in Stranger than Fiction /Barbara Pfeifer -- Narrative Fiction and the Fascination with the New Media Gramophone, Photography and Film Metafictional and Media-Comparative Aspects of H. G. Wells' A Modern Utopia and Beryl Bainbridge's Master Georgie /Hans Ulrich Seeber -- Metareference and Intermedial Reference: William Carlos Williams' Poetological Poems /Daniella Jancsó -- Metareferentiality in Early Dance: The Jacobean Antimasque /Ingrid Pfandl-Buchegger and Gudrun Rottensteiner -- Textworlds and Metareference in Comics /Karin Kukkonen -- Metareference in the Audio-/Radioliterary Soundscape /Doris Mader -- Metareference in Computer Games /Fotis Jannidis -- When Metadrama Is Turned into Metafilm A Media-Comparative Approach to Metareference /Janine Hauthal -- Quotation of Forms as a Strategy of Metareference /Andreas Böhn -- 'The Media as Such': Meta-Reflection in Russian Futurism – A Case Study of Vladimir Mayakovsky's Poetry, Paintings, Theatre, and Films /Erika Greber -- Notes on Contributors -- Index.

Preliminary Material /Joachim Paech and Jens Schröter -- Intermedialität analog/digital – ein Vorwort /Joachim Paech and Jens Schröter -- Intermedialität und Medienanthropologie /Volker Roloff -- Intermedialität und Medienhistoriographie /Jürgen E. Müller -- Intermedialität und remediation /Irina O. Rajewsky -- Synästhesie /Stefan Rieger -- Der Rhythmus als intermodale Kategorie /Michael Lommel -- Hypermediale Key Visuals /Stefan Kramer -- Une approche sémio pragmatique de l'intermédialité. /Roger Odin -- Mediennutzung – eine intermediale Kulturtechnik /Irmela Schneider -- De l'art aux médias: le culte du banal /François Jost -- Von der Intermedialität zur Inframedialität /Michael Wetzel -- Zum medialen Ort des Verbalen – mit Rückblicken auf russische Medienlandschaften /Aage A. Hansen-Löve -- Kafka zwischen den Medien /Bernhard J. Dotzler -- Stéphane Mallarmé: un mot total und zwei Einzelfälle: Die Installation Un coup de dés von Marcel Broodthaers (1969) und der Film Les mystères du château du de von Man Ray (Frankreich 1929) /Lena Christolova -- Wem gehört eine Geschichte? /Waltraud 'Wara' Wende -- Vom 'Film im Roman' zum 'Roman als Film'. /Franz-Josef Albersmeier -- Intermedialität und Hypermedialität: Einige Überlegungen zu Cervantes' Don Quijote und Orson Welles' Don Quijote /Jochen Mecke -- Tristan: Sprachliche Komposition und musikalische Bedeutung. /Ernest W.B. Hess-Lüttich -- Ein Essay als "Theorie in Bildern"? /Almut Todorow -- Tableau Vivant in Film: Intermediality and the Real /Brigitte Peucker -- Intermedialität im Antisemitismus /Harro Segeberg -- La réflexion photofilmique: Monsieur Phot, de Joseph Cornell (1933) /Charles Grivel -- Wahlverwandtschaften – Spielformen des Telefons im Film /Kirsten von Hagen -- Le Nouveau Vague oder Unschärfe als intermediale Figur /Joachim Paech -- Das mediale Intervall /Vittoria Borsò -- Übertragungsmedien der Souveränität /Friedrich Balke -- Michelangelo Antonionis L'Avventura (Italien 1960) oder: Das Verschwinden des Verschwindens im Zeit-Raum der Bilder /Beate Ochsner -- Tony Conrad und der strukturalistische Experimentalfilm /Tabea Lurk -- Jan Vermeers Lichtbilder und das Kino /Karl Prümm -- Intermedialität und Fernsehen – technisch-kulturelle und medienökonomische Aspekte /Knut Hickethier -- Tanz und das bewegte Bild: Videotanz /Claudia Rosiny -- "Andere Räume" – Diffusionen zwischen Körper und Kamera /Susanne Foellmer -- Rahmen-Verschiebungen zwischen Bild, Tanz und Video /Gabriele Brandstetter -- Tanz, Körperlichkeit und computergestützte Echtzeitvideomanipulation – eine Analyse am Beispiel der Tanzperformance I, myself and me again von LaborGras /Yvonne Hardt -- "Konditor! Konditor! – Konditor!" /Peter Gendolla -- Zwischen den Dimensionen /Albert Kümmel-Schnur -- Das widerspenstige Publikum /Karin Bruns -- Die durchlässige Grenze ziehen /Frank Furtwängler -- Spiel mit den Grenzüberschreitungen: Cyworld und PC-Bang /Mookyu Kim -- Cyberphobia: Digital Technology and the Intermediality of Cinema at the End of the Millennium /Jay David Bolter -- Das ur-intermediale Netzwerk und die (Neu-)Erfindung des Mediums im (digitalen) Modernismus /Jens Schröter -- Autorinnen und Autoren /Joachim Paech and Jens Schröter.

Here we describe the LifeTime Initiative, which aims to track, understand and target human cells during the onset and progression of complex diseases, and to analyse their response to therapy at single-cell resolution. This mission will be implemented through the development, integration and application of single-cell multi-omics and imaging, artificial intelligence and patient-derived experimental disease models during the progression from health to disease. The analysis of large molecular and clinical datasets will identify molecular mechanisms, create predictive computational models of disease progression, and reveal new drug targets and therapies. The timely detection and interception of disease embedded in an ethical and patient-centred vision will be achieved through interactions across academia, hospitals, patient associations, health data management systems and industry. The application of this strategy to key medical challenges in cancer, neurological and neuropsychiatric disorders, and infectious, chronic inflammatory and cardiovascular diseases at the single-cell level will usher in cell-based interceptive medicine in Europe over the next decade.