João Mourão and Luís Silva are the co-directors of Kunsthalle Lissabon, a contemporary art institution located in Lisbon, Portugal.
One of the inquiries that has led us to this project is a questioning of institutional language and how it functions. We had gone through our 50th anniversary at ICA and done all of this archival exhibition research to think critically about the narrative of who is shown, why they're shown, and who has been involved. Afterwards, it felt necessary to take a step back and think more broadly about what an institute means, how we were formed, what the initial conception of ICA was, and where we might be now. What does an institute mean? When people hear "Institute of Contemporary Art," do they have a preconceived idea? What kind of buttons does that phrase press? Are we actually an institute? We started thinking critically about how language becomes a kind of architecture. And of course, when we started to think about who we might want to think more deeply about these things with, you both came to mind immediately. Let's start with how you began and then, the name.
Which is really interesting when we think of your situation, in which you have institute in the name and this project: "I is for Institute." It's interesting to think what would happen if that word stopped being a noun and began being a verb. What would you be instituting? Language and words are very important to us. João comes from a communications background, and I come from social sciences, from psychology. So, we're very, very mindful of what words we bring to a discussion. Words can summon up ghosts and we need to decide what ghosts we want to keep as company.
Kunsthalle Lissabon was simultaneously the result of a desire to create the working conditions that we could stand for, but it was also this reflection on the power of language when it tries to institute something. The name Kunsthalle Lissabon functions as this kind of verbal marker—this signifier that immediately activates a bunch of expectations and modes of working, or modes of inhabiting our community—and it felt very appealing to us because it allowed us to go deep into a critical approach of institutions and ask: "What is an institution? What does it mean to institute? What are the consequences—ethical, political, curatorial—of being an institution?" Those questions came from what we felt in the local context, in which there was no reflection around those issues.
Right. So, using language to create the actual thing.
I think in our case at ICA, we are working backwards in a way. Because we're conscious of institutionalization, in a sense, we are trying to dismantle that or backtrack. How might our Institute have become institutionalized? What would it mean to rethink what an institute is as a way to maybe rethink our institutionalization?
Back to this question of how language functions. A case in point, we were just at a museum opening in Porto and ran into some gallerists from an important New York gallery. They had asked what we were doing in Portugal and we said, "We just came from Lisbon and we were working with the Kunsthalle Lissabon for the week." And they had this look of like, There's a Kunsthalle in Lisbon? They seemed somewhat panicked to think they might be out of the loop. It's like we had triggered an anxiety that we had access to some sort of insider knowledge that they didn't know about. As we explained what the Kunsthalle is and as it came more into view for them, they were like, "Oh, okay." It was this funny thing.
The geographical marker also in that same language, as you have in Bern, Zurich, whatever.
Sure. Of course. And that can indicate varying sizes of institutions.
Do you remember the moment when you both came up with the name?
Yes. I think it was in the Museumsquartier in Vienna. We started to discuss this idea that we had for a long time of opening a space in Lisbon. We were kind of going through all of these names and suddenly the Kunsthalle Lissabon appeared.
I don't remember who said it, but one of us remarked "Wouldn't it be funny if we opened Kunsthalle Lissabon?" And we were doing this right in front of Kunsthalle Wien.
We were playing with that idea, as you do with some kind of random idea you have when you're on vacation. And then we just dropped it.
Yes. We let it sit two years or something. And after two years, it appeared again. We just had to open the space. After a bit of discussion around the space, or what we were going to do with the space, we decided to open the Kunsthalle Lissabon.
But the name came first and in advance of a space.
Like two years in advance, you're saying.
It was already in our minds.
So Kunsthalle Lissabon, in a way, has existed for nine years.
No, no. It was initially a joke. We thought of it as a joke and it stayed in the back of our minds, you know, as something you do, as something you think about when you're on vacation. Nothing serious.
But jokes sometimes tell the truth, right?
The truth is told in jest.
Yes. Fast forward to 2016 and here we are discussing it seriously.
I'm curious to know what prompted you to even joke about that name? What are the set of circumstances that would prompt you to have that discussion?
Right, that's what I'm getting at.
In Lisbon, or in Portugal at the time.
Which, at the time, seemed very local, very self-absorbed, lacking criticality. Not at all challenging for a young curator. I think one of the hidden reasons why we created Kunsthalle is that because none of us saw ourselves working in one of those institutions that existed at the time. We would die inside.
So you had to create your own institution.
Exactly. We had to create the set of conditions, in terms of modes of production, in terms of modes of visibility, in terms of discourse, in terms of political agency, and in terms of an ethical awareness that mattered to us.
Right. Right. And artists that you wanted to work with.
That weren't currently showing in Lisbon or elsewhere in Portugal.
Yes, not in that first year.
We of course started with a low budget.
And memory works in a funny way. We now think of them as friends. At the time, they weren't necessarily friends, but now they are.
Our first show was Nuno Sousa Vieira. We knew him, but you know…and then we had Mauro Cerqueira. They were people we knew and people that we invited to work with us, to do solo shows, because the solo show was present since the beginning. But they weren't friends at the time. Now they're friends. It's funny how these things work because when we say these things, "Oh we worked with friends," but they weren't friends at the time. They were acquaintances. They were people we knew, for instance, André Romão, who did the first solo show with us.
None of them were friends at the time. That's true.
You know, a set of relationships that we choose to name friendship, then here we are after all these years kind of thinking about the past and saying that they were friends before they were.
It's interesting how even what the institution produced over the years affects our memory.
In a sense, you could say your institutional memory is how you think back on your relationships. Getting back to the moment when you started, I'm curious to hear more about the set of social relationships on the ground that required Kunsthalle Lissabon to begin? Who was it for, outside of yourselves?
I think it started as a desire to think things through. And it started as our desire to think about these things that were very important to us and that we couldn't find in the local community. It wasn't so much about initiating a discussion with a community, which soon after became the case. Initially it was just us wanting to think practice through practice. We didn't want to write essays or organize seminars or workshops about the question. We wanted to perform it without knowing what the outcomes would be. And then as soon as we started performing the institution, we had to start thinking about these questions, like Who is this for? And that came as part of the performance, not as part of the initial reflection that generated the performance. But if you're performing an institution, then all these things need to be taken into consideration: What is our public? What is the public? What public do we produce? What public do we imagine? What are the consequences of this? What are the conditions for something to happen in a specific way or not? Those questions became part of the reflection.
Now it doesn't make any sense to remove those issues from the ongoing project. It's part of this. And we have been very critical of other institutions. For example, there is this guy running an institution here in Lisbon who said that people are stupid because they don't understand what his space does. So basically, he's creating a public that is alienating and alienated. He can't even imagine dissent or critique as a mode of being a public. So that is very problematic in terms of what is being instituted. What public is being produced? A public that is a no public. There are no publics because you don't go to a place where you're called stupid.
I think in the beginning, something we were also responding to, beyond the lack of institutions, is the beginning of the financial crisis. Our generation had to leave the country to work abroad and all this. It was also us reacting to that, I think, in a way, because artists were leaving at the time.
Everyone was leaving at the time.
Everyone was leaving at the time. So it was this idea of reacting to and reacting through. We had to do something and in a way, I think that it also was part of why some artists become friends later, because some of them were abroad at the time. But because of Kunsthalle Lissabon, they came back and they started to see projects happening in the city that were working in different ways.
It inspired growth in that sense.
Actually, that's interesting. We talked about the Kunsthalle, but "Lissabon," not just in terms of German, but the fact that you wanted to ground it in the place, but also the precarity of the place.
Yes, there is no other way around it. You speak from a place; your point of view is always grounded in where you're from. Your views of the world, how you interact with the world, are always the result of how you were socialized. When we were transitioning from the performative gesture to the radical hospitality approach—I think we discuss this in Performing the Institution(al) Volume 2 in the introduction—we make that transition explicit. We just didn't pay attention to it because hospitality is already very inscribed for us socially. We can rationalize it and we can feed theory into it to make it something that is useful and productive as a tool, but being with people and spending time with people is something that we are born into. In Portugal spending time together, for example, there are three-or four-hour Sunday lunches where everyone is just discussing the world while eating and drinking. That is what we do. So maybe an idea of radical hospitality couldn't develop, I don't know, in Scandinavia. I'm being biased and prejudiced, of course.
I think they try it though at some institutions.
Cultural conditions. Friendship is important to us even outside of Kunsthalle Lissabon, outside of the reflection. You're no one without your friends. You're no one without your family. You're not one individual. You're part of a larger community. I remember this from being a kid. And that may have gradually disappeared because of neoliberalism's post-war individualism, and the internet, etc. But creating a community, instituting a community, doesn't necessarily have to be productive. It's not a community that gathers in order to produce something, except itself. That is very important to us, and I think there is room for political thought in that.
Being together. We worked with nine artists.
There was no theme. But it was probably our first attempt to make a set of relationships visible through the format of the exhibition. In that sense, you know, it was a group of friends, a community of people that was based in that building, just working together, producing a show together.
Did you do that under Kunsthalle Lissabon?
Yes, it was a Kunsthalle Lissabon project.
Were you working when this all started? I'm curious to hear about your relationship to your day job.
I was working for the city of Lisbon already, in the Communications Department of the City Museum. From there, I started working with contemporary art. I then went to work in a new museum that they were creating through the African Center called Africa.Cont.
At the time, we already had started Kunsthalle Lissabon and they asked me to work in the Africa.Cont. And from Africa.Cont they invited me to be the head of contemporary art of the city. We already had started Kunsthalle Lissabon and it was one of the first things that we discussed with the councilor of culture who invited me was, "As you know, I have this project that I'm doing and I don't want to let the project go." They responded that as long as they don't touch each other, the city's okay with it.
Structure, yes. It was the same way that we were working in the Kunsthalle Lissabon, creating other stuff. It's creating conditions for them to work.
It seems like from what I understand that you were able to take some of the ethos of the Kunsthalle Lissabon—the things that you guys value—and try to infuse that into the structure of the city. That's a rare opportunity to have.
But I'm sure there are frustrations working within the city. I'm sure that there are projects that you were really proud of, but also things that you didn't really want to do.
Of course. That's something that I'm really proud of. The city held a public appeal for the studios, having the jury, etc. It was really important for me, this way of doing things, for me and for the city.
It was such a huge change.
It was. I think it really also depends on the people you work with in the city. It really depends on the councilor. I've always been working with the councilor that is now in charge, so it is like working with a dream partner. It makes a huge difference that they really allow you to do your stuff. Of course, you have to throw in some political stuff. You have to do some of these kinds of exhibitions because the mayor from Budapest is coming to town, so we have to do something with Budapest; or the embassy, because it's the 200 years of something or other, and so we have to do this. But other than those types of things, you have the space to do the projects you want to do that you think are important for the city or for the community. In that way, it was really important for me to work in the city during these years and it was really important to shape, in a way, the community and being supportive of them.
No, and he's done an amazing job.
Oh, you should be. That's totally fine.
But there's a tremendous difference from the role of the city in contemporary art before and now.
Getting back to the Kunsthalle Lissabon, once you had the name, you waited two years and then you opened the first space.
It was a tiny, tiny space. Listen, when we were starting, we knew that we couldn't afford rent, so we just wanted a free space. It may sound like this was all very articulate from the beginning and very planned. It wasn't. It was a sort of experiment. We were making things up as we went along.
So we got this tiny, tiny space which was a storefront that was really a weird ground floor office/storefront. We got it for free because at the time João knew the guy who ran the building and he told him, "Listen, we would like to open a space. Can you find us anything in the building? You know, we're not picky. Anything will do." And the guy said, "Well, that one over there facing the street is empty. It's really bad. Do you guys want to have a look at it?" And it was a really bad space. It was a former office, so there was a weird partition dividing the space. There were telephone wires everywhere. And we were like, okay. We don't really know what to do with this. We thought, there's a Portuguese local artist named Nuno Sousa Vieira, a sculptor. His work has been dealing with obsolete architectural structures and turning them into sculptures so we thought it could be an interesting reversal of the relationship between the artist and the institution if it was the other way around; if it were the artist that could, through his practice, create the conditions for the institution to exist. We invited him for the first solo show. He took all of that and then created an installation that was the first project of Kunsthalle Lissabon. Once the show was over, he removed it and we were left with an empty space, but with the traces of his installation, which stayed with us throughout the two years we were there.
We were there for two years, and then we moved upstairs. It was right above us, on the first floor. The building, at the time, still had plenty of empty spaces. The shift in space started because we needed an office space to get some work done, because we didn't want to work from home and we were performing the institution. It was clear that institution as only the exhibition space wasn't viable. We needed to expand physically and we needed a space that could provide us with that other part of an institution, the institutional activity: admin work, you know, whatever.
Because that's also part of the institution.
In the beginning, we moved because of the office space there on the first floor.
There was an in-between phase in which we had the space downstairs on the ground floor, the storefront, but our office was on the first floor. It was a bit weird. And that wasn't really functioning because they were detached from each other and they were far apart. We got tired of that space and, again, we were playing with expectations and we had constructed Kunsthalle Lissabon as a tiny, tiny office space. We thought, "Okay, so we need to play with peoples' expectations a bit more. How can we do this in relation to our use of space?" There was this abandoned corner room: 19th century, plastered ceilings, hardwood floors, tons of very dramatic windows, a very decadent bourgeois, semi-derelict apartment. A very different atmosphere from what we had. And we thought, "Well maybe this could work. It's hard. But what if we moved it here and see what happens, you know?" We asked for that space and we got it.
So, it wasn't the artists that prompted the move?
It was actually the administrative work?
Right, like the Schinkel Pavillon.
Yes, and we thought of it as our version of the Schinkel Pavillon. You know, kind of derelict.
It looked very similar in some ways, with the circular marbled room.
Yes. We were very interested by the idea of what that room could actually allow us to do curatorially, because it is a very specific room. When you think of the Schinkel Pavillon, there are a very limited number of things you can do and artists you can invite. For us, that was not necessarily connected to the institution, but curatorially, we wanted that challenge. We wanted to abandon — if we were ever connected to — the white cube. And we wanted a quarter of a circle, 19th century windows with balconies, you know, beautiful ceilings, everything. What we were showing transformed tremendously. Those were our most beautiful years. We moved toward more formal practices, such as Amalia Pica and Leonor Antunes. Which are gorgeous.
Haris Epaminonda and Daniel Gustav Cramer. Melvin Moti, which was insane. It was delicate. It was subtle. You know, I'm getting goosebumps. Very politically engaged. Ahmet Ögüt, Mounira Al Solh, Pilvi Takala. So those shows were all about the artist in the world.
Got it. Because it's a storefront.
I think it's really back to the crisis. I think it's really important that all these movements could be made because of the crisis.
Did it also hit here in 2008? Is that when it started?
That's why the space was for free.
We are a product of the crisis.
Yes, it created the Kunsthalle Lissabon.
Both conceptually, but on a very practical level as well.
Things were empty. They were abandoned. It was a former bank building, wasn't it?
Yes, once the crisis started to wear off, obviously, the building was sold and it's now a very expensive area. Across the street there was Cartier, Louis Vuitton, Prada, Armani.
Which is incredible to think that that was where an empty space would be. It's almost demonstrating that there's an issue here financial instability.
An empty building. It was a whole building.
Back to precarity: both in regard to the financial crisis, but then how it also mirrors a kind of precarity within the art world.
We thought that precarity could be a very apt metaphor to describe the way we operated the Kunsthalle at the time. We felt that precarity could be an interesting concept to describe what we were doing and how we were engaging with the community. I think we were a bit reckless at the time, or careless. I mean, we were riffing on that idea as an idea without actually acknowledging that precarity was literally destroying the social fabric of the country. And not only the social fabric of the country, but our community, with the extreme cuts. At a certain point we decided we should abandon that as a tool or as a metaphor to describe the way we were operating, and instead, focus on fighting it. That's why, for instance, we don't exploit interns. No one works for free. If we can't afford an intern, we won't have an intern. But if an intern is working with us, then he or she must be paid because it is labor and labor should be paid. The same thing with artists. Artist fees, from the beginning. Per diems. Everything.
I get paid. Not enough.
But you didn't in the beginning?
Not in the beginning, no. In between grants.
There was a really rough year.
I think that's when we really started abandoning precarity, because we had two options. Either I would work for free and Kunsthalle Lissabon as a project would continue, or we would end it because there were no conditions. My options were either unemployment or voluntary work.
They're not ideal situations, because you also don't want to exploit yourself.
We all do this to a certain extent, right? We work more than we get paid for.
There's no one to blame but yourself.
True. And so we decided that we should institute different relations, different labor relationships.
In our community sometimes, you know, the exploitation of artists, of interns, is mainstream and common.
I was going to ask, do people normally pay artists here for exhibitions?
There are no rules. Well, it's the unregulated art world.
Oh, they get the leftovers?
Which then means that the artist will cut back on production costs.
Right. There should just be a fixed fee and that's just it.
Which has so much money.
Which has so much money. First thing they ask, so, well, what about the fee? And the answer was, isn't this fee enough?
Right. Economic capital versus cultural capital, which doesn't pay your rent.
And then, you know, those two kids were like, "Your budget is tremendous and there is no fee, but those guys have a fee." It's a matter of respect, but it's mostly a matter of ethics. We've decided —and it changes because our production budget changes from show to show — the average fee we pay artists should represent maybe 20 percent of the overall cost of each exhibition. Between 10 and 20 percent of what an exhibition costs us. When you think 20 percent of the overall exhibition cost, it's pretty decent.
That's really good. But fast forward to today and it's not quite the same conditions of the crisis as it was the last time I was here. You don't feel it on the ground in quite the same way. There's this wave of tourism.
Well, tourism was the easy fix.
Yes, but in terms of funding, for instance, it's changed a bit.
Everything changed. It was really difficult. The very neoliberal prime minister we had told people they should emigrate.
Especially young people and teachers.
He said that the crisis was our own fault.
Go elsewhere. He told us that the crisis was our own doing, each of us, and we had to pay for it. We had to suffer for it. It was really, really, really bad. But thankfully, they worked it out and the first thing they did was to terminate the Ministry of Culture. Like, we don't need culture, that's just an expense.
I'm curious because it seems like every artist that Gee and I have talked to have had some sort of Gulbenkian funded residency at Gasworks or they've been in New York and, we were really impressed that seemingly every artist that we've encountered has spent time living and working abroad.
Yes, it's a given, in a way that as an artist — not as a curator, though, but as an artist —you'll apply to these residencies and these grants and eventually you'll get one.
Is it because it's just small enough?
We have good grants and good foundations like the Gulbenkian Foundation, which is big and has been giving grants since the 1960s.
When the foundation started, the country was very different. It was very small, you know?
There were no opportunities for education here in the arts. So Gulbenkian's mission —there was no Ministry of Culture —was to send artists, dancers, choreographers, actors, musicians. Up until about 10 years ago, Gubelkian had a dance company and an orchestra. They also have a research center for sciences and they're doing a lot of research in genetics, etc.
So not just in the arts.
Not only in the arts, no.
Development. You know, science and arts and culture. They're one of the largest European foundations.
So there are these Portuguese artists who are in fact very international. Do a lot of them come back or do some of them stay in Portugal?
Like, Francisco Queimadela and Mariana Caló were from Porto, but they went and lived in Berlin for a while.
Right. I'm curious about the decision to come back. Because there seems to be a wave now of international people coming and wanting to live in Lisbon and curate here as independent curators. Was this always the case?
When did you start seeing that happen and how has that affected the dialogue that you have? I wonder if the dialogue that you initiated is part of the reason that they want to come.
It's so hard to find reasons for that.
Sure. Well, maybe not the reasons, but rather, how has it affected you? Has it been positive?
It's a really positive thing, for sure.
One of the reasons why we define Kunsthalle Lissabon the way we do is because we wanted to be part of a larger scene, a more international scene. We wanted to break free from this very regional, local community. The fact that we now have artists moving to Lisbon and curators moving to Lisbon, for us, it's really good. It's really productive, specifically because all these people who are coming in have no understanding of the local hierarchy.
You've seen how we work. We're very skeptical and we try not to reproduce those hierarchies. But we are part of them. It's very difficult for us not to see this guy who is the director of a museum and not act in a specific way because he is the director of that museum.
Right. You don't just seem him as a person. Do you feel like the people who come here from elsewhere have the sensitivity to the local context and the artists and the history? Sometimes to come dive-bombing into another scene can cause tension.
No, no. I think some of them are kind of trying to engage with the city.
Is it better to engage or not to engage?
I think, in itself, it's not good or bad.
I'm sure there must be some people here who are just based in Lisbon, right?
Yes, but that's a good thing.
Because it's acknowledging that it's not that special.
Right. That in this day and age, it almost doesn't matter where you live on some level.
Exactly. And you know, Portuguese art is the same as Spanish art, is the same as Italian art.
And you can also say who you're in dialogue with.
It's good that someone makes that visible because there is a certain tendency to think, "Oh, Portuguese art is the best." It's just that, you know, it's not exotic enough, so it doesn't get into the biennales or whatever.
Or they don't have the money to export it.
For a while, the scene was really local.
Our program isn't that cutting edge. We're not searching for emerging artists. We're not doing that kind of work. These people that we thought were pretty obvious, you know, even though they are young. Like, where'd you find these artists? What's happening for the time being is important. It creates smaller communities inside a community, and I think it's nice. I think it's important.
Maybe if you're bringing things into Lisbon, maybe these other people are bringing Lisbon out into the world a little bit.
To spread the word about us, you know. About what's going on.
About the relations I have with other artists here. I think it's really important for the city or for the scene and for the art community that all these people are moving to town, because there's some really important people moving.
I guess one question that we had, because we've talked previously about site specificity, is this idea of Portugal having the allure of not being a center and a fetishization of that.
JM: On the center and peripheries?
On centers and peripheries, yes. All these things that shouldn't almost matter anymore on some level.
But they do. They still matter.
I think we're not peripheric enough and not central enough.
And we're not exotic enough, because we're Europe.
No, you're not exotic enough. But I think that there's also a romanticization around moving here.
A romanticization of the crisis. That's the word. It's the same reason why Documenta is going to Athens. It's gotten cheap. It's amazing. It's unspoiled.
Yes, but now there are tuk-tuks everywhere, so there you go.
I think the notion of centers and peripheries kind of was diluted by places like Beirut or Mexico City, which became way more interesting than places like London or New York. People would go to these places for research. Artists would move to these places because they were much more visible than being in Berlin or London or New York. I think it's just making things faster and more disposable. For the next two years, it will be Lisbon. Then the following two years, it'll be some other city.
Right. I'm just curious, for the people who are so invested in the local scene, what is that experience like? It sounds like so far you see it as a positive.
I think for the time being it's positive.
I think, but it has just started. I think it will be very fast, but I don't think it will become something like Berlin. Brussels didn't become Berlin. I think by the time, in two years' time, probably a lot of people who moved to Lisbon will have moved elsewhere because they wanted a cool place to live for a couple of years, to check out what was going on and then probably what they expected won't come true or it won't be what they expected it to be.
Or there's another new thing and they want to go there.
Or there's a new thing, you know. And probably, you know, someone will tell us, oh no, Rome is the place to be right now, and they'll move to Rome. I don't think people will stay here for the next 12 years.
But while they're here, it's making an interesting discussion.
It's making Lisbon more open. And there are more dialogues to be had with more people.


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text:
Big 12 Suspends 4 Players from KU-KSU Brawl 25 Games Total
The Big 12 has suspended four players from Kansas and Kansas State a combined 25 games for their roles in a melee that spilled off the court. The brawl erupted into a section of disabled seating in Allen Fieldhouse near the end of the third-ranked Jayhawks' win over the Wildcats. Kansas forward Silvio De Sousa was suspended indefinitely by Jayhawks coach Bill Self earlier Wednesday. He was given a 12-game suspension by the league office. His teammate, David McCormack, was suspended two games while Kansas State forward James Love received an eight-game suspension and Antonio Gordon a got three-game suspension.
Filed Under: 12-game suspension, 25 games, Allen Fieldhouse, AntonioGordon, Big 12, brawl, David McCormack, James Love, Jayhawks, Jayhawks coach Bill Self, Kansas, Kansas State, melee, Silvio De Sousa, suspended, suspended indefinitely, suspended two games, suspension, Wildcats

redpajama_set_name: RedPajamaCommonCrawl


text:
Application of the Rochester Criteria to Identify Febrile Infants With Bacteremia and Meningitis
Paul L. Aronson, Russell J. McCulloh, Joel S. Tieder, Lise E. Nigrovic, Rianna C. Leazer, Elizabeth R. Alpern, Elana A. Feldman, Fran Balamuth, Whitney L. Browning, Mark I. Neuman
Pediatric Hospitalists
Child Health Research Institute
Pediatrics Hospitalists
Objectives: The Rochester criteria were developed to identify febrile infants aged 60 days or younger at low-risk of bacterial infection and do not include cerebrospinal fluid (CSF) testing. Prior studies have not specifically assessed criteria performance for bacteremia and bacterial meningitis (invasive bacterial infection). Our objective was to determine the sensitivity of the Rochester criteria for detection of invasive bacterial infection. Methods: Retrospective cohort study of febrile infants aged 60 days or younger with invasive bacterial infections evaluated at 8 pediatric emergency departments from July 1, 2012, to June 30, 2014. Potential cases were identified from the Pediatric Health Information System using International Classification of Diseases, Ninth Revision diagnosis codes for bacteremia, meningitis, urinary tract infection, and fever. Medical record review was then performed to confirm presence of an invasive bacterial infection and to evaluate the Rochester criteria: medical history, symptoms or ill appearance, results of urinalysis, complete blood count, CSF testing (if obtained), and blood, urine, and CSF culture. An invasive bacterial infection was defined as growth of pathogenic bacteria from blood or CSF culture. Results: Among 82 febrile infants aged 60 days or younger with invasive bacterial infection, the sensitivity of the Rochester criteria were 92.7% (95% confidence interval [CI], 84.9%-96.6%) overall, 91.7% (95% CI, 80.5%-96.7%) for neonates 28 days or younger, and 94.1% (95% CI, 80.9%-98.4%) for infants aged 29 to 60 days old. Six infants with bacteremia, including 1 neonate with bacterial meningitis, met low-risk criteria. Conclusions: The Rochester criteria identified 92% of infants aged 60 days or younger with invasive bacterial infection. However, 1 neonate 28 days or younger with meningitis was classified as low-risk.
https://doi.org/10.1097/PEC.0000000000001421
Cerebrospinal Fluid
Bacterial Meningitides
Newborn Infant
International Classification of Diseases
Rochester criteria
febrile infant
invasive bacterial infection
Aronson, P. L., McCulloh, R. J., Tieder, J. S., Nigrovic, L. E., Leazer, R. C., Alpern, E. R., ... Neuman, M. I. (2019). Application of the Rochester Criteria to Identify Febrile Infants With Bacteremia and Meningitis. Pediatric Emergency Care, 35(1), 22-27. https://doi.org/10.1097/PEC.0000000000001421
Application of the Rochester Criteria to Identify Febrile Infants With Bacteremia and Meningitis. / Aronson, Paul L.; McCulloh, Russell J.; Tieder, Joel S.; Nigrovic, Lise E.; Leazer, Rianna C.; Alpern, Elizabeth R.; Feldman, Elana A.; Balamuth, Fran; Browning, Whitney L.; Neuman, Mark I.
In: Pediatric Emergency Care, Vol. 35, No. 1, 01.01.2019, p. 22-27.
Aronson, PL, McCulloh, RJ, Tieder, JS, Nigrovic, LE, Leazer, RC, Alpern, ER, Feldman, EA, Balamuth, F, Browning, WL & Neuman, MI 2019, 'Application of the Rochester Criteria to Identify Febrile Infants With Bacteremia and Meningitis', Pediatric Emergency Care, vol. 35, no. 1, pp. 22-27. https://doi.org/10.1097/PEC.0000000000001421
Aronson PL, McCulloh RJ, Tieder JS, Nigrovic LE, Leazer RC, Alpern ER et al. Application of the Rochester Criteria to Identify Febrile Infants With Bacteremia and Meningitis. Pediatric Emergency Care. 2019 Jan 1;35(1):22-27. https://doi.org/10.1097/PEC.0000000000001421
Aronson, Paul L. ; McCulloh, Russell J. ; Tieder, Joel S. ; Nigrovic, Lise E. ; Leazer, Rianna C. ; Alpern, Elizabeth R. ; Feldman, Elana A. ; Balamuth, Fran ; Browning, Whitney L. ; Neuman, Mark I. / Application of the Rochester Criteria to Identify Febrile Infants With Bacteremia and Meningitis. In: Pediatric Emergency Care. 2019 ; Vol. 35, No. 1. pp. 22-27.
@article{fa85d76fa8584aefbaef1e1a2cb7fd77,
title = "Application of the Rochester Criteria to Identify Febrile Infants With Bacteremia and Meningitis",
abstract = "Objectives: The Rochester criteria were developed to identify febrile infants aged 60 days or younger at low-risk of bacterial infection and do not include cerebrospinal fluid (CSF) testing. Prior studies have not specifically assessed criteria performance for bacteremia and bacterial meningitis (invasive bacterial infection). Our objective was to determine the sensitivity of the Rochester criteria for detection of invasive bacterial infection. Methods: Retrospective cohort study of febrile infants aged 60 days or younger with invasive bacterial infections evaluated at 8 pediatric emergency departments from July 1, 2012, to June 30, 2014. Potential cases were identified from the Pediatric Health Information System using International Classification of Diseases, Ninth Revision diagnosis codes for bacteremia, meningitis, urinary tract infection, and fever. Medical record review was then performed to confirm presence of an invasive bacterial infection and to evaluate the Rochester criteria: medical history, symptoms or ill appearance, results of urinalysis, complete blood count, CSF testing (if obtained), and blood, urine, and CSF culture. An invasive bacterial infection was defined as growth of pathogenic bacteria from blood or CSF culture. Results: Among 82 febrile infants aged 60 days or younger with invasive bacterial infection, the sensitivity of the Rochester criteria were 92.7{\%} (95{\%} confidence interval [CI], 84.9{\%}-96.6{\%}) overall, 91.7{\%} (95{\%} CI, 80.5{\%}-96.7{\%}) for neonates 28 days or younger, and 94.1{\%} (95{\%} CI, 80.9{\%}-98.4{\%}) for infants aged 29 to 60 days old. Six infants with bacteremia, including 1 neonate with bacterial meningitis, met low-risk criteria. Conclusions: The Rochester criteria identified 92{\%} of infants aged 60 days or younger with invasive bacterial infection. However, 1 neonate 28 days or younger with meningitis was classified as low-risk.",
keywords = "Rochester criteria, bacteremia, febrile infant, fever, invasive bacterial infection, meningitis",
author = "Aronson, {Paul L.} and McCulloh, {Russell J.} and Tieder, {Joel S.} and Nigrovic, {Lise E.} and Leazer, {Rianna C.} and Alpern, {Elizabeth R.} and Feldman, {Elana A.} and Fran Balamuth and Browning, {Whitney L.} and Neuman, {Mark I.}",
doi = "10.1097/PEC.0000000000001421",
journal = "Pediatric Emergency Care",
T1 - Application of the Rochester Criteria to Identify Febrile Infants With Bacteremia and Meningitis
AU - Aronson, Paul L.
AU - McCulloh, Russell J.
AU - Tieder, Joel S.
AU - Nigrovic, Lise E.
AU - Leazer, Rianna C.
AU - Alpern, Elizabeth R.
AU - Feldman, Elana A.
AU - Balamuth, Fran
AU - Browning, Whitney L.
AU - Neuman, Mark I.
N2 - Objectives: The Rochester criteria were developed to identify febrile infants aged 60 days or younger at low-risk of bacterial infection and do not include cerebrospinal fluid (CSF) testing. Prior studies have not specifically assessed criteria performance for bacteremia and bacterial meningitis (invasive bacterial infection). Our objective was to determine the sensitivity of the Rochester criteria for detection of invasive bacterial infection. Methods: Retrospective cohort study of febrile infants aged 60 days or younger with invasive bacterial infections evaluated at 8 pediatric emergency departments from July 1, 2012, to June 30, 2014. Potential cases were identified from the Pediatric Health Information System using International Classification of Diseases, Ninth Revision diagnosis codes for bacteremia, meningitis, urinary tract infection, and fever. Medical record review was then performed to confirm presence of an invasive bacterial infection and to evaluate the Rochester criteria: medical history, symptoms or ill appearance, results of urinalysis, complete blood count, CSF testing (if obtained), and blood, urine, and CSF culture. An invasive bacterial infection was defined as growth of pathogenic bacteria from blood or CSF culture. Results: Among 82 febrile infants aged 60 days or younger with invasive bacterial infection, the sensitivity of the Rochester criteria were 92.7% (95% confidence interval [CI], 84.9%-96.6%) overall, 91.7% (95% CI, 80.5%-96.7%) for neonates 28 days or younger, and 94.1% (95% CI, 80.9%-98.4%) for infants aged 29 to 60 days old. Six infants with bacteremia, including 1 neonate with bacterial meningitis, met low-risk criteria. Conclusions: The Rochester criteria identified 92% of infants aged 60 days or younger with invasive bacterial infection. However, 1 neonate 28 days or younger with meningitis was classified as low-risk.
AB - Objectives: The Rochester criteria were developed to identify febrile infants aged 60 days or younger at low-risk of bacterial infection and do not include cerebrospinal fluid (CSF) testing. Prior studies have not specifically assessed criteria performance for bacteremia and bacterial meningitis (invasive bacterial infection). Our objective was to determine the sensitivity of the Rochester criteria for detection of invasive bacterial infection. Methods: Retrospective cohort study of febrile infants aged 60 days or younger with invasive bacterial infections evaluated at 8 pediatric emergency departments from July 1, 2012, to June 30, 2014. Potential cases were identified from the Pediatric Health Information System using International Classification of Diseases, Ninth Revision diagnosis codes for bacteremia, meningitis, urinary tract infection, and fever. Medical record review was then performed to confirm presence of an invasive bacterial infection and to evaluate the Rochester criteria: medical history, symptoms or ill appearance, results of urinalysis, complete blood count, CSF testing (if obtained), and blood, urine, and CSF culture. An invasive bacterial infection was defined as growth of pathogenic bacteria from blood or CSF culture. Results: Among 82 febrile infants aged 60 days or younger with invasive bacterial infection, the sensitivity of the Rochester criteria were 92.7% (95% confidence interval [CI], 84.9%-96.6%) overall, 91.7% (95% CI, 80.5%-96.7%) for neonates 28 days or younger, and 94.1% (95% CI, 80.9%-98.4%) for infants aged 29 to 60 days old. Six infants with bacteremia, including 1 neonate with bacterial meningitis, met low-risk criteria. Conclusions: The Rochester criteria identified 92% of infants aged 60 days or younger with invasive bacterial infection. However, 1 neonate 28 days or younger with meningitis was classified as low-risk.
KW - Rochester criteria
KW - bacteremia
KW - febrile infant
KW - fever
KW - invasive bacterial infection
KW - meningitis
U2 - 10.1097/PEC.0000000000001421
DO - 10.1097/PEC.0000000000001421
JO - Pediatric Emergency Care
JF - Pediatric Emergency Care
10.1097/PEC.0000000000001421


text:
St. Bartholomew's Choir
Roles Represented in DAHR: Vocal group
Recordings (Results 1-25 of 62 records)
Victor BVE-67530 10-in. 4/10/1931 The heavens are declaring St. Bartholomew's Choir ; David McK. Williams Mixed vocal chorus, with pipe organ Vocal group
Victor BVE-67531 10-in. 4/10/1931 How blest are they St. Bartholomew's Choir ; David McK. Williams Mixed vocal chorus, unaccompanied Vocal group
Victor BVE-67532 10-in. 4/10/1931 The souls of the righteous St. Bartholomew's Choir ; David McK. Williams Mixed vocal chorus, unaccompanied Vocal group
Victor BVE-67533 10-in. 4/10/1931 Sun of my soul St. Bartholomew's Choir ; David McK. Williams Mixed vocal chorus, with pipe organ Vocal group
Victor BVE-67534 10-in. 4/10/1931 Hark! Hark, my soul! St. Bartholomew's Choir ; David McK. Williams Mixed vocal chorus, with pipe organ Vocal group
Victor CSHQ-71633 12-in. 3/23/1932 The Passion of our Lord (According to St. Matthew) St. Bartholomew's Choir ; David McK. Williams Mixed vocal chorus and soloists, with organ Vocal group
(Results 1-25 of 62 records)
Discography of American Historical Recordings, s.v. "St. Bartholomew's Choir," accessed January 31, 2023, https://adp.library.ucsb.edu/names/100586.
St. Bartholomew's Choir. (2023). In Discography of American Historical Recordings. Retrieved January 31, 2023, from https://adp.library.ucsb.edu/names/100586.
"St. Bartholomew's Choir." Discography of American Historical Recordings. UC Santa Barbara Library, 2023. Web. 31 January 2023.
LCNAR: St. Bartholomew's Choir - http://id.loc.gov/authorities/names/n2002069633
VIAF: http://viaf.org/viaf/5369149068498065730002
Company Show All Victor (62) Role Show All Vocal group (62) Audio Show All Issued Show All Issued Only (44)


Total Access Admin Error: Cannot open the database. The Provider cannot be found. It may not be properly installed – FMS, Inc.
The Total Access Admin fails to run with this error: "Cannot open the database. The Provider cannot be found. It may not be properly installed".
Total Access Admin requires a supporting version of Microsoft Access, Microsoft Access Runtime, or the Microsoft Access Database Engine 2010 Redistributable to be installed in order to work.
With Access installed, this error should not occur. However, we have seen this error when Microsoft Access is installed from the download from Office 365. You can check to see which version of Access you have under the Microsoft Access, About Details (under File, Help). If it states "Microsoft Office 365", then it means Microsoft Access was downloaded from an Office 365 subscription. That version of Microsoft Access is slightly different from the standard installation of Access.
Fortunately, there's a simple solution, install the Microsoft Access Database Engine 2010 Redistributable. You can download it from here. Once installed, Total Access Admin will successfully load and run.
Can I use Total Access Admin to monitor multiple databases at the same time?


Voters Registration Cards & the Forth Coming 2019 Election - Fastclick Media: Virtual & Real Estates.
I was watching a program on NTA (Nigerian Televisions Authority) this Morning and must confess that I was really depressed about the scheme of things concerning the voters' registration card. There was this argument about piles of voters' card still uncollected while "a noisy few" in the words of one of those invited to talk on the issue, are aggrieved about not being able to register for their voters registration card during the voters registration exercise.
Having a voters registration card is a right that should not be denied eligible citizens of this country who have attained the legal age to vote and be voted for and INEC (Independent National Electoral Commission) should be held responsible for whatever hitches that are being observed. I personally believe that the voter's registration issue could have been solved by INEC if they had thought about synergism with other ready-made databases in Nigeria.
The problem we have in Nigeria is simple, we simply don't want to share ideas, we always want to start something new and are often not concerned about the continuity of everything that we initiate as a working system, no wonder a wise man once said that Nigeria's problem is not that we lack ideas, but the implementation and execution of such ideas.
Nigeria has gone beyond making use of dud voters' registration cards that look like a personal identity card. At the stage that we are in now, what we should be using as voters' card should be a national electronic card containing all details about an individual ranging from health benefits/disabilities, finances, birth records and deaths and these information can easily be accessed and verified electronically by banks, health centers, government agencies (including Federal Roads Safety Commission in the case of procuring a Drivers license).
With such a card as described above, there will not be an issue of people not being able to register for their voters cards or issues of people refusing to come forward to claim their voters' card. Now, voters' registration card is an issue as it has always been before every election that we've had in Nigeria because there is no central database of Nigerian citizens where births and deaths can be recorded.
We have NPC (National Populations Commission) and this is workable with them, in fact, INEC should have been liaising with NPC, if the later had been reliable with the duty of actually monitoring the Nigerian Population.
What I am talking about is not a pipe dream, it is workable and we don't really need to spend a fortune to put a centrally working Nigerian database in place, we have so many Computer Whiz kids in Nigeria most of whom are jobless and if the Federal Government can assemble a team of the very best of these individuals, we can put a stop to this.
Knowing the total number of Nigerians living in Nigeria at every given time.
Crimes can be checked and stopped before they are committed.
Voters' registration card will not be needed since every citizen can be accounted for and they can as well vote with their "one pass central electronic identity card.
There will be no need for banks to send us back to get a driver's license, because with our one pass card, every institution can access our assets and liabilities in real time and be in a position to know all that they need to know concerning our financial position.
Budgets can be made by the Federal Government with actual figures of the Nigerian population in mind.
Rigging in Elections will be minimal if not totally absent from the electoral process.
It will also aid the cashless policy by CBN, since that card will be connected to all bank accounts owned by the individual possessing it and hospitals can easily collect their funds electronically for the treatment of that individual.
There are so many other problems it will totally curb if not completely eradicate.
Fellow Nigerians, I just hope some of you will agree with me, please leave your comments, I would love to share your views on this.


ROAD TOWN, Tortola, VI – Speaker of the House of Assembly Ingrid A. Moses last night August 11, 2014 slammed members of the Opposition for what she called the abusing of their parliamentary privilege when they included in their presentations information on companies connected to the cruise pier project.
She voiced her concern in a statement shortly before the House adjourned for the day sometime after 11:00 pm. It was during the Eighth Sitting of the Third Session of the Second House of Assembly during the debate on the Public Accounts Committee (PAC) final report on the cruise pier project.
"Earlier in the proceedings I talked about members making statements in the House of Assembly as it relates to organisations and persons under the protection of immunity and privilege which does not extend outside of this Honourable House," said Speaker Moses.
She noted that as was pointed out earlier in the debate, out of the 13 persons interviewed by the PAC, 8 of them signed letters saying that they have not seen their witness statements.
"This is almost 62 percent, almost a third of the persons interviewed and that says to me that they have a serious concern as it relates to the breach of the Standing Orders," she said.
"The very fact that members are tossing around allegations, making statements, questioning persons' character, questioning a whole lot of information and statements that would have arisen out of those meetings it is imperative and it is incumbent upon the committee to ensure that it complies with the Standing Orders," she said.
"I think it is a great disservice that we have done not only to the House but also to the members, the public and to those who came before the Committee," said the Speaker.
"We need to make sure when we come to the Honourable House to always abide by the Standing Orders…they are there for a reason," she said. "To sit here and try to use the rules conveniently is unacceptable and irresponsible for all of us to do," she said.
He said that the Speaker's comments towards the end of the sitting were uncalled for as nothing said in the House was libelous or slanderous. "The information I gave is public knowledge…it is not information that I made up," he said.
Ya'll can't see this woman is one sided.And I've notice she's always trying to pick a fight with Minister Fahie smh.
I agree with one side,I have noticed her behaviour as well,not so promising to the future,she needs to strike balance in the house of commons,she herself chides under her breath while representing the larger mass of people.
The HOA is like a circus arena! Our politicians behaving like clowns embarrassing the island with their immature behavior. This type of behavior does not send a positive message across international airwaves. There is too much drama in this tiny island. It is worst than the Soap Operas!
The debate was supposed to be members only, but after Hon Fahie was finished Miss Speaker cut in and had her say. She spent a lot of time talking about the two letters and putting down the PAC members for not following rules. She never acknowledged that her partner (the bald head man) crossed the line when he prepared those letters and contacted witnesses who felt compelled to sign them.
If he had done this in court he would be DISBARRED! But for some reason he felt this was ok for the house of assembly and she sat there bigging him up. Two more years. Not a day more.
What member fahie much more intelligent than all of them. Ronnie myron and mark failed in the debate whats the next step VIP. Alvin did an excellent job to. And Fraser finally getting it together. Team work is the way to go.
If it was the other way around, nothing would have been said. Biasness is alive and well in the HOA I see.
What about all the shouting in the HOA some weeks ago. What did she say about that? She was posted there by the NDP so what do you expect from her. I think the speaker of the house should be appointed by the queen, just like the governor. just my opinion .. and I don't care who dislike it.
I am sick and tired of the blatant attempts to silence the opposition. If they ask a question its a problem. If they make a comment its a problem. This is not the way a democratic country functions. Right is right and wrong is wrong all sides must be given a fair chance to speak or else scheduling sittings of the house is pointless. This tactic has cost government the respect of the majority of people. Who wants to listen to the parliamentary process where only government side has a say? The house was never in such shambles before now. Stop creating chaos and trying to silence the opposition. That is soooooooo not good governance. Too much time wasted on dishing out doses of hush-hush than dealing with the issues at hand. The public is sick of this crap.
Put them back in Government if you sick of them being over there. Who is silencing the opposition? The opposition is now a circus. Fahie and Frasers sticking points were print out from Google searches. Are you kidding me???????????????????????????
Clearly by your statement you are not very intelligent! Anything you want to know can be obtained by the tip of your fingers! (Internet) If you don't have anything to say I suggest you go and google how to give constructive criticism.!
thatWhy interfere with the witnesses,? Maybe those people who wrote to the speaker did so under intimidation from some ministers. I did not know she had a role in the debate apart from keeping the House in order. I observe that she tries to intimidate the opposition members while those on the government side can be rude and insultive and get away with it. Both sides should be admonished for unacceptable behavior in the house. Some members do not know what is disrespect. What example is being set for the youth of this territory? The world is watching.Why are they afraid of a COI.? That will clear the air. Let your conscience be your guide. Is the landslide development going to belong. to the VI populace or the people who ha ve claims on the lots? Tell us now.
This woman is Speaker for the NDP, she is not Speaker of The House. She is full of BS. She is shameful. NDP and Speaker Moses got to go.
The speaker of the HOA said that she has Eight letters from the witnesses addressed to her and the Opposition Leader so where the minister of Education got those letters from to debate them in the HOA?
How can she keep order when she's clearly have other orders. I applauded the selection when it was made as a step toward true equality in the BVI. On Monday i happened to switch the TV and came across the debate when Mr. Fraser had the floor. Somehow his delivery captured my attention and i continued. At some point the Premiere felt compelled to interject and Mr. Fraser responded. I do not know why or how it happened but it appeared cued as the speaker got into a pointed diatribe at Mr. Fraser. It had no basis those two interuption but the second appeared to be an attempted beatdown of Mr. Fraser. Sorry Ms Speaker but you've shown yourself unequal in your handling of the house and extremely partisan. With this your ability to keep a proper quorum leaves much to be desired. This was a very rude and out of place remark. You my dear need to check yourself as you're wrecking yourself.


text:
"""Tensor utility functions.

@@assert_same_float_dtype
@@assert_scalar_int
@@local_variable
@@reduce_sum_n
@@with_shape
@@with_same_shape
"""
from __future__ import absolute_import
from __future__ import division
from __future__ import print_function
import numpy as np
from tensorflow.python.framework import dtypes
from tensorflow.python.framework import ops
from tensorflow.python.ops import array_ops
from tensorflow.python.ops import logging_ops
from tensorflow.python.ops import math_ops
from tensorflow.python.ops import variables

__all__ = [
    'assert_same_float_dtype', 'assert_scalar_int',
    'local_variable', 'reduce_sum_n', 'with_shape', 'with_same_shape',
]

def _assert_same_base_type(items, expected_type=None):
  """Asserts all items are of the same base type.

  Args:
    items: List of graph items (e.g., `Variable`, `Tensor`, `SparseTensor`,
        `Operation`, or `IndexedSlices`). Can include `None` elements, which
        will be ignored.
    expected_type: Expected type. If not specified, assert all items are
        of the same base type.
  Returns:
    Validated type, or none if neither expected_type nor items provided.

  Raises:
    ValueError: If any types do not match.
  """
  original_item_str = None
  for item in items:
    if item is not None:
      item_type = item.dtype.base_dtype
      if not expected_type:
        expected_type = item_type
        original_item_str = item.name if hasattr(item, 'name') else str(item)
      elif expected_type != item_type:
        raise ValueError('%s, type=%s, must be of the same type (%s)%s.' % (
            item.name if hasattr(item, 'name') else str(item),
            item_type, expected_type,
            (' as %s' % original_item_str) if original_item_str else ''))
  return expected_type

def assert_same_float_dtype(tensors=None, dtype=None):
  """Validate and return float type based on `tensors` and `dtype`.

  For ops such as matrix multiplication, inputs and weights must be of the
  same float type. This function validates that all `tensors` are the same type,
  validates that type is `dtype` (if supplied), and returns the type. Type must
  be `dtypes.float32` or `dtypes.float64`. If neither `tensors` nor
  `dtype` is supplied, default to `dtypes.float32`.

  Args:
    tensors: Tensors of input values. Can include `None` elements, which will be
        ignored.
    dtype: Expected type.
  Returns:
    Validated type.
  Raises:
    ValueError: if neither `tensors` nor `dtype` is supplied, or result is not
        float.
  """
  if tensors:
    dtype = _assert_same_base_type(tensors, dtype)
  if not dtype:
    dtype = dtypes.float32
  elif not dtype.is_floating:
    raise ValueError('Expected float, got %s.' % dtype)
  return dtype

def assert_scalar_int(tensor):
  """Assert `tensor` is 0-D, of type `tf.int32` or `tf.int64`.

  Args:
    tensor: Tensor to test.
  Returns:
    `tensor`, for chaining.
  Raises:
    ValueError: if `tensor` is not 0-D, of type `tf.int32` or `tf.int64`.
  """
  data_type = tensor.dtype
  if data_type.base_dtype not in [dtypes.int32, dtypes.int64]:
    raise ValueError('Unexpected type %s for %s.' % (data_type, tensor.name))
  shape = tensor.get_shape()
  if shape.ndims != 0:
    raise ValueError('Unexpected shape %s for %s.' % (shape, tensor.name))
  return tensor

# TODO(ptucker): Move to tf.variables?
def local_variable(initial_value, validate_shape=True, name=None):
  """Create variable and add it to `GraphKeys.LOCAL_VARIABLES` collection.

  Args:
    initial_value: See variables.Variable.__init__.
    validate_shape: See variables.Variable.__init__.
    name: See variables.Variable.__init__.
  Returns:
    New variable.
  """
  return variables.Variable(
      initial_value, trainable=False,
      collections=[ops.GraphKeys.LOCAL_VARIABLES],
      validate_shape=validate_shape, name=name)

def reduce_sum_n(tensors, name=None):
  """Reduce tensors to a scalar sum.

  This reduces each tensor in `tensors` to a scalar via `tf.reduce_sum`, then
  adds them via `tf.add_n`.

  Args:
    tensors: List of tensors, all of the same numeric type.
    name: Tensor name, and scope for all other ops.

  Returns:
    Total loss tensor, or None if no losses have been configured.

  Raises:
    ValueError: if `losses` is missing or empty.
  """
  if not tensors:
    raise ValueError('No tensors provided.')
  tensors = [math_ops.reduce_sum(t, name='%s/sum' % t.op.name) for t in tensors]
  if len(tensors) == 1:
    return tensors[0]
  with ops.op_scope(tensors, name, 'reduce_sum_n') as scope:
    return math_ops.add_n(tensors, name=scope)

def _all_equal(tensor0, tensor1):
  with ops.op_scope([tensor0, tensor1], 'all_equal') as scope:
    return math_ops.reduce_all(
        math_ops.equal(tensor0, tensor1, name='equal'), name=scope)

def _is_rank(expected_rank, actual_tensor):
  """Returns whether actual_tensor's rank is expected_rank.

  Args:
    expected_rank: Integer defining the expected rank, or tensor of same.
    actual_tensor: Tensor to test.
  Returns:
    New tensor.
  """
  with ops.op_scope([actual_tensor], 'is_rank') as scope:
    expected = ops.convert_to_tensor(expected_rank, name='expected')
    actual = array_ops.rank(actual_tensor, name='actual')
    return math_ops.equal(expected, actual, name=scope)

def _is_shape(expected_shape, actual_tensor, actual_shape=None):
  """Returns whether actual_tensor's shape is expected_shape.

  Args:
    expected_shape: Integer list defining the expected shape, or tensor of same.
    actual_tensor: Tensor to test.
    actual_shape: Shape of actual_tensor, if we already have it.
  Returns:
    New tensor.
  """
  with ops.op_scope([actual_tensor], 'is_shape') as scope:
    is_rank = _is_rank(array_ops.size(expected_shape), actual_tensor)
    if actual_shape is None:
      actual_shape = array_ops.shape(actual_tensor, name='actual')
    shape_equal = _all_equal(
        ops.convert_to_tensor(expected_shape, name='expected'),
        actual_shape)
    return math_ops.logical_and(is_rank, shape_equal, name=scope)

def _assert_shape_op(expected_shape, actual_tensor):
  """Asserts actual_tensor's shape is expected_shape.

  Args:
    expected_shape: List of integers defining the expected shape, or tensor of
        same.
    actual_tensor: Tensor to test.
  Returns:
    New assert tensor.
  """
  with ops.op_scope([actual_tensor], 'assert_shape') as scope:
    actual_shape = array_ops.shape(actual_tensor, name='actual')
    is_shape = _is_shape(expected_shape, actual_tensor, actual_shape)
    return logging_ops.Assert(
        is_shape, [
            'Wrong shape for %s [expected] [actual].' % actual_tensor.name,
            expected_shape,
            actual_shape
        ], name=scope)

def with_same_shape(expected_tensor, tensor):
  """Assert tensors are the same shape, from the same graph.

  Args:
    expected_tensor: Tensor with expected shape.
    tensor: Tensor of actual values.
  Returns:
    Tuple of (actual_tensor, label_tensor), possibly with assert ops added.
  """
  with ops.op_scope([expected_tensor, tensor], '%s/' % tensor.op.name):
    tensor_shape = expected_tensor.get_shape()
    expected_shape = (
        tensor_shape.as_list() if tensor_shape.is_fully_defined()
        else array_ops.shape(expected_tensor, name='expected_shape'))
    return with_shape(expected_shape, tensor)

def _is_tensor(t):
  return isinstance(t, (ops.Tensor, ops.SparseTensor, variables.Variable))

def with_shape(expected_shape, tensor):
  """Asserts tensor has expected shape.

  If tensor shape and expected_shape, are fully defined, assert they match.
  Otherwise, add assert op that will validate the shape when tensor is
  evaluated, and set shape on tensor.

  Args:
    expected_shape: Expected shape to assert, as a 1D array of ints, or tensor
        of same.
    tensor: Tensor whose shape we're validating.
  Returns:
    tensor, perhaps with a dependent assert operation.
  Raises:
    ValueError: if tensor has an invalid shape.
  """
  if isinstance(tensor, ops.SparseTensor):
    raise ValueError('SparseTensor not supported.')

  # Shape type must be 1D int32.
  if _is_tensor(expected_shape):
    if expected_shape.dtype.base_dtype != dtypes.int32:
      raise ValueError(
          'Invalid dtype %s for shape %s expected of tensor %s.' % (
              expected_shape.dtype, expected_shape, tensor.name))
  if isinstance(expected_shape, (list, tuple)):
    if not expected_shape:
      expected_shape = np.asarray([], dtype=np.int32)
    else:
      np_expected_shape = np.asarray(expected_shape)
      expected_shape = (
          np.asarray(expected_shape, dtype=np.int32)
          if np_expected_shape.dtype == np.int64 else np_expected_shape)
  if isinstance(expected_shape, np.ndarray):
    if expected_shape.ndim > 1:
      raise ValueError(
          'Invalid rank %s for shape %s expected of tensor %s.' % (
              expected_shape.ndim, expected_shape, tensor.name))
    if expected_shape.dtype != np.int32:
      raise ValueError(
          'Invalid dtype %s for shape %s expected of tensor %s.' % (
              expected_shape.dtype, expected_shape, tensor.name))

  actual_shape = tensor.get_shape()

  if not actual_shape.is_fully_defined() or _is_tensor(expected_shape):
    with ops.op_scope([tensor], '%s/' % tensor.op.name):
      if not _is_tensor(expected_shape) and (len(expected_shape) < 1):
        # TODO(irving): Remove scalar special case
        return array_ops.reshape(tensor, [])
      with ops.control_dependencies([_assert_shape_op(expected_shape, tensor)]):
        result = array_ops.identity(tensor)
      if not _is_tensor(expected_shape):
        result.set_shape(expected_shape)
      return result

  if (not _is_tensor(expected_shape) and
      not actual_shape.is_compatible_with(expected_shape)):
    if (len(expected_shape) < 1) and actual_shape.is_compatible_with([1]):
      # TODO(irving): Remove scalar special case.
      with ops.op_scope([tensor], '%s/' % tensor.op.name):
        return array_ops.reshape(tensor, [])
    raise ValueError('Invalid shape for tensor %s, expected %s, got %s.' % (
        tensor.name, expected_shape, actual_shape))

  return tensor

redpajama_set_name: RedPajamaGithub


text:
STELR - Water in the 21st Century
Water in the 21st Century
Seqwater explains: Ground water - a water source option
Seqwater explains: Ground water – a water source option
Last updated July 31, 2017 at 4:39 pm
Topics: Our Planet
Our water can come from a range of sources.
Groundwater is water found underground and can be extracted using bores.
No single water supply option can meet South East Queensland's long-term water security needs. As a community, we need to consider our demand for water, the water supply options available to us and the way we operate the SEQ Water Grid.
For more info, visit www.seqwater.com.au/waterforlife
The Australian Academy of Technology and Engineering is a Learned Academy operating as an independent, non-political and expert think tank that helps Australians understand and use technology to solve complex problems.
We bring together Australia's leading experts in applied science, technology and engineering to provide impartial, practical and evidence-based advice on how to achieve sustainable solutions and advance prosperity.
The Academy champions excellence and contributes robust and practical thinking to Australia's big debates.
Like you, we're curious about the world and want to create a better future.
The Academy is supported in its mission by almost 900 Fellows drawn from industry, academia, research institutes and government, who represent the brightest and the best in science, technology and engineering in Australia.


When uncovering the truth behind the financial gender gap, we need to remind ourselves why it is important to focus on this issue.
Today, women will typically retire on only a third of the superannuation of their male counterparts. Now, we could just say this is a legacy of a generation when education and career opportunities were not as readily available to women. However, the stark reality is that whether at age 19, 24 or 35, women's superannuation balances remain below that of men.
It is not just superannuation where the financial gender gap presents itself. Women are also far less likely than men to take the step to buy an investment property or start a share portfolio. In recent years there has been an increasing number of women taking steps towards financial independence.
Unfortunately, with the pay gap between men and women now sitting at more than 18 per cent, the question is not only why, but what women can do to close this very real gap? Financial independence should be everyone's right. After all, money should never be on your love checklist when choosing a partner.
When we do see financial success by women, often surrounding their success are phrases such as "braving it on their own" and "taking a risk". While it is encouraging to hear their stories told, phrases such as these can make the fear greater to those who have not yet started.
With the stark reality that 90 per cent of women will become wholly responsible for their financial future at some point in their lives, closing this financial gender gap is critical.
What active choices can be taken to close the gap?
Get intimate with money matters Knowledge creates confidence. If you are not sure, research, ask questions and seek advice.
Set clear goals Your starting goals should be small and attainable. They need to be measurable, and ideally you have someone to keep you accountable.
Don't delay Life can easily get in the way, but remember you cannot move ahead until you get started.
Know what makes you tick We all have good and bad financial habits. Learn what makes you succeed and fail. What makes you hold back?
Be smart Whether in a relationship or single, protect your financial future and ensure you have adequate insurance. Should you lose your income capacity, insurance can still protect your assets and security.
Get the simple things right Whether it be consolidating your super, renegotiating your mortgage, creating a good budget you can stick to, or understanding how you are tracking to retirement, getting the basics right can put thousands of dollars back in your pocket with little effort.
Dominique Bergel-Grant is a director, financial planner and mortgage adviser with leapfrogfinancial.com.


lvlup Events have teamed up with Melankolia and Sayi Organizasyon to bring you the King of Turkish Rap to London.
One of the first artists to pave the way for many of the artists of today in Turkey and for Turkish Rap to have a scene in Turkey.
A generation have grown up with Sagopa's hit albums Bir Pesimistin Gozyaslari, Romantizma and Ikimizi Anlatan Birsey so we bring you Sagopa to London straight after completing his Turkey Tour 2019.
London will get the chance to hear Sagopa perform live his hit titles Galiba, Sessiz ve Yalniz, Baytar, Leyli and many more that will give you the taste of old school Turkish Rap.


text:
The Life and Adventures of Peter Wilkins A Cornish Man: Relating particularly, His Shipwreck near the South Pole; his wonderful Passage thro' a subterraneous Cavern into a kind of new World; his there meeting with a Gawry or flying woman, whose life he preserv'd, and afterwards married her; his extraordinary Conveyance to the Country of Glums and Gawrys, or Men and Women that fly. Likewise a Description of this strange Country, with the Laws, Customs, and Manners of its Inhabitants, and the Author's remarkable Transactions among them. Taken from his own Mouth, in his Passage to England from off Cape Horn in America, in the Ship Hector. With an INTRODUCTION, giving an Account of the surprizing Manner of his coming on board that Vessel, and his Death on landing at Plymouth in the Year 1739. Illustrated with several CUTS, clearly and distinctly representing the Structure and Mechanism of the Wings of the Glums and Gawrys, and the Manner in which they use them either to swim or fly
Title The Life and Adventures of Peter Wilkins A Cornish Man: Relating particularly, His Shipwreck near the South Pole; his wonderful Passage thro' a subterraneous Cavern into a kind of new World; his there meeting with a Gawry or flying woman, whose life he preserv'd, and afterwards married her; his extraordinary Conveyance to the Country of Glums and Gawrys, or Men and Women that fly. Likewise a Description of this strange Country, with the Laws, Customs, and Manners of its Inhabitants, and the Author's remarkable Transactions among them. Taken from his own Mouth, in his Passage to England from off Cape Horn in America, in the Ship Hector. With an INTRODUCTION, giving an Account of the surprizing Manner of his coming on board that Vessel, and his Death on landing at Plymouth in the Year 1739. Illustrated with several CUTS, clearly and distinctly representing the Structure and Mechanism of the Wings of the Glums and Gawrys, and the Manner in which they use them either to swim or fly
Authors [Paltock], [Robert](1697-1767)
Tertiary Authors R. S., a Passenger in the Hector, [pseud.]
Publisher J. Robinson and R. Dodsley
Keywords English author
Imaginary voyage which begins with a Robinsonade in which the man then meets and marries a winged woman. She then takes him to her homeland where the man introduces reforms, with, for example slavery being abolished and democratic procedures introduced.
Additional Publishers
Rpt. Dublin. Ireland: George Faulkner, 1751; in Popular Romances: Consisting of Imaginary Voyages and Travels. Containing Gulliver's Travels, Journey to the World Under Ground, The Life and Adventure of Peter Wilkins, The Adventures of Robinson Crusoe, and The History of Automathes. To Which is Prefixed An Introductory Dissertation by Henry Weber, Esq. (Edinburgh, Scot.: Ptd. by James Ballantyne and Co., 1812), 201-348 [Probably the first anthology of utopias]; rpt. with very slight changes in the title and illus. D. H. Friston. London: John Dick, [1861]; with an "Introduction" by A. H. B. (vii-xiii). London: J. M. Dent/New York: E. P. Dutton, [1915]; with the same "Introduction" (vii-xiii) illus. Edward Bawden. London: J. M. Dent/New York: E. P. Dutton, 1928; Westport, CT: Hyperion Press, 1974; Ed. Christopher Bentley. Oxford, Eng.: Oxford University Press, 1973 with an "Introduction" (ix-xviii) and "Explanatory Notes" (383-88); rev. ed. ed. Bentley with a new "Introduction (vii-xxxiii) by James Grantham Turner and "Explanatory Notes" (383-88) by Bentley. Oxford, Eng.: Oxford University Press, 1990; New York: Garland, 1974; and in Modern British Utopias 1700-1850. Ed. Gregory Claeys. 8 vols. (London: Pickering & Chatto, 1997), 2: 143-410, which reprints the first edition.
A few copies were distributed in December 1750 and dated 1750. A play very loosely based on the novel was first performed at the Theatre Royal, Covent Garden, April 16th 1827 and published as Peter Wilkins; or, The Flying Islanders: A Melo-Dramatic Spectacle in Two Acts. Lacey's Acting Edition 374. London: Thomas Hailes Lacey, [c 1850?]. Other versions of the play with various authors given were published in 1846, 1860, and 1888.
By R.S. a Passenger in the Hector [pseud.]
L, O, PSt
1751 [Paltock, Robert] (1697-1767). The Life and Adventures of Peter Wilkins A Cornish Man: Relating particularly, His Shipwreck near the South Pole; his wonderful Passage thro' a subterraneous Cavern into a kind of new World; his there meeting with a Gawry or flying woman, whose life he preserv'd, and afterwards married her; his extraordinary Conveyance to the Country of Glums and Gawrys, or Men and Women that fly. Likewise a Description of this strange Country, with the Laws, Customs, and Manners of its Inhabitants, and the Author's remarkable Transactions among them. Taken from his own Mouth, in his Passage to England from off Cape Horn in America, in the Ship Hector. With an INTRODUCTION, giving an Account of the surprizing Manner of his coming on board that Vessel, and his Death on landing at Plymouth in the Year 1739. Illustrated with several CUTS, clearly and distinctly representing the Structure and Mechanism of the Wings of the Glums and Gawrys, and the Manner in which they use them either to swim or fly. By R.S. a Passenger in the Hector [pseud.]. Illus [Louis Philippe] Boitard. London: J. Robinson and R. Dodsley [A few copies were distributed in December 1750 and dated 1750]. Rpt. Dublin. Ireland: George Faulkner, 1751; in Popular Romances: Consisting of Imaginary Voyages and Travels. Containing Gulliver's Travels, Journey to the World Under Ground, The Life and Adventure of Peter Wilkins, The Adventures of Robinson Crusoe, and The History of Automathes. To Which is Prefixed An Introductory Dissertation by Henry Weber, Esq. (Edinburgh, Scot.: Ptd. by James Ballantyne and Co., 1812), 201-348 [Probably the first anthology of utopias]; rpt. with very slight changes in the title and illus. D. H. Friston. London: John Dick, [1861]; with an "Introduction" by A. H. B. (vii-xiii). London: J. M. Dent/New York: E. P. Dutton, [1915]; with the same "Introduction" (vii-xiii) illus. Edward Bawden. London: J. M. Dent/New York: E. P. Dutton, 1928; Westport, CT: Hyperion Press, 1974; Ed. Christopher Bentley. Oxford, Eng.: Oxford University Press, 1973 with an "Introduction" (ix-xviii) and "Explanatory Notes" (383-88); rev. ed. ed. Bentley with a new "Introduction (vii-xxxiii) by James Grantham Turner and "Explanatory Notes" (383-88) by Bentley. Oxford, Eng.: Oxford University Press, 1990; New York: Garland, 1974; and in Modern British Utopias 1700-1850. Ed. Gregory Claeys. 8 vols. (London: Pickering & Chatto, 1997), 2: 143-410, which reprints the first edition. A play very loosely based on the novel was first performed at the Theatre Royal, Covent Garden, April 16th 1827 and published as Peter Wilkins; or, The Flying Islanders: A Melo-Dramatic Spectacle in Two Acts. Lacey's Acting Edition 374. London: Thomas Hailes Lacey, [c 1850?]. Other versions of the play with various authors given were published in 1846, 1860, and 1888. L, O, PSt


One of the things telecommuters will need to deal with on a day to day basis is email. I grew up writing letters, licking a stamp and waiting days on end for a letter back from my grandparents. So, the idea of instantaneous written communication via email immediately appealed to me. Sure, I could've faxed someone if I'd invested in a fax machine back when they came out – but even if I had, no one else I knew had access to a fax so it would have been a futile effort anyway.
Today, the increasing use of computers means I can keep up with correspondence much easier than ever before. I can work on a report, send it to a collegue, have that person make comments and send it back – all in a matter of minutes. We can even track changes and make comments in the document itself. How cool is that?! For those of us who remember back when that wasn't possible from the comfort of our homes, it's very cool.
Today, I cannot imagine having to manage all of my personal and business email accounts without having a client that's reliable and customizable to meet my needs. I've been using the same email client for so long that I've gotten myself in a rut and I'm ready to get out and explore my options once more. My satellite ISP service has made some recent changes so I'm going to take the dreaded task of having to update all of the email accounts in Outlook as an opportunity to make some much-needed changes. Either way, the work has to be done so I might as well kill as many birds as I can with my stone. (For the record – it's just an expression – I feed hummingbirds, have a bird bath in my yard and even coat pine cones with peanut butter and seeds to hang on trees in the winter so that the sweet little birdies have a delightful treat).
I've gone and downloaded the lastest version of Thunderbird and Eudora to compare and I'll be writing about that more in a later post. Right now I need to go and write my grandma a letter to send in tomorrow's snail mail. She's one of the few folks left in the world who has never had nor ever will have a computer to lean on.


Chi Centauri's star type is main sequence star that can be located in the constellation of Centaurus. The description is based on the spectral class.
Chi Centauri is not part of the constellation outline but is within the borders of the constellation.
Using the most recent figures given by the 2007 Hipparcos data, the star is 510.43 light years away from us.
Chi Centauri (Chi Cen) is the Bayer Classification for the star. The Id of the star in the Yale Bright Star Catalogue is HR5285. HIP68862 is the reference name for the star in the Hipparcos Star Catalogue. The Id of the star in the Henry Draper catalogue is HD122980.
The Gould star designation is one that was designed by American astronomer, Benjamin Apthorp Gould. Gould stars are predominantly in the Southern and Equatorial constellations but do appear in northern constellations such as Bootes and Orion. The star has the designation 311 G. Centauri. There are no stars with a Gould designation in Ursa Major for example.
The location of the main sequence star in the night sky is determined by the Right Ascension (R.A.) and Declination (Dec.), these are equivalent to the Longitude and Latitude on the Earth. The Right Ascension is how far expressed in time (hh:mm:ss) the star is along the celestial equator. If the R.A. is positive then its eastwards. The Declination is how far north or south the object is compared to the celestial equator and is expressed in degrees. For Chi Centauri, the location is 14h 06m 02.79 and -41° 10` 46.5 .
All stars like planets orbit round a central spot, in the case of planets, its the central star such as the Sun. In the case of a star, its the galactic centre. The constellations that we see today will be different than they were 50,000 years ago or 50,000 years from now. Proper Motion details the movements of these stars and are measured in milliarcseconds. The star is moving -21.69 ± 0.13 miliarcseconds/year towards the north and -22.90 ± 0.21 miliarcseconds/year east if we saw them in the horizon.
The Radial Velocity, that is the speed at which the star is moving away/towards the Sun is 9.60 km/s with an error of about 2.80 km/s . When the value is negative then the star and the Sun are getting closer to one another, likewise, a positive number means that two stars are moving away. Its nothing to fear as the stars are so far apart, they won't collide in our life-time, if ever.
Luminosity is the amount of energy that a star pumps out and its relative to the amount that our star, the Sun gives out. The figure of 1,534.17 that I have given is based on the value in the Simbad Hipparcos Extended Catalogue at the University of Strasbourg from 2012.
Chi Centauri has a spectral type of B2V. This means the star is a blue main sequence star. The star is 7,292.00 Parsecs from the Galactic Centre or in terms of Light Years is 23,783.83 s. The star has a B-V Colour Index of -0.19 which means the star's temperature has been calculated using information from Morgans @ Uni.edu at being 16,152 Kelvin.
Chi Centauri Radius has been calculated as being 2.19 times bigger than the Sun.The Sun's radius is 695,800km, therefore the star's radius is an estimated 1,523,870.91.km. If you need the diameter of the star, you just need to multiple the radius by 2. However with the 2007 release of updated Hipparcos files, the radius is now calculated at being round 2.50. The figure is derived at by using the formula from SDSS and has been known to produce widely incorrect figures. The star's Iron Abundance is -0.22 with an error value of 9.99 Fe/H with the Sun has a value of 1 to put it into context.
Chi Centauri has an apparent magnitude of 4.36 which is how bright we see the star from Earth. Apparent Magnitude is also known as Visual Magnitude. If you used the 1997 Parallax value, you would get an absolute magnitude of -1.32 If you used the 2007 Parallax value, you would get an absolute magnitude of -1.61. Magnitude, whether it be apparent/visual or absolute magnitude is measured by a number, the smaller the number, the brighter the Star is. Our own Sun is the brightest star and therefore has the lowest of all magnitudes, -26.74. A faint star will have a high number.
Using the original Hipparcos data that was released in 1997, the parallax to the star was given as 7.31 which gave the calculated distance to Chi Centauri as 446.19 light years away from Earth or 136.80 parsecs. It would take a spaceship travelling at the speed of light, 446.19 years to get there. We don't have the technology or spaceship that can carry people over that distance yet.
In 2007, Hipparcos data was revised with a new parallax of 6.39 which put Chi Centauri at a distance of 510.43 light years or 156.49 parsecs. It should not be taken as though the star is moving closer or further away from us. It is purely that the distance was recalculated.
Using the 2007 distance, the star is roughly 32,278,154.61 Astronomical Units from the Earth/Sun give or take a few. An Astronomical Unit is the distance between Earth and the Sun. The number of A.U. is the number of times that the star is from the Earth compared to the Sun.


text:
Given the close relationship between modern society and scientific knowledge, it is imperative that communities have the capacity to understand how science can impact their daily lives, their environment and their future. Science is inseparable from economics, politics, health and education, and the advancement of populations goes hand in hand with scientific entreprise. Since its inception, Ciencia Puerto Rico has been as a staunch supporter and proponent for informal science education for the general public.
Our goal is that Puerto Ricans, especially young people, increase their scientific literacy by being exposed to scientific articles and news. Key in this endeavor is the recognition that scientific information should be accessible to the general public, and presented in a culturally relevant context that reflects its impact on the daily lives of Puerto Ricans.
With this purpose in mind we have developed several initiatives and established partnerships with various media to report on how science affects us as a people. These partnerships would not be possible without the expertise and dedication of CienciaPR members who contribute stories or news to keep the public informed of the latest developments and scientific discoveries.
Here, we present some of the tools that members of the general public can use to keep informed about the latest developments in science and Puerto Rico:
Science Podcasts
Hear the latest discoveries relating to science and Puerto Rico through our website, on iTunes, or on the air waves.
Collaborations with various media allow us to create a bank of science news of relevance to the Puerto Rican and Hipanic communities and give a venue that our scientific members can use to keep their communities informed and engaged with science.
A call for essays from our scientific members in 2010 resulted in a book of essays relating science "in rice and beans" for the enjoyment of the whole family.
Scientific Organizations
You can peruse our collection of science-related organizations in Puerto Rico.
Puerto Rico college students get $79K in Fiona Relief Fund grants -
A total of 158 college students received individual grants of $500 from a group of organizations headed by the Puerto Rico Science, Technology and
Climate crisis: island experts explain why it must be a priority in 2023 -
From an environmental perspective, incorporating the climate crisis into public policy decisions, including post-disaster reconstruction, and addre
On-site meeting of innovation in Puerto Rico and the Caribbean -
Forward Research Symposium successfully returns, bringing together leaders in science, research and technology
UPRH celebrates Bioscience Month 2022 -
UPR Aguadilla provides worldwide access for human genome study -
It is about access to data, courses, didactic and practical material in the area of bioinformatics and data science for education and research with
Second and third perceptions -
Second and third perceptions
Cosmos: Scientific literacy for everyone -
COSMOS. Divulgación científica para todos
Weight gain is associated with reduced striatal response to palatable food. -
Weight gain is associated with reduced striatal response to palatable food.
An Analysis of Arthropod Interceptions by APHIS-PPQ and Customs and Border Protection in Puerto Rico -
An Analysis of Arthropod Interceptions by APHIS-PPQ and Customs and Border Protection in Puerto Rico
Atomic and molecular adsorption on Au(111) -
Atomic and molecular adsorption on Au(111)
Past Podcasts
Scientific Organizations in PR
Learn more about scientifc organizations in Puerto Rico
Book: ¡Ciencia Boricua!