Rebecca Birnbaum is an assistant professor in the Department of Psychiatry at the Icahn School of Medicine, New York, New York, USA. Her research interests focus on translating the emerging findings of the complex genetics of schizophrenia, to improve diagnostic precision and therapeutic potential by employing novel gene-based or genotype-based strategies.
Daniel R. Weinberger is Director and CEO of the Lieber Institute for Brain Development (LIBD) on the Johns Hopkins Medical Campus, Baltimore, Maryland, USA, and a Professor at the Johns Hopkins School of Medicine in the Departments of Psychiatry, Neurology and Neuroscience, and Institute of Genetic Medicine. Before assuming leadership of the LIBD, he was head of the National Institute of Mental Health Genes, Cognition and Psychosis Program, Bethesda, Maryland, USA. His research has focused on molecular, genetic and neural system mechanisms of major psychiatric disorders.
Schizophrenia is a severe neuropsychiatric disorder with a longstanding history of neurobiological investigation. Although the underlying causal mechanisms remain unknown, early neurodevelopmental events have been implicated in pathogenesis, initially by epidemiological and circumstantial data but more recently by brain-specific molecular and genetic findings. Notably, genomic research has recently uncovered discrete risk variants and risk loci associated with schizophrenia, with the potential to elucidate disease mechanisms. This Review revisits the neurodevelopmental model of schizophrenia from a current genetics perspective, delineating the complex genetic basis of the disorder and highlighting gene expression and epigenetic analyses of post-mortem cortical tissue that suggest that early brain development mediates genetic risk associated with schizophrenia. Future functional genomics investigations will accordingly need to characterize schizophrenia risk loci in relevant neurodevelopmental models.
Schizophrenia is a severe neuropsychiatric disorder with an unknown causative pathophysiology.
Genome-wide association studies applied to schizophrenia have successfully identified discrete risk variants of common and rare frequency, but the functional characterization and neurobiological import of these loci remain to be elucidated.
The neurodevelopmental model provides a translational context for schizophrenia genetics, positing that schizophrenia genetic and epigenetic risk factors converge on early brain development to perturb neurodevelopmental trajectories.
Post-mortem studies of brain gene expression and DNA methylation suggest that risk factors for schizophrenia, both genetic and epigenetic variations that leave marks in the adult brain, occur principally during early brain development rather than during the tumultuous period of late adolescence or early adulthood, when the diagnosis is typically made.
The diverse and protean effects of genetic and epigenetic risk of schizophrenia on brain development may be parsimoniously conceptualized as introducing developmental 'noise' — various subtle perturbations, including those to early brain circuits and synaptic organization — analogous to alterations in autism and intellectual disability but with lesser 'noise' burden or more amenable to compensation.
Schizophrenia risk loci should be functionally characterized (spatially and temporally) in relevant neurodevelopmental models, including post-mortem brain across developmental stages and placenta and stem cell models.
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Birnbaum, R. & Weinberger, D. R. Functional neuroimaging and schizophrenia: a view towards effective connectivity modeling and polygenic risk . Dialogues Clin. Neurosci. 15, 279–289 (2013).
Tan, H. Y., Callicott, J. H. & Weinberger, D. R. Intermediate phenotypes in schizophrenia genetics redux: is it a no brainer? Mol. Psychiatry 13, 233–238 (2008).
Tebbenkamp, A. T., Willsey, A. J., State, M. W. & Sestan, N. The developmental transcriptome of the human brain: implications for neurodevelopmental disorders . Curr. Opin. Neurol. 27, 149–156 (2014).
Gallego Romero, I., Pai, A. A., Tung, J. & Gilad, Y. RNA-seq: impact of RNA degradation on transcript quantification . BMC Biol. 12, 42 (2014).
Hoffman, G. E. & Schadt, E. E. variancePartition: interpreting drivers of variation in complex gene expression studies . BMC Bioinformatics 17, 483 (2016).
Davila, J. I. et al. Impact of RNA degradation on fusion detection by RNA-seq . BMC Genomics 17, 814 (2016).
Kleinman, J. E. et al. Genetic neuropathology of schizophrenia: new approaches to an old question, and new uses for postmortem human brains . Biol. Psychiatry 69, 140–145 (2011).
Fromer, M. et al. Gene expression elucidates functional impact of polygenic risk for schizophrenia . Nat. Neurosci. 19, 1442–1453 (2016).
Kang, H. J. et al. Spatio-temporal transcriptome of the human brain . Nature 478, 483–489 (2011).
Johnson, M. B. et al. Functional and evolutionary insights into human brain development through global transcriptome analysis . Neuron 62, 494–509 (2009).
Colantuoni, C. et al. Temporal dynamics and genetic control of transcription in the human prefrontal cortex . Nature 478, 519–523 (2011).
BrainSeq: A Human Brain Genomics Consortium. BrainSeq: neurogenomics to drive novel target discovery for neuropsychiatric disorders . Neuron 88, 1078–1083 (2015).
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Carithers, L. J. et al. A novel approach to high-quality postmortem tissue procurement: the GTEx project . Biopreserv. Biobank. 13, 311–319 (2015).
Mele, M. et al. Human genomics. The human transcriptome across tissues and individuals . Science 348, 660–665 (2015).
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The authors are grateful to A. Jaffe and R. Straub for their constructive comments regarding the manuscript and the data reviewed. The authors are also indebted to T. Hyde and J. Kleinman for their many contributions to the ideas expressed.
Department of Psychiatry, Icahn School of Medicine at Mount Sinai, New York, New York 10021, USA.
Lieber Institute for Brain Development and the Departments of Psychiatry, Neurology, Neuroscience and the McKusick–Nathans Institute of Genetic Medicine, Johns Hopkins University School of Medicine, Baltimore, Maryland 21205, USA.
R.B. and D.R.W. contributed equally to researching data for the article, discussion of content, writing and review and editing of the manuscript before submission.
Correspondence to Daniel R. Weinberger.
The process by which cells in the developing nervous system acquire distinct identities according to their specific spatial positions. Controlled by combinatorial action of signalling gradients.
Diseases caused by a combination of multiple genetic and environmental factors. Examples include cardiovascular disease, type 2 diabetes, autoimmune diseases, cancer, psychiatric disorders and Alzheimer disease.
(SNPs). Variations in a single nucleotide that occurs at a specific position in the genome. The prevalence of any given SNP may be estimated with population-specific reference panels.
The contribution of genetic loci to disease, assuming that individuals have a latent continuous liability of risk of disease that reflects genetic and non-genetic risk factors.
A number based on variation in multiple genetic loci, calculated for a specific individual by summing trait-associated alleles weighted by their estimated effect sizes.
(CNVs). Structural variations, deletions or duplications of chromosomal segments, typically greater than 1 kb in length, that may affect one or multiple genes, potentially with resulting gene-dosage effects.
The proportion of individuals who harbour a particular variant (or genotype) that express the associated trait or, if a disease-causing mutation, that exhibit clinical symptoms.
Variable-number repeat-containing elements or DNA motifs in which one or more nucleotides are repeated directly in adjacency, such as the tri-nucleotide CAG repeats in the gene encoding huntingtin.
Networks of non-additive interactions between genotypes at two (or more) loci.
(LD). The nonrandom association of alleles at different loci — that is, higher or lower association than if the loci were independent and associated randomly.
An analytic approach to identify classes of genes that are statistically over-represented in a large set of genes and may have an association with a phenotype of interest.
An association method of grouping or aggregating variants likely to have similar function instead of testing variants individually.
(eQTLs). Genomic loci or variants that contribute to variation in gene expression levels at proximal or distal loci.
RNA sequencing that measures the quantity of RNA in a biological sample at a given moment in time, facilitating assessment of gene or transcript differences over time or between groups.
(mQTLs). CpG or other methylation sites in which changes in DNA methylation are associated with a DNA variant at proximal or distal loci.
(iPSCs). Pluripotent stem cells that are generated by directly reprogramming adult cells and that can be differentiated into specialized cell types while maintaining the genetic background of the individual of origin.
Within one individual, the presence of two or more cell populations with different genotypes, derived from a post-zygotic mutation, ranging from single-nucleotide to large segmental variations.


Pat beef dry with paper towels; brush with oil. Combine oil, garlic, rosemary, and lemon zest and rub all over the tenderloin. Sprinkle salt and pepper evenly all over. Place on a rack set in a roasting pan, uncovered, in the refrigerator and allow to rest at least 12 hours. Remove the tenderloin from the fridge about 1-2 hours before ready to cook to allow it to come to room temperature. Preheat oven to 450 degrees. Roast tenderloin until internal temperature reaches 125 degrees for medium-rare. Remove from the oven and let rest at least 15 minutes. Remove strings and slice cross-wise into 1/2'" slices, serve with mustard cream sauce.
In a medium saucepan, heat butter over medium heat, add shallots with 1 teaspoon salt ½ teaspoon pepper and sweat until soft and translucent. Add garlic cloves and rosemary sprigs and sauté for another few minutes until fragrant. Turn heat to medium high and add white wine. Reduce by half and then add both mustards and reduce heat. Allow the mixture to simmer and come together for about 2-3 minutes, then add cream and taste for seasoning. Add salt and pepper if needed.


Hi everyone... I am being interviewed tomorrow (Friday) on this show because I thought that perhaps sharing my experience, strength and hope might possibly help one other person.
As I clicked the link to share it, I feel a bit downcast, wondering if, in a week with sick and dying pets, I'll get to revisit the worst days I ever created.
Maybe this will be a good chance to be grateful, to call in fine angelic support while I'm being queried.
After all, it ain't brain surgery.
Thanks to those of you who have been such stalwart supporters. Gulp. See you tomorrow.


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Pale Male, Audubon and the Life of the Red-Tailed Hawk
March 8, 2012 by Jaya Saxena 2 Comments
Red-tailed Hawk (Buteo jamaicensis), Havell plate no. 51, 1821, John James Audubon, Watercolor, pastel, black ink, graphite, and black chalk with touches of gouache and selective glazing on paper, laid on card, Purchased for the New-York Historical Society by public subscription from Mrs. John J. Audubon, 1863.17.51
UPDATE BELOW: If Central Park had a mascot, it would be Pale Male, the majestic Red-tailed Hawk who has made the park his home since the early 1990s. Birders have chronicled his life and loves, from First Love to Lola to his latest mate, Lima. But nature has its dark side; last week Lima was found dead, presumably after eating a rat that had eaten rat poison.
The violence and tragedy found in nature is something John James Audubon frequently represented in his watercolors for The Birds of America (1826-38), and that is never clearer than in the representation of two Red-tailed Hawks fighting over a fresh kill (engraved as Havell plate no. 51). His watercolor depicts an event that he observed wherein the male attacks the female and attempts to wrest the rabbit from her talons. Audubon notes in the Ornithological Biography, "They are sometimes observed flying either one after the other with great rapidity, emitting their continued cry of kae, or performing beautiful evolutions through the air, until one or other of them becomes fatigued, and giving way, makes for the earth, where the battle continues until one is overpowered and obliged to make off." However, the male swooping in as the female shows her vulnerable belly is also sometimes part of courtship between the two hawks. The "attack" ends with the two mating in a tree.
The New-York Historical Society hosts a rotating selection of Audubon's watercolors in our Luce Center, and kids can learn about the life of Pale Male at our April 15 story hour, where we'll be reading City Hawk: The Story of Pale Male. Curator Roberta J. M. Olson also discusses the Red-tailed Hawk and all of Audubon's birds in Audubon's Aviary: The Original Watercolors for "The Birds of America," which will be published by Rizzoli/Skira and the New-York Historical Society on September 18, 2012.
So, have you seen Pale Male in action? When did you first encounter a Red-tailed Hawk? And remember, you can always learn more at the New-York Historical Society and the Audubon Society!
UPDATE: If you're looking to do some at-home birding, check out the Hawk Cam! The New York Times has set up a camera on a window ledge of NYU's Library, where Washington Square Park hawk Bobby is nesting with his partner, Rosie, and there are already two eggs!
Posted in Collections Tagged american art history, audubon, Audubon's Aviary, Birding, City Hawk, drawings, drawings exhibition, First Love, Havell plate, Hawk, John James Audubon, Lima, Lola, new york city birds, ornithology, paintings exhibition, Pale Male, Red-tailed Hawk, Roberta J.M. Olson, Story Hour, the birds of america, Watercolor
Tam O'Neill says
Sorry to hear about the demise of Lima. Thanks for the update and a nice connection between Audubon's painting and life outside the New York Historical Society.
For Red-Tailed Hawks, Skyscrapers Are Just Cliffs - Behind The ScenesBehind The Scenes - says:
[…] we've mentioned before, John James Audubon often depicted the dark side of nature through birds of prey. His watercolor of […]
Who inspired the Art of Al Hirschfeld?
This week's post is by returning guest blogger, Chennie Huang. By day, she's a communications associate here at N-YHS. By night, she's a graduate student studying art history at CUNY, concentrating in European and Asian art. This week, she explores the artists who inspired legendary cartoonist, Al Hirschfeld. Al Hirscheld's artistic career as a caricaturist spanned from the 1920s until the 1990s. Over these decades, he had developed a personal style that has been deemed unique...Read More
When is a Parakeet a Canary? John James Audubon and the Extinction of North America's Only Native Parrot
In December, the Carolina Parakeet will be the featured bird in New-York Historical's Audubon's Birds of America Focus Gallery. Below, curator Roberta J.M. Olson outlines the tragic story of the bird's extinction, which became official almost 100 years ago. In the early 19th century, artist and naturalist John James Audubon (1785–1851) sounded the alarm about habitat loss and climate change. He saw what was happening to the Carolina Parakeet, the only parrot native to the U.S. that he...Read More
Picasso's "Le Tricorne" makes its N-YHS Debut
Have you ever seen America's largest Picasso painting? On May 17 a score of art handlers completed the epic installation of Picasso's 96-year-old stage curtain from Le Tricorne ballet in our N-YHS gallery. The rideau de scène hung in the iconic Four Seasons Restaurant for nearly six decades before it was moved to an art conservation facility in Williamstown, MA, earlier this year. In preparation for its New-York Historical arrival, nearby tree limbs were cut...Read More

redpajama_set_name: RedPajamaCommonCrawl


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Diane Goode Interview Transcript
PreK–K, 1–2, 3–5
The author and illustrator Diane Goode was interviewed by Scholastic students.
What were your favorite books as a child?
I really didn't have many picture books or children's books. My mother was French and she told me stories, because they have an oral tradition. And when she read me stories, she read from an anthology that had no illustrations. So I can't say that I had a favorite book! But I liked fairy tales and folktales — she read a lot of those.
Do you have a favorite fairy tale or myth?
I think my favorite fairy tale is "Beauty and the Beast" because I love that she falls in love with a beast because he's so kind.
Art!!!
What was the first book you wrote and/or illustrated?
The very first book I illustrated was called The Little Pieces of the West Wind. I think that was in 1978. The first book that I wrote was I Hear a Noise. And I lived in the country, and we heard noises at night in the house, as you often do in the country. And in the morning, everyone had a different explanation for what the noise must be. Someone thought it was a raccoon, someone else thought it was a mouse — so that's what gave me the idea for the story. But it turned out to be a dragon — a baby dragon. And it flies across over the farm — it was a horse farm.
Do you study images about the topics you illustrate: dinosaurs, Japanese culture, etc., before drawing them?
Absolutely! In depth. When I did The Dinosaur's New Clothes, I started by reading about dinosaurs — the big bang, forming of continents, then dinosaurs. So those were real dinosaurs, although I took a little liberty with the different periods. I do a lot of research and then I play with it! I did a lot of research for the dogs; I did books that took place at Versailles. The last book I did takes place on board the Titanic. I do a lot of research, and I enjoy that.
Do you base the way you draw characters on real-life people or animals in your life?
Yes! A long time ago, I did do "Beauty and the Beast" and the beast was my husband. He had a full beard at the time. And my son is in my books. When he was small (he's 22 now), I used my son, cousins, relatives. I think every artist has themselves in the characters.
How does it feel when you've finished a book?
When I've finished the book, it feels very sad. Well, that's not entirely true. Some of the books take a year to do. It's every day for 12 hours. When you're done, you've invested so much in it, there's always that feeling that you should've done better. I just finished a book for the Blue Sky Press called Tiger Trouble!, and I used a different style, and it went really fast. And I was thrilled — it was exhilarating! So, I think it depends on the experience of making the book. It's fun, but it's also very, very hard work.
Have you illustrated any nonfiction books?
I don't think so. One of them — it's fiction, but it was based on fact. So, no, not really.
What do you like to do when you're not writing?
I like to play with my dogs. I have a yellow Lab — great big boy, and I have a Welsh corgi. I like to cook, and we live near the woods, so we go in the woods a lot with the dogs. I don't really have time for much else! My son is at school, so basically I do books — I illustrate books.
What advice do you have for kids who want to be illustrators?
Hmmm — that's funny, because my son is an editorial illustrator. I think to have a good general education, because whatever you know and experience, you bring to your work.
Who are some of your favorite illustrators?
Arnold Loebel, Maurice Sendak — I'll try to think of more — I like so many of them!
Do you have any favorite art museums?
Yes, I do!! I love the Metropolitan Museum of Art, in New York. I go there whenever I can — I'm a member. I've been going there since I was a little girl.
I also love the Louvre, in Paris. And the Musee d'Orsay, which is also in Paris.
It used to be a train station before it was a museum — I did a book called Where's Our Mama?, which took place in that train station. And when I visited the museum, they were selling my book! I had no idea they were selling it — it was fun and very unexpected.
Do you keep a diary or journal or a sketchbook that's like a diary?
For book ideas — I write them down. Sometimes I get ideas in the middle of the night, and I write them down, even in the dark. It might just be a sentence. I also draw things — like a little character might come into my head. And in my studio, I have a big architect's cabinet with files, and I keep drawings there. They never become a story in themselves, but they may inspire one or be part of one. Because when I start the story, I don't know what it will be — it changes.
Are there any authors you haven't worked with that you would like to collaborate with?
I wanted to do another book with Cindy Rylant — I've already done one. It's hard to think of, because I like to do my own books. That way, I have more freedom — you can change it anytime you want. If you get a book from an author, it's done, and I would never tell anyone to change anything.
Do you get to choose the authors you work with as an illustrator?
Well, only to the extent that a publisher sends you a manuscript, and you can say yes or no. I've never asked to work with someone in particular, so I don't know if that's a possibility. I think the editor does the choosing — I don't even think the authors choose their illustrators!
What is your next book going to be about?
Am I allowed to say?! My next book is with Blue Sky, part of Scholastic, and it's a book I wrote and illustrated. It takes place in Brooklyn, New York in the 1930s. There's an unusual character in it! You'll have to read it to find out more! And then I have another one coming out right after that!
Is it ever difficult for you to paint, draw, etc? If so, what do you do?
Yes! It is sometimes difficult to come up with ideas. Almost any idea is a good idea, but the trick is how to present it. How do you get what's in your head onto the paper in an interesting way? I used to do my books first through images, and let the pictures tell the story, and then add the text later. I don't have an idea that I just work on. But one of the last books that I did is one where I actually wrote the story first. Then I treated it like it was someone else's manuscript — and that was fun! I don't consider myself a writer — I work from images. I think my editor considers me a writer, but I don't!
Out of all the books you've illustrated, what are some of your favorites and why?
I think one of my favorites is Where's Our Mama? and a follow-up book that is called Mama's Perfect Present. Because it was something I did for my mother. My mother was French, and it takes place in France, so it's something that was very close to me.
How is illustrating and authoring different?
Since I do both and I've never written anything that anyone else has illustrated, it's sort of like the same thing to me. Except that the illustrating takes so much longer! I do hundreds of sketches for a book, and I do many dummies. The dummy is like a blueprint for the book — you make sketches of what the book will be. For me, illustrating is very very time-consuming.
Do you have any tips for kids wanting to do their own retelling of a classic fairy tale?
Well, yes — I think that if you study fairy tales, you'll see that most of them are very long and very detailed, and they sometimes begin with a very long introduction that takes place in the past — it jumps from the past to the future and it gets very complicated. They have to try to simplify the story. My first publisher told me that the story should take place in just a few days. So, when I rewrote Cinderella, for the dogs, I simplified it a lot so that younger readers could enjoy it. There's a lot of detail. And have fun with it! Play with it!
Do you have pets other than dogs?
No, I don't think Katie (my corgi) would allow another animal in the house! But, in our backyard, we have seven deer living there. They sleep in the backyard and there are lots of wild animals here.
Why is Cinderella is such a popular fairy tale to retell?
There seems to be many versions of it. My editor told me that Cinderella is the most popular fairy tale in the world, and we were trying to decide why people loved it so much. And we concluded this: everyone feels special and the idea that your prince is the man who sees that quality in you is what's so attractive about the story.
It isn't about the dress or the glass slipper, it's about finding your special mate.
Will the old fairy tales always be around to retell? I hope so! I was very nervous about retelling the Emperor's New Clothes and Cinderella with animals because I had illustrated both of them before with people — the real stories. I loved the originals. And it seemed pretty presumptuous to try to change any of it. But I think the old fairy tales will always be around — and there will always be variations. And the old fairy tales have always had variations, all over the world.
Did you daydream a lot as a kid? Do you think daydreaming helps in becoming a writer or artist?
Yes, but I called it thinking! Yes, I daydreamed, and I think daydreaming is very important.
How do you think that the Internet will affect the way we tell and record stories?
I have no idea! I just don't know! I know that I like to have a book in my hand, and the Internet is different. Let's see what happens — it's just so different. It's a different experience.
Has the Internet affected your career as a book illustrator? Do you use it as a tool for research?
No, I don't use it for research. It affects the way books are sold, but it hasn't really affected me that much — it hasn't affected my work. I don't use a computer to do my illustrations.
Do have a favorite saying or motto?
No, I don't think so! My mother always had a saying in French about how little by little, the bird makes its nest, but I'm not sure how it applies to me! It probably means something about having patience, which is good. But it's a good image of the bird building a nest stick by stick — like how you make a book!
Did you want to be an artist or a writer when you were a kid?
I always always wanted to be an artist. I was an artist! I drew all the time — from the time I could pick up a pencil. And then I decided that I wanted to do that for my life, when I was very little. I didn't know anything about it! And my son has done the same thing! He watched me and said that's how he got the idea.
What was your major in college?
I majored in Fine Arts — I started out with Art History, and then I switched to Fine Arts at Queens College.
What types of books do you enjoy reading?
I enjoy reading British books, but not only British books — I like Thomas Hardy, Edith Wharton (who's American). I don't read a lot of contemporary authors. I just read Angela's Ashes, though. I used to read all the time, but lately I haven't had the time to read as much as I'd like. Fiction, though, I like.
Would you ever collaborate with another artist to illustrate a book you've authored?
It's funny, I don't think of myself as an author. I hadn't thought of that yet! I think I'd like to illustrate the books that I write, though.
Have your dogs ever done something that is almost human in action?
Yes! My dogs inspired the Cinderella story. My big dog, Jack, is crazy in love with my little dog, Katie. There's a line in the story where she's at the ball, and he can only gaze upon her lovingly. And that's what my dog does — he moons over her. And gets as close to her as he can, and then she snarls at him and he backs off! But he's like the enamored prince. So, since he can never get close enough to her, I have him dancing on the back of the book, because that's something he would love to do — and never will!
How many hours a day do you spend drawing or painting?
Probably averages around eight to ten hours a day. It's not a hobby.
Did you look up to any authors when you were a kid?
I really liked romantic stories when I was young. I liked Jane Austen a lot when I was young — I still do!
Was there a time when you had to work another job while illustrating books?
Yes. Before, though. I graduated and I was a substitute teacher. And at night I put together a portfolio and I went to publishers with my portfolio. I taught anything that they asked, mostly in junior high school and high school in New York City. That was for one year, and then I got my first manuscript contract. And that's all I've done ever since — lucky, huh?!
How long does it take to illustrate a book?
It used to be a year — a solid year. But now that I'm working in this new style, it's taking me just as long to do the preliminary work — it's several months for sketching. But then the painting is very fast. The shortest time I ever spent on the actual painting of the illustrations was seven months. The last book that I did — the painting took me seven days! (Seven months was before I had the new technique.) Of course, I was working from 6 or 7 in the morning until 9 at night, but it's still amazing!
I used to spend weeks and weeks on each painting. It's a wash technique I use now, instead of the painting.
How do you get in the mindset of the characters you're illustrating?
Since I usually make the characters, they're already part of my mind. But if it's somebody else's story, I research the period.
Is there a particular character that is your favorite?
No, I like all the characters. I like the one that I'm doing at the moment, whichever that may be!
Wuthering Heights was a favorite — I read it six times.
Do you have a special place where you write?
I have a studio and an office that has a computer and my desk. But I like to write in the studio. Because I have a weird way of writing — I put each page on a wall, and then I use post-its and I put each sentence on a post-it and I put it on the page, so I can see how the words flow across the whole story all at once, for pacing. So, I think I like to write in the studio because that's where I can lay out all the pages on the wall.
Do you have any advice for aspiring young illustrators?
To read a lot. And I drew all the time — anything. I would always say to people when I ran out of ideas, "Give me an idea." And I'd illustrate whatever they told me. And that's what you do when you illustrate a book. You tell a story through images.
Achievement and Success Arts and Creativity Confidence and Self-Esteem Creativity and Imagination Writing Process


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Category: diaries
I'm talking about notebooks at McNally Jackson on Wednesday, 4 November, at 7pm
I'm talking about notebooks on Wednesday, 4 November 2015, at the McNally Jackson bookstore located at 52 Prince Street, New York, NY. My fellow panelists are Alice Gregory, Hermione Hoby, Heidi Julavits, and Ariel Schrag, and our segment is just one part of a 2-hour variety show, starting at 7pm.
UPDATE (11/23): You can now watch a video of the event.
Posted on 2 November 2015 23 November 2015 Author Caleb CrainCategories being in public, diaries, video
The first volume of Leander's diary, now safely archived
In the first chapter of American Sympathy, my 2001 study of the literary representation of affection between men in the antebellum United States, I wrote about two genteel Quakers in late-18th-century Philadelphia who kept diaries recording their romantic friendship. Their names were John Fishbourne Mifflin and James Gibson, and they went by the cognomens of Leander and Lorenzo, respectively. Gibson's diary and the second volume of Mifflin's were, and still are, in the archives of the Historical Society of Pennsylvania. (Here's a link to the catalog entry for the physical diaries, and one page of Leander/Mifflin's diary has been digitized and is available online here. Rather cleverly, the page that the archivists chose to digitize is the one where Leander/Mifflin begins to describe a rather erotic dream that he had about Lorenzo/Gibson.)
I also had access to the first volume of Leander/Mifflin's diary, through a photocopy that was loaned to me. This photocopy had been made by a bookseller decades earlier, while appraising a private individual's collection. For safety's sake, before returning this photocopy, I made a photocopy for myself. This turned out to be prudent, because the first-generation photocopy that I returned was later lost, and although the person who was thought to be the owner of the original manuscript graciously granted me permission to publish, he later told me that he had never been able to locate the original in his collection. Perhaps the bookseller had been mistaken in his memory of who owned the original. In any case, the second-generation photocopy that I had made became the only copy available to scholars.
Over the years, I sent reproductions of the photocopy to any scholar who asked, including Richard Godbeer, who wrote about the diarists in The Overflowing of Friendship (2013), and Sarah Knott, who wrote about them in Sensibility and the American Revolution (2009), but it made me nervous that I hadn't made any provision about putting the photocopy into an archive somewhere. When my father-in-law passed away this January, I was reminded of the propriety of taking care of these things sooner rather than later, and at last I emailed the Historical Society of Pennsylvania to ask them if they would take custody of the photocopy. I'm happy to report that they said yes, I sent it, and it arrived safely. It doesn't seem to be in their online catalog yet, but it's there, if any scholar wants to consult it.
Of course I made a third-generation photocopy for myself, before I put the second-generation one in the mail.
Posted on 7 April 2015 6 April 2015 Author Caleb CrainCategories American history, diaries, friends, gay history, Leander and Lorenzo, literature, preservation
Both sides then
I just stumbled onto the 1957–58 diary of Harriet Sohmers Zwerling, the lover identified as "H" in Reborn, Susan Sontag's diary of the same period. If you, like me, have read Sontag's diary and were swept up in its heady melodrama, you will probably not be able to resist peeking at Zwerling's version. Among other revelations: Sontag herself was unable to resist peeking at it ("Susan read yesterday's diary entry and now it's embarrassing to be in bed with her as I write . . ."). Perhaps most surprising is how much the two agree about the nature of their miserable affair. Here, for example, is Zwerling's diagnosis:
I've never before lived with someone I neither desired sexually nor felt strongly about. It's so decadent! I feel terrible about it all, brooding depression— (5 February 1958)
And here's Sontag's echo-response:
H thinks she is decadent because she has entered into a relation which neither physically nor emotionally interests her. How decadent then am I, who know how she really feels, and still want her? (8 February 1958)
I imagine that if one were to read the two diaries against one another, many small details would fall into place. I happened to noticed one. In one of her unhappy rhapsodies, Sontag writes:
H, whom I love—is beautiful, beautiful. Can she? Will she want to be a little happy with me here? . . . the Negro has a date with [blank] for Tuesday (23 February 1958)
Zwerling's diary fills in the blank. It was Zwerling herself who had the date:
Today I had a date at the Flore with a Negro man who stood me up. Susan insisted on coming with me in the Metro; she's going to the Deux Magots. I guess it serves me right that he didn't show, but I had really been looking forward to getting fucked! (25 February 1958)
Upon which Sontag seems to comment in her entry of the following day:
Your insatiability, dear H, that's just the consoling way in which your talent for satiety appears to you. Never to get what one wants is never to want (for long) what one gets—unless, sometimes, when it is taken away. (26 February 1958)
Posted on 30 December 2008 23 January 2020 Author Caleb CrainCategories biography, diaries, gay history, Susan Sontag7 Comments on Both sides then
In Bookforum, Craig Seligman, author of the brilliant Sontag and Kael, wonders what to make of the sexual revelations in the first volume of Susan Sontag's journals, which he likens to an explosion and which, like me, he finds "riveting":
So, surprise—she was human. The inverse parabola that Reborn traces—the high of her sexual initiation, the low of her marriage, and her eventual reawakening (her real rebirth)—constitutes a gay-liberation paradigm so obvious it borders on the banal. Except that, as we all know, the story didn't end so crisply. Sontag came no further out of the closet before the wider public until she was forced to by a pair of hostile biographers in 2000. There's been endless speculation as to why she remained so tight-lipped. A lot of people have called her a coward.
I don't think there was anything cowardly about her, though. It was more complicated than that. Her sexuality wasn't what she wanted the conversation to be about—and she always thought she could control the conversation.
Posted on 15 December 2008 Author Caleb CrainCategories biography, diaries, gay history, literature, Susan Sontag, writing as a way of life
Leander visits Columbia, 1786
Columbia University is celebrating its 250th anniversary, in honor of which, here's how the college looked to a visitor on Wednesday, 16 August 1786, when it was just thirty-two. (The visitor was a graduate of Nassau Hall, today known as Princeton, and the comparisons of Columbia to his alma mater are a little invidious.)
. . . Went to view the bathing-houses — like them exceedingly & propose to go in tomorrow if the day is suitable —— from thence took a direction for the college & after passing thro some stragling [sic] ill-built streets came to it — It stands on a very elevated situation & makes a good appearance — I wished to see the inside but having no acquaintance with any of the professors I was somewhat at a loss — at length concluded to enquire for Mr Schuyler (son to the General) upon the strength of my acquaintance with his brother John — The building has four doors & (I think) sixteen windows in width — I enter'd the first door which lead [sic] to one of the professor's appartments [sic] & was directed to the second to enquire for Mr Scuyler's [sic] room — I found the College was like many New York houses, more in appearance than reality — it was very ill-contrived & but one room & two studies deep — very narrow passages & shabby staircases — & upon the whole nothing to compare to Nassau Hall either in airiness or convenience — when I entered the second door some blowsy headed man who was very much like the picture of Peter the Wild Boy, an usher I supposed, came out into the entry — he pointed for me to go up stairs & dodged in again — I went up, & a desolate castle it appeared to be for I peep'd into the third story without seeing or hearing a creature — In the third story I rattled at a study door which was locked when a sudden voice bawl'd out "who's there" — I answerd [sic] "a friend" & rattled again before it was opened, when a trio of blades were discovered who seemd [sic] to drop their ears all at once on seeing a sort of person whom they so little expected — They were however very civil chums & showed me into the next room for Mr Schuyler's while one of them went down to call him — he was not to be found but his room-mate (I took him to be) appeared — an awkward gangling young man about twenty — I told him I wanted to see the college & had called on Mr Schuyler for that purpose — Whether it was thro' indolence or confusion or that things really were as he described them I cannot tell, but he gave such a woeful account of things that my curiosity was quite satisfied — that their apparatus was broken, their library destroyed, that there were no good rooms, & in short that there was nothing in it worth a stranger's notice — How different thought I is this from the emulation of Nassau, & gave him a hint of it which did not seem to touch his pride much, so after enquiring the number of students (of whom he said there were thirty) & a few more questions I left my compliments for Mr. S & bid him good morning — the chums at the door (of whom a party had gathered in the mean time) all making their obeisance to me as I passed —I returned by the Oswego market & made a bargain with a fruit woman for some temptingly fine large plums . . .
The description is from pages 97 to 99 of the first volume of the diary of Leander, a.k.a. John Fishbourne Mifflin, discussed in chapter 1 of my book, American Sympathy.
Posted on 21 February 2004 6 April 2015 Author Caleb CrainCategories American history, city life, Columbia University, diaries, Leander and Lorenzo


"Ask me about Park City Real Estate"
Luxury Homes and Real Estate For Sale in Park City, Utah.
Welcome to Park City. I'm Tom Peek.
The Park City real estate market is truly unique. For over 30 years I have been helping people find great places to live and vacation in Park City and Deer Valley. Over the years I have developed some unique insights and perspectives regarding the real estate market in Park City that will guarantee you have a great experience. I specialize in luxury real estate in Old Town Park City, Park Meadows and The Colony, but I also have extensive knowledge and experience throughout the entire Park City area.
As a lifelong skier, biker and mountain enthusiast, I'll bring local skills and in depth knowledge to your Park City real estate experience. I love Park City and the incredible lifestyle found here. If you're buying or selling real estate, please give me a call. Let me show you what a difference my local expertise can make to your search.
I hope you enjoy my website and find it helpful in your search for property in Park City, Deer Valley, The Canyons and surrounding areas. Research is only the first step. For a truly unique and insightful perspective on our wonderful Historic Mining Town where snow has replaced silver as our most cherished asset, please give me a call 435-645-5811 or email me here.
I have been involved in all aspects of the real estate business in Park City. I have represented buyers, sellers and developers and I would love to represent you. No one knows Park City real estate the way I do.
Park City offers an incredible lifestyle to its residents. The area has three world class ski areas with "The Greatest Snow on Earth", over 600 miles of trails for mountain biking or hiking, golf, fishing and many other outdoor activities. Park City is the place to achieve and maintain an active, healthy lifestyle for people of any age.
Combine the wealth of outdoor activities with the fine dining, shopping, the Sundance Film festival and Kimball Arts festival, and you have a community with a rich and diverse lifestyle. With Salt Lake International Airport a short 24 minutes away, the convenience of Park City is unsurpassed.
There is also an unbeatable selection when it comes to Park City and Deer Valley real estate. The area offers a wide selection of primary homes, ski homes and condos, townhouse and unique historical homes with the character of their wild west origins. Whether you are looking for a primary home, vacation property or strictly an investment, Park City and Deer Valley guarantee a great return in fun, enjoyment and investment security.
I can assure you time flies when you're having fun! I've now been a resident of Utah for 35 years, having come here to study skiing after getting my degree from UC Santa Barbara with a major in anthropology and a minor in surfing (maybe I've got it backwards?). It has been a pleasure and an honor to watch and help Park City mature over that time. I hope to help provide you with the information, guidance and knowledge to find the right Park City or Deer Valley home, condo or property for your lifestyle.
Give me a call at (435) 645-5811 to help you find the perfect home.
Click on image to download the latest Mountain Lifestyle newsletter. This is Prudential Utah Real Estate's community newsletter featuring the latest real estate, community and lifestyle news.
Click on image to view Mountain Trails Website. MTF is dedicated to promoting & maintaining Park City Utah's trails for non-motorized recreational use.


text:
@( path : String , userId : Option[String])(implicit lang: Lang)
@main(Messages("views.notFoundPage.title"),userId) {
<h1>@Messages("views.notFoundPage.message")</h1>
}

redpajama_set_name: RedPajamaGithub


text:
Q: Trouble with alternating text color in MyBB I'm trying to alternate text color for my usergroup titles and having a bit of trouble. I was using this, but it wasn't properly working for some reason. It'd only show up in one spot and nowhere else would it work properly, and it also cut off the last letter of their usernames.
This is the javascript:
    window.onload=function(){
var HTML = '';

function alternate(colorpair) {
    var el = document.getElementById('alternator');
    if (!HTML) HTML = el.innerHTML;
    var text = HTML.match(/\S\s*(?=\S)/g), output = '';
    for (var w=0; w<text.length; w++) {
        output += '' + text[w] + '';
    }
    console.log(output);
    el.innerHTML = output;
}
alternate(['green', 'purple']);

and this is the usergroup markup
{username}.

A: You're using an id, but IDs must be unique within the document.  Use a class and getElementsByClassName.  (You don't try to loop over elements anywhere, so why would this run more than once?)
It cuts the last letter off because of your regex: (?=\S) means "there must be some non-whitespace next", so there will always be a letter outside the regex, and you only preserve the bit the regex matches.
I'm confused about the use of the outer var HTML; that's not necessary and will probably corrupt titles after the first one.
Lastly, not that I'm a designer or anything, but I'm pretty sure alternating green and purple letters will look terrible.  :)

redpajama_set_name: RedPajamaStackExchange


text:
How to Go Standby at an Airport
Jeff Fulton, Leaf Group
Airline passengers may avoid costly change fees by traveling standby. (Photo: Comstock Images/Comstock/Getty Images )
How to Find Cheap Air Tickets
How to Upgrade to First Class on US Airways
How to Check Flight Reservations
How to Check Flight Arrivals
Airlines generally do not sell tickets designed for standby travel; most tickets specify a certain flight and date, and airlines expect passengers to travel on that flight. But circumstances can change, and travelers often want to change flights and make new reservations. While expensive full-fare tickets allow this change at no charge, most tickets sold today carry substantial restrictions that discourage such changes. Additional charges incurred may include special flight "change" fees and additional fare charges, which may more than double the price of the original ticket. But these costs may be substantially avoided if the customer opts to travel on the same day, but on a different flight. You can fly "standby" at no additional charge or for a minimal fee.
Review your ticket receipt or your online ticket via the airline's website. Check the restrictions. Some higher-priced tickets favored by business travelers often have few or no restrictions, and they are valid for one year. You can make new reservations. But if the flight is full, ticket-holders may still opt to go standby. Passengers with discount tickets may be restricted, but standby travel on a different flight is usually possible on the same day as the original reservation and at the original price, although a small fee may apply.
Check the desired flights for availability. Enter the city-pair and flight time desired as though you are making a reservation. While online reservations systems will not tell you the actual number of seats available, flights that are full will appear as "sold-out." If online access is not possible, call the airline and ask a reservations agent for flight availability.
Review your schedule versus flight availability. Often, early morning flights have more availability. In addition, early flights often have more "no shows" than flights later in the day.
Get to the airport early, preferably at least 1.5 hours before the flight. Contact an agent and ask them to put you on the standby list. Some automated check-in system kiosks will allow you to do this yourself.
Go to the gate. Many airlines post the standby list on an electronic screen at the gate. Check to ensure your name is on the list; if not, contact the airline gate agent. If you do not see a screen, ask the agent if your name is on the list.
Sit close to the boarding desk and listen for your name to be called. If your name has not been called and the flight is full, request the agent to transfer your name to the next flight.
While many passengers believe the standby list priority is determined by arrival time at the airport, this is only partially true. Customers who missed a connecting flight usually are placed at the top of the standby list regardless of check-in time. Additionally, airline mileage frequent flyer program participants have priority according to their status. You may see frequent changes to your clearance number on the list as standbys with higher priorities are added.
Discount tickets may only be used as standby tickets on the date of the originally scheduled travel. You generally may not travel standby before or after that date. During inclement weather, or when bad weather is expected, airlines may waive this requirement.
American Airlines: Same Day Travel
United Airlines: Same Day Travel Changes
Southwest Airlines: Fare Information
Jeff Fulton is a writer specializing in business, travel and culture. He has worked in international sales, customer relations and public relations for major airlines, and has written for Demand Studios since May 2009. Jeff holds a Bachelor of Science in journalism from Northwestern University and a Master of Business Administration in marketing from the University of Chicago.
Comstock Images/Comstock/Getty Images
Fulton, Jeff. "How to Go Standby at an Airport." Travel Tips - USA Today, https://traveltips.usatoday.com/standby-airport-100808.html. Accessed 18 July 2019.
Fulton, Jeff. (n.d.). How to Go Standby at an Airport. Travel Tips - USA Today. Retrieved from https://traveltips.usatoday.com/standby-airport-100808.html
Fulton, Jeff. "How to Go Standby at an Airport" accessed July 18, 2019. https://traveltips.usatoday.com/standby-airport-100808.html
What Do I Need to Know Before I Book a Flight Online?
How to Buy an Open-Ended Airfare Ticket
How Does an Electronic Boarding Pass Work?
How to Check Airline Flight Status
First-Class Upgrade Tips
How to Board a Plane
How to Check in for Online Travel Flight Reservations
How to Transfer an Airline Ticket
How to Find Out if a Flight Landed on Time
How to Get Cheap Airline Tickets to Europe
How to Get an Electronic Air Ticket
How to Upgrade to Business Class on Lufthansa
How to Get a Window Seat on a Plane
How to Fly Standby on American Airlines
How to Book a Flight the Frugal Way
How to Check How Crowded an Airplane Flight Is
Travel Preparation & Accommodations»


text:
package org.mifos.application.accounts.schedules;

import java.util.Date;

import org.mifos.application.meeting.util.helpers.WeekDay;

/**
 * @author keith
 *
 */
class MonthlyByWeekSchedule extends Schedule {

    private final Integer weekOfMonth;
    private final WeekDay dayOfWeek;

    MonthlyByWeekSchedule(Date start, Date end, Short recurAfter, Integer numberOfOccurrences,
                          Boolean adjustForHolidays, Integer weekOfMonth, WeekDay dayOfWeek) {
        super(start, end, recurAfter, numberOfOccurrences, adjustForHolidays);
        this.weekOfMonth = weekOfMonth;
        this.dayOfWeek = dayOfWeek;
    }

    @Override
    protected Date getNextDate(Date startDate) {
        return null;
    }

    @Override
    protected Date getFirstDate(Date startDate) {
        return null;
    }

}


Our Lavender, Chamomile and Geranium Body Balm was the first product in our Beauty Range. This luxurious all over body balm is created from a unique blend of beeswax, sunflower and jojoba oils. Added to this is rich, nourishing organic shea butter, which melts with the your warmth and releases the healing and soothing goodness of lavender, chamomile and geranium. Your skin will feel refreshed, silky smooth and lightly fragranced with a wonderful natural aroma.
Helianthus Annus (Organic Sunflower) Seed Oil, Butyrospermum Parkii (Organic Shea Butter), Cera Alba (Yellow Beeswax) Simmondsia Chinensis (Jojoba) Seed Oil, Tocopherol (Vitamin E) Oil, Anthemis Nobilis (Chamomile) Oil, Lavandula Angustifolia ( Lavender) Oil, Pelargonium Graveolens (Geranium) Oil.
This is a fantastic product. It really comes in to its own at this time of the year as I find my skin is extremely dry and sometimes itchy. Whereas other body lotions just seem to dry in to the skin and hold no moisture, the Mil Body Balm goes on really well, stays on the skin all day, and my skin still feels really smooth and soft at the end of the day. It also soothes the dry and itchiness on my skin. I love the way it melts into the hand as you apply it, and the smell is also lovely. My only problem is I find it hard to use it sparingly as I love it so much, so the wee pot doesn't last me too long in these cold months! However, it is well worth the price, I wouldn't be without it!


We love being in the bright sunlight but do you know who loves it even more? Cats! Now we bring you the Sunny Seat Cat Bed.
It easily mounts to any window to allow your cat to enjoy the nice sun and stay off of your furniture .
Easily mounts to window using industrial strength suction cups and braces. Cat bed holds up to 50 pounds. So now even the 'fat cats' will have somewhere to lodge.


text:
Fish Wrap - Marlins 4, Cubs 2
By GameFish May 10, 2010, 11:01pm EDT
Share All sharing options for: Fish Wrap - Marlins 4, Cubs 2
The Fish were at Wrigley Field Monday night to kick off a three-game series with the Cubbies, and to make an attempt at salvaging what has been a lackluster road trip thus far.
Nate Robertson was on the mound for the Fish, and naturally the Cubs scored first, because about ten days ago, the Marlins pitching staff and starting lineup decided that they should do everything within their power to ensure that the Fish are in a hole to start every single game.
Ted Lilly made the start for the Cubs, and was in the mood to flirt with a no-no. He didn't allow a hit to the Fish through five innings. In the top of the sixth, though, Brett Carroll reached on the second error of the night from rookie shortstop Starlin Castro, and Chris Coghlan busted up Lilly's no-hit bid with a double--his very first extra-base hit of the season--to score BC from first.
The sixth inning was not a pretty one for the Marlins. The infield let a pop-up to drop to allow Aramis Ramirez a single, and Alfonso Soriano doubled him in to give the lead back to the Cubs.
Their lead was short-lived however, as Ronny Paulino jacked a two-run homer off of Ted Lilly in the top of the seventh. Cody Ross and Cameron Maybin followed with singles, and with Chris Coghlan batting, Cody scored on a double-steal to put the Marlins up 4-2.
The Fish had a chance to add on in the eighth when Hanley reached on Castro's third error of the game (the kid must have been shadowing the Marlins during fielding practice). With one out, Jorge Cantu singled and Hanley ran through the stop sign at third and was thrown out at home.
After a scoreless eighth inning from Clay Hensley, the Marlins threatened again when they loaded the bases against Carlos Marmol. They left them loaded, though, as Bryan Petersen struck out to end the inning.
They wouldn't need any more runs, because Leo Nunez saved the game with a 1-2-3 ninth, and the Marlins won the series opener in Chi-Town.
Losing streak over.


DETROIT (Reuters) – A program to compensate victims of a faulty ignition switch in General Motors Co (GM.N) vehicles has approved two new death claims, bringing the total number of deaths linked so far to the switch to 29, according to a report released on Monday by the lawyer overseeing the program.
Overall, the number of claims received for injuries and deaths was up almost 11 percent from 1,371 last week, according to the report. The rise is attributable in part to six new death claims, bringing the total number of death claims received by the automaker to 184, and to a continuing uptick in the number of claims for less-serious injuries – those that require hospitalization but do not cause serious permanent damage – from 1,108 to 1,240.
Under the program's protocol, eligible death claims can expect a payout of at least $1 million, depending on whether the deceased had any dependents or any other "extraordinary circumstances" applied.
Once claims are approved, Feinberg's office makes cash offers to the eligible claimants. It has made 31 offers so far and 20 families have accepted the awards.


The national cancer data repository contains an extract of admitted patient Hospital Episode Statistics (HES) for patients with a diagnosis of cancer recorded in HES (this is not all patients who appear in the cancer registry dataset).
The fields included in the HES extract are shown below. Full details of each field can be found in the HES data dictionary.


Despite the off-putting name, stinging nettle—a flowering plant—is worth the trouble; make tea with it to get a robust brew of health benefits.
In its natural state, the stinging nettle plant stimulates an allergic reaction when its fine hairs touch the skin. But when prepared as tea, nettles may actually help soothe allergies. Research shows the plant extract inhibits inflammatory reactions that are linked to the symptoms of seasonal allergies. Often used as a natural remedy for hay fever, the Penn State Milton S. Hershey Medical Center reports findings from a study that found that 48 percent of allergy sufferers said nettles were more effective than allergy medications in reducing symptoms. Here are other natural remedies that can help you relieve allergy symptoms without relying on medication—or sniffling and sneezing through the entire season.
Because of its natural anti-inflammatory and analgesic (aka pain-relieving) properties, nettles have been used for centuries to treat sore, stiff muscles and joints. In a study at Germany's University of Frankfurt, people with acute arthritis used stewed nettles in combination with non-steroidal anti-inflammatory medication (NSAIDs). The combination boosted the effectiveness of the NSAID medication in relieving arthritis pain. Other research has found a supplement containing the plant relieved the symptoms of osteoarthritis and reduced patients' need for NSAID pain medication. An anti-inflammatory diet can reduce pain and keep inflammation in check. Make sure you have these staples of a pain- and inflammation-fighting diet.
Nettle tea delivers high concentrations of bone-fortifying calcium, magnesium, and iron. The plant also contains vitamins D and K, which help bones use calcium to protect bone density. Magnesium is stored in the bones, supports bone strength, and aids in the absorption of calcium. Low magnesium is linked to osteoporosis, a chronic condition of weak and fragile bones. Iron deficiency is also associated with bone loss. Get to know these other, less well-known bone conditions that can cause pain, limit mobility, and interfere with daily life.
Nettles are packed with vitamins and minerals regarded as powerful heart protectors. The plant is a rich source of vitamins A and C, beta carotene, and other carotenoids. Because of its high content of vitamin C and iron, which help the body boost red blood cell production, it may help prevent anemia. Nettles also contain the flavonoids quercetin and kaempferol, which can help lower blood pressure and reduce risk for cardiovascular disease. A potent source of iron and potassium, tea made from this spiky, leafy plant may help to relax blood vessels and aid in healthy circulation. Check out the recently updated guidelines for high blood pressure.
Thanks to the plant's antihistamine, anti-inflammatory, anti-microbial, and pain-relieving abilities, nettle has a long and successful history of treating skin irritations like eczema and acne. It seems to reduce redness and swelling, soothe itching, speed healing, and minimize scarring. To get these skin-clarifying benefits, you can drink the tea—or you can brew a cup, let it cool, and apply the liquid directly to your skin. Don't miss these other all-natural tricks to make your skin glow.
As a diuretic, nettles can promote healthy urination. The stinging nettle plant is used as a natural remedy for urinary tract infections, and to prevent kidney stones. A 2014 study of nettle extract in rats showed it reduced build-up of calcium oxalate crystals in the kidneys, which contribute to the formation of the most common type of kidney stones. Under care of a physician, extracts of the plant are used to treat the urinary symptoms of enlarged prostate, including a frequent need to urinate and difficulty emptying the bladder. Know these signs of a urinary tract infection.
The nettle plant contains several immune-boosting compounds, including flavonoids, carotenoids, and vitamins A and C. These antioxidants help protect immune cells against damage that can weaken immune function. Research shows nettle extract strengthens the immune response, encouraging immune cell activity. Scientists at Turkey's Hacettepe University found this plant stimulates the T-cells of the immune system, which help to fight infection and other disease-causing pathogens in the body. Try these everyday habits to boost your immune system.
Excessive inflammation can interfere with healthy digestion and promote the growth of harmful bacteria in your gastrointestinal tract. Regularly consuming this stinging nettle tea, with its potent anti-inflammatory powers, may help you regulate digestion, helping reduce constipation, diarrhea, and upset stomach. By keeping your gut stocked with the right balance of bacteria and other microbes—known collectively as your microbiome—you may also get protection against a much wider spectrum of diseases. "There's a good chance your microbiome is associated with every disease you can think of—diabetes, cancer, autism," Michael Snyder, PhD, director of Stanford University's Center for Genomics and Personalized Medicine, told WebMD. Learn how maintaining a healthy gut can help you age more slowly—and in better health.
According to the University of Maryland Medical Center, stinging nettle can interact with several over-the-counter and prescription medications, including diuretics, drugs for high blood pressure, diabetes medications, blood thinners, and lithium. Before starting to use any new supplement or natural remedy, it's always a good idea to check in with your doctor. Here are the essential questions you should ask yourself before starting to take a new medication.


text:
Dell's first 5G laptop also comes with 30 hours of battery life
Dell on Thursday unveiled a few new products ahead of CES 2020, including the 2020 version of its XPS 13 2-in-1 — the upgraded device has a bigger screen than ever before and will hit stores in select markets next week. But, more interestingly, Dell also announced a totally different laptop with one major new feature.
The Latitude 9510 might not sound as catchy as the XPS 13, but it packs a few exciting features, including 5G support.
If 2019 brought us the dawn of the 5G era, with several smartphone makers launching the first 5G-ready hotspots and smartphones, 2020 should be when 5G truly establishes itself. We've always known 5G laptops would become a thing, and the Latitude 9510 makes that case, being Dell's first 5G notebook.
The device features a "5G-ready design," which means we're looking at 5G antennas that are fit into the speakers of the laptop. Dell doesn't say what kind of 5G modem we'll find inside the 5G versions, so we'll have to wait until March when this device hits stores to learn more details.
However, Dell does say that the 5G-ready design doesn't compromise the screen, which is still an InifinityEdge display with small bezels that allowed Intel to equip a 15-inch screen into a 14-inch body. The laptop is also light, at 3.2 pounds, but in spite of that, it's supposed to support up to 30 hours of battery life.
Other features include 10th-gen Intel Core processors up to i7, Wi-Fi 6 support, and several intelligent features that are part of Dell's Optimizer software suite.
The laptop learns what apps you use most and launches them faster (ExpressResponse), and adapts battery life based on your charging patterns and typical power usage (ExpressCharge) — the laptop can charge up to 35% in 20 minutes thanks to the ExpressCharge Boost tech.
ExpressSign-In, meanwhile, is a feature that lets the laptop "sense" the user, enabling faster log-in. Intel's Context Sensing Technology and Windows Hello make this possible. Finally, Intelligent Audio ensures a better sound experience during calls — the Latitude laptop features two top-firing speakers and four noise-canceling microphones.
Unlike the XPS 13, which starts at $999, the cheapest Latitude 9510 will cost you almost double that, at $1,799, on March 26th when it launches.
Source : BGR
TagsDell's first 5G laptop also comes with 30 hours of battery life youngsters
This might be our first look at the bezel-less TV Samsung will unveil at CES 2020
This is our first look OnePlus' new concept phone, with an 'invisible' camera and color-shifting glass
iPhone camera supplier Sony says even 24 hours a day not enough to meet demand
Xiaomi Mijia camera owner found other people's private photos on his Google Nest Hub


text:
Home » EVOPeration
EVOPeration
Richard R. Roesler
Previously, we learned how Dr. Scientist used factorial design to optimize the manufacturing process of POLYGLOP 123 to increase the yield from 65 to 95% and save the company.1In this article, Dr. Scientist will learn how plant engineers can continually optimize processes in production equipment without disrupting yields.
Figures 1 & 2
Batch History Review
Mr. Engineer enters Dr. Scientist's offices and says, "I understand you wanted to talk to me about the batch records for POLYGLOP 123?"
"Yes. I noticed that you are not running at the same conditions that were defined in the statistically designed laboratory process study and wondered if you could tell me what has happened?" said Dr. Scientist.
Mr. Engineer replied, "When you used statistically designed experimentation to define the response surface for the reaction yield, you found that the optimum conditions to maximize the yield occurred at 142 °C and 6 hours." (Figure 1)
Mr. Engineer continued, "When we transferred these conditions to the plant, we did not achieve the 97% yield that you reported, but instead the first batch only achieved about 87%. This is not unusual when lab data is used in production, usually due to different equipment configuration, for example agitation. Fortunately we know of a technique to optimize manufacturing procedures, using experimental design techniques that will not disrupt production work-flow. The technique is called EVOP."
Dr. Scientist replied, "I've heard of EVOP. I recall that this is an acronym for Evolutionary Operation. How does it work?"
"You're correct. EVOP was first discussed by Box in 1957 and was then discussed in greater detail in the book Evolutionary Operation, written by Box and Draper in 1969.2 In operation, minor variations for selected variables are made to each batch. These variations are so small that the yield differences remain within the normal yield variations of production. Only by repeating these production experiments many times can trends in improvements be seen. Once a trend is identified, a small change in operating conditions is made to achieve the improvement. Then the process is repeated until no changes are indicated. Typically, only two or three of the most important variables are evaluated. Once these variables are under control, other minor variables can be evaluated for continuous improvement. Of course, the original variables continue to be monitored by EVOP in case of changes in raw materials or other production variables."
"That's very interesting. What are the current operating conditions and yields?" asked Dr. Scientist. "Currently, the plant is operating at 145 °C for 6 hours and 10 minutes to give an average yield of 96.6% with a standard deviation of 1.6%," answered Mr. Engineer. "Such a minor change resulted in regaining the 97% change in yield," replied Dr. Scientist thoughtfully. "Please tell me more about the EVOP procedure."
EVOP Applied to the POLYGLOP 123 Process
Mr. Engineer began, "We took the laboratory results shown in Figure 1 as the starting point and selected an experimental design with four corner points and a center point, as shown in Figure 2. Code 0, the center point, was assigned to the suggested operating conditions, and Codes 1 to 4 were assigned to the corner points."
In his book, Evolutionary Operation, Box utilized a five experiment factorial design. When each of the experiments were run once, he called this a cycle; five cycles he called a phase. So, each phase represents 25 experiments. After five cycles, that is one phase, are run, the data are analyzed to determine whether the center point of the design should be changed to new temperature and time coordinates. Whether the change in coordinates is made or not, the procedure is repeated with five new cycles and subsequent data analysis. Normally, all five experiments are run before any are repeated. The order could be uniform: 1,2,3,4,0; 1,2,3,4,0; etc.; or could be random: 2,3,0,1,4; 1,3,4,0,2; etc. Of course, random is better.
"The reason five cycles are run is that for any one cycle, the noise in the operation will drown out the effect of the variation imposed by the small changes in the temperature and the time. By running several cycles, the signal-to-noise ratio can be increased, so that the real effect can be seen. This has to do with standard error of measurements3 (Applied statistics simplified: or,'t time,' APCJ, September 11, 1995).
"In the case of POLYGLOP 123, the first cycle for the design centered at 142 °C and 6 hours gave the following results: Experiment 0 gave a yield of 89%; Experiment 1 gave 87; Experiment 2 gave 89; Experiment 3 gave 88; and Experiment 4 gave 90. There is no clear pattern evident.
However, after five cycles, the completed phase, the situation clarified itself because the replication decreased the noise. The results are given in Table 1 and plotted in Figure 3."
"From the table or the figure it is obvious that the next set of experiments should be centered at 143 °C and 6 hours and 10 minutes, the site of the maximum yield for the first phase of EVOP. Another phase was run at these new conditions and the evaluation of the data was repeated. A total of 4 phases were run to get to the current operating conditions. The centers, Experiment 0's, of each phase are shown in Figure4."
"When we ran the five cycles of five experiments of the fourth phase, we found that Experiment 0, the center point, gave a yield of 97%; Experiment 1 gave 94; Experiment 2 gave 95; Experiment 3 gave 95; and Experiment 4 gave 96. Since the completion of that phase, the standard operating conditions have been set at 145 °C and 6 hours and 10 minutes, and the average yield has been 96.6%," finished Mr. Engineer.
Dr. Scientist wondered, "Does this mean that you no longer need to use the EVOP procedure in production?" Mr. Engineer answered, "We are continuing to run EVOP phases on time and temperature. So far there has been no need to change the coordinates for the center of the design. In the future, however, something in the process might change: the raw materials might change; a thermocouple or clock might be replaced; or the process procedure or equipment might be modified. So we continue to use EVOP to study optimum temperature and time conditions.
"Also, since it appears that we are at an optimum for time and temperature, we are now considering if there are other variables that could be evaluated by EVOP, such as reactant ratios or agitation rate. "By continuing to run EVOP we can be assured that we will always have our process centered at the process conditions to achieve an optimum yield."
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Crystal Lake Consultants, Pelican Rapids, MN