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BARAYAGWIZA ENDS LAWYERS' MANDATE, JUDGES NEED MORE TIME TO STUDY DEFENCE MOTIONS
5 February 2001 By JusticeInfo.net
Arusha, February 5, 2001(FH) The trial of three genocide suspects linked to so-called hate media resumed Monday before the International Criminal Tribunal for Rwanda (ICTR), with two of the accused boycotting the hearing. Judges said they needed more time to study two important defence motions, as they had been served with some of the papers only Monday morning.
The trial continued with the testimony of a fourth prosecution witness. The case involves three men linked to media which allegedly incited Hutus to kill Tutsis during the 1994 genocide in Rwanda. They are: Ferdinand Nahimana, former director of radio station RTLM; Jean-Bosco Barayagwiza, a former politician and founder member of RTLM; and Hassan Ngeze, former editor of newspaper Kangura. The trial opened on October 23rd, but Barayagwiza has been boycotting it on grounds that the ICTR is a puppet of the "dicatatorial anti-Hutu regime in Kigali" and that the trial will not be fair. A second accused, Hassan Ngeze, also boycotted the courtroom on Monday. His lawyer has submitted a motion to have all charges against Ngeze dismissed on the grounds that his rights have been grossly violated. Barayagwiza maintains boycottIn a "press release" dated February 5th, Barayagwiza said that "the conditions of injustice which persist within the ICTR oblige me to maintain my decision not to support the current travesty of justice, and not to be present or to be represented at the so-called Media Trial. I maintain my decision to withdraw any mandate of representation to this trial from my Counsels. They must respect my instructions on this subject. "Barayagwiza's lawyers were expected to present a motion to the court Monday morning, asking to withdraw from the case. However, the judges said they needed more time, and hoped to return to the issue later in the day. Canadian lawyer Carmelle Marchessault argued that the issue must be dealt with urgently, as she no longer had a mandate to be in court. Presiding Judge Navanethem Pillay of South Africa told her to sit down, as she had been ordered. Barayagwiza's American co-counsel David Danielson was not in court. He had already submitted a motion requesting the court's leave to withdraw from the case. Also pending is Ngeze's motion seeking to have all charges against him dismissed on grounds that his rights have been grossly violated. He refers to a search of his prison cell by UN security on January 10th, in which he claims vital documents were seized, copied or destroyed. The ICTR says this is not true. It says the search was ordered after learning that photos taken inside the UN prison had been posted on Ngeze's website. Ngeze is also demanding that all 71 issues of Kangura be translated in their entirety into French and English. Kangura published mainly in the Rwandan language, kinyarwanda. The motion also says that the prosecution has not complied with a court order to return to Ngeze material seized from him when he was arrested in July 1997. "In many respects, this attorney is not blaming the OTP [Office of the Prosecutor] for failure to comply with the Court's Order," writes Ngeze's lead counsel John Floyd. "The bureaucracy at the ICTR is the real culprit. The Office of the Registrar seems incapable of giving Mr. Ngeze the things he needs for his defense. The OTP is as much a victim. "Floyd has said he will continue to represent Ngeze and "do my best", despite his client's boycott. Appearing in court for the first time was Ngeze's new, bilingual co-counsel, René Martel of Canada. Floyd had also complained that the Registry had been blocking Martel's appointment. Welcoming Mr. Martel, Judge Pillay said that "we are very happy you've managed to resolve that one issue. "The trial continued with the testimony of prosecution witness WD, formerly a waiter at the Hotel des Mille Collines and Hotel des Diplomates in Kigali. WD said that the accused Barayagwiza and Nahimana used to come often to the Hotel des Mille Collines. He said he had overheard a conversation between them by the swimming pool in 1993 in which Nahimana had said that "If we kill Tutsis, the international community will make a fuss, but then it will die down, just as it did with Bugesera [ massacres of Tutsis in March 1992 ] and Kibuye. " According to the witness, Barayagwiza replied that Rwanda belonged to the Hutu majority and not to the Tutsi minority. JC/FH (ME_0205e)


Main advantage is a lot higher data speeds for quicker internet browsing. Many 3G phone also have a front camera for video calling (although most new 3G phones dont seem to have this).
Streaming video to your phone is possible.
When connecting your phone to your laptop it enables faster browsing.
Sending emails and photos is quicker.
Its possible to talk and surf the web on your phone at the same time.
You can watch youtube on your phone.


A Fusee Wall Clock. The early 19th century mahogany cased drop box wall clock, with a convex dial, painted with a Roman Numeral chapter ring, and with original hands. The dial within a cast brass, hinged bezel, containing convex glass. The drop box with a glazed shaped pendulum window, surrounded by brass inlays, finished to each corner with brass inlaid paterae. The 8 day fusee movement cleaned, service and running well. Date c 1840. Height 19 1/2 inches, width 15 inches, depth 5 1/2 inches.


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COVID-19 tools and resources: symptom checker, safety measures, and visitor, testing and vaccine info. Learn more.
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HonorHealth is providing COVID-19 vaccinations to more than 17,000 healthcare workers and first responders as part of Phase 1A in Maricopa County.
HonorHealth operates a drive-through location in North Phoenix to serve 19 assigned Northeast Valley zip codes and is fully booked until Jan. 21.
As Maricopa County moves to Phase 1B, law enforcement, school and childcare personnel, as well as adults age 75+ are prioritized for vaccination.
As a community healthcare provider, HonorHealth will continue to serve law enforcement as well as school and childcare personnel in the same 19 Northeast Valley zip codes as Phase 1A.
HonorHealth is working directly with cities, towns, licensed childcare centers as well as public, private and charter schools in these zip codes to identify eligible employees and schedule them for vaccination.
A plan to vaccinate adults age 75+ is still being developed by HonorHealth and will be the largest priority population served to date. We are currently evaluating the best model to serve the unique needs of our seniors in the most efficient way and will communicate details as they become available.
Guidance on who is eligible for vaccination is changing quickly throughout this process, which is creating understandable confusion. Recommendations for who is eligible for vaccination are made at a federal level to the state level then to the county level. It's up to the states and the counties to make the final determination on the populations they are serving at their vaccination sites. As the Northeast POD, HonorHealth is contracted by Maricopa County to provide vaccinations and must follow the county's vaccination prioritization guidelines that are based on available vaccine supply. Learn more on how Maricopa County is prioritizing the vaccine.
HonorHealth is following Maricopa County guidelines issued on Jan. 14 and will not be scheduling adults age 65 to 74 at this time. If you are part of this population, you will need to schedule your appointment through the Arizona Department of Health Services website.
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The COVID-19 vaccine rollout began in December 2020 to Phase 1A, which includes first responders, healthcare staff and long-term care facility staff and residents. The distribution timeline is fluid, and vaccine distribution will go through multiple phases before reaching the general public. We will post updates and additional education resources to this page as more information becomes available.
The supply for the COVID-19 vaccine is currently very limited. Distribution is being prioritized according to CDC and Maricopa County guidelines and is not yet available to the general public. Based on these guidelines, healthcare workers and first responders are prioritized first. You can find more information about how the CDC is making prioritization decisions on the CDC website.
At this time, HonorHealth is not starting a waiting list for the COVID-19 vaccines for the general public as the guidelines, process, timeline and what vaccine(s) will be available are still not known. HonorHealth will continue to work with state and national organizations to support our community through the vaccination process.
You can sign up to receive additional information from HonorHealth as it becomes available. You can also visit the Maricopa County COVID-19 vaccine page to learn more.
You may have questions about when you can get the vaccine and what will be involved. A national independent panel of experts, the CDC's Advisory Council on Immunization Practice (ACIP), will make recommendations on who will fall into the various phases. This graphic shows one potential way different groups may be prioritized.
Maricopa County Department of Public Health: COVID-19 vaccine information
FDA: Patient Fact Sheet: COVID-19 Pfizer vaccine
CDC: What to expect after getting a COVID-19 vaccine
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American College of Obstetricians and Gynecologists: Guidance on vaccinating pregnant and lactating patients against COVID-19
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Herbal Boost (Tango) 60 capsules
Buy 6 for $31.77 each and save 6%
- Brand: Tango Nutrition
- Quantity per Container: 60 capsules
- Strength per Capsule: 500 mg
- Herbal Boost was developed by Dr. Dexin Yan for his patients when they needed herbal support for circulation and recovery.
Herbal Boost contains in each 500 mg capsule a proprietary blend:
Achyranthes root (Radix Achyranthis Bidentatae)	Niu Xi
Chinese salvia root (Radix Salvia Miltiorrhizae)	Dan Shen
Cordyceps mycelium (Cordyceps Sinensis)	Dong Chong Xia Cao
Cyperus rhizome (Rhizoma Cyperi Rotundi)	Xiang Fu
Dong Quai root (Radix Angelicae Sinensis)	Dang Gui
Platycodon root (Radix Platycodi Grandiflori)	Jie Geng
Safflower flower (Flos Carthami Tinctorii)	Hong Hua
Sichuan Lovage rhizome (Radix Ligustici Wallichii)	Chuan Xiong
Tienchi ginseng root (Radix Pseudoginseng)	San Qi
Other Ingredients: Hydroxypropyl methylcellulose, purified water (vegetarian capsules).
According to the manufacturer:
"Herbal Boost® Recovery Formula was developed by Dr. Dexin Yan for his patients when they needed herbal support. Based on its ability to support circulation and recovery, Herbal Boost may be useful in supporting the body through a wide range of life's challenges.
Herbal Boost Recovery Formula was developed by Dr. Dexin Yan for his patients when they needed herbal support. Based on its ability to support circulation and recovery, Herbal Boost may be useful in supporting the body from a range of life's challenges.
Dr. Yan based the design of this formula on the powerful tonifying herb, Cordyceps. Next, he included a selection of traditional herbs referred to in China as the three pillars of healthy aging for their ability to support energy production, immune function and circulation. Dr. Yan then added additional herbs known to maintain the quality of blood components (red cells, white cells, platelets, and plasma) and circulation. Finally, Dr. Yan finished off the formula with an advanced blend of herbs used to support the body's psychogenic functions and maintain balance to the major organ systems.
Chinese doctors also discovered many other situations where Herbal Boost can aid in maintaining optimal recovery. Herbal Boost was first approved for its demonstrated ability to support circulation, normal healing and recovery.
Individuals typically take Herbal Boost recovery formula 1 to 2 capsules, twice daily for relatively short periods of time, ranging from 3 to 5 months.
- Achyranthis (Niu Xi, Radix Achyranthis Bidentatae) Achyranthes (Achyranthis bidentatae) is a traditional herb used to replenish the liver and the kidney, to strengthen the tendons and bones, to eliminate blood stasis and stimulate menstrual flow. In one recent study Achyranthes bidentata polypeptides (ABPP) separated from the aqueous extract of Achyranthes bidentata were shown to reverse production of intracellular radical oxygen species (ROS) and confer neuroprotective effects on NMDA receptors. (1) In another study researchers revealed that achyranthes bidentata polysaccharide (ABP) modulates the formation of advanced glycation end products (AGEs) and supports sodium oxidase (SOD) activity. (2)
- Chinese Salvia (Dan Shen, Radix Salvia Miltiorrhizae) Salvia refers to the root of Salvia miltiorrhiza, a traditional herb that has grown in importance in modern Chinese clinical practice for its blood-vitalizing properties. Salvia has recently been shown to modulate against -glucosidase activity and formation of advanced glycation end-products (AGEs). (3) Additionally, researchers have recently shown how active ingredients of Salvia miltiorrhiza root support endothelial cell health by modulating TNF-alpha-induced production of reactive oxygen species (ROS) and malondialdehyde (MDA). (4)
- Cordyceps (Dong Chong Xia Cao, Cordyceps Sinensis) Cordyceps has been used in Traditional Chinese Medicine (TCM) for thousands of years to support overall health. Research suggests that cordyceps supports mitochondrial adenosine triphosphate (ATP) generation, presumably through the intermediacy of reactive oxidant species, leading to modulation of cellular/mitochondrial antioxidant status. This view is supported by recent research revealing how the antioxidant properties of cordyceps promote lung health. (5)
- Cyperus (Xiang Fu, Rhizoma Cyperi Rotundi) Cyperi rhizoma is a well-known traditional herb used throughout Asia. It has been reported that Cyperi rhizoma has antioxidant and free radical scavenging activities. In a recent study a water extract of Cyperi rhizoma (CRE) was shown to exert neuroprotective effects on cell viability by modulating generation of reactive oxygen species (ROS) and nitric oxide (NO) production. (6)
- Dong Quai (Dang Gui, Radix Angelicae Sinensis) Dong quai (Angelica sinensis), also known as Chinese Angelica, has been used for thousands of years in traditional Chinese, Korean, and Japanese medicine and remains one of the most popular plants in Chinese medicine, used primarily for health conditions in women. Previous studies have shown that Dong quai supports myocardial blood flow, oxygen-supply and myocardial oxygen balance. In one study Dong quai was shown to significantly enhance endothelial cell proliferation and vascular health, indicating a potential role in supporting heart health. (7) In related studies extracts of Dong quai have been shown to support health by exerting inflammation-modulating effects on the production of excess nitric oxide (NO) and reactive oxygen species (ROS). (8,9)
- Platycodon (Jie Geng, Radix Platycodi Grandiflori Praeparata) Platycodon has been used since ancient times as a traditional herb for upper respiratory issues. According to the theory of traditional Chinese medicine, Platycodon possesses the character of lung meridian tropism and has selective effects on the lung and respiratory system. Previous studies have demonstrated that Platycodon exhibits antioxidant actions that may explain its popularity in traditional health systems. (10,11) In another study Playtocodon was found to modulate osteoblast differentiation, suggesting a potential role in supporting bone health. (12) And in a related study, Platycodon's effects on bone marrow-derived mast cells (BMMC) indicate the herb may aid in regulating potential inflammatory reactions arising from exposure to molds, pollen and dust mites. (13)
- Safflower (Hong Hua, Flos Carthami Tinctorii) Flos Carthami is a medicinal plant traditionally used to support cardiovascular and circulatory health (invigorate blood circulation, break up blood stasis, promote menstruation) in traditional Chinese formulas. Flos Carthami has been shown to exert inhibitory effects on stress-activated protein (SAP) kinases, indicating a potential cardio-protective role. (14) Nicotiflorin, a flavonoid glycoside extracted from Flos Carthami, has also been shown to exert a neuroprotective effect in rats. (15) Additionally, extracts of Flos Carthami have been shown to exert inflammation-modulating effects, modulating nitric oxide (NO) and Prostaglandin E2 PGE(2) production and by downregulating inducible nitric oxide synthase (iNOS) and cyclooxygenase-2 (COX-2) protein expression to protect against cytokine overexpression in lung tissues. (16,17)
- Sichuan Lovage (Chuan Xiong, Radix Ligustici Wallichii) Ligusticum wallichii is an herb that has been widely used to support vascular health in traditional Chinese practice. One of the active components, tetramethylpyrazine (TMP) has been identified as having significant vasorelaxant actions. (18) In a study modeling inflammation, Ligusticm was shown to support microcirculatory performance and promote lung health in rats. (19)"
We do not recommend that a woman take Herbal Boost if she is pregnant or nursing. This is not because Herbal Boost is unsafe but because there have been no safety studies performed on the ingredients in Herbal Boost for pregnancy and nursing.
Herbal Boost is not recommended for people under the age of 18.
See Disclaimer.
The recommended daily dose of Herbal Boost is 1-2 capsules, 2 times per day.
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School of Medicine / Education / Neurograd Program / Faculty / Lawrence Goldstein, PhD
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Lawrence Goldstein, PhD
Department of Cellular & Molecular Medicine
Secondary Appointments: Investigator, Howard Hughes Medical Institute
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University of California San Diego, Howard Hughes Medical Institute 0683
Email: lgoldstein@ucsd.edu
BiographyResearch Publications
Dr. Lawrence S.B. Goldstein is Professor of Cellular and Molecular Medicine at the University of California, San Diego, School of Medicine. He is also an Investigator with the Howard Hughes Medical Institute. He receives grant funding from the NIH, the Johns Hopkins ALS Center, the Hereditary Disease Foundation, and the Ellison Medical Foundation and has over 100 publications. Dr. Goldstein received his B.A. degree in biology and genetics from UCSD in 1976 and his Ph.D. degree in genetics from the University of Washington, Seattle in 1980. He did postdoctoral research at the University of Colorado at Boulder from 1980-1983 and the Massachusetts Institute of Technology in 1983/1984. He was Assistant, Associate and Full Professor at Harvard University in the Department of Cellular and Developmental Biology from 1984-1993 and moved to UCSD and HHMI in 1993. His awards include a Senior Scholar Award from the Ellison Medical Foundation, an American Cancer Society Faculty Research Award, and the Loeb Chair in Natural Sciences when he was at Harvard University. His research is focused on understanding the molecular mechanisms of intracellular movement in neurons and the role of transport dysfunction in neurodegenerative diseases. His lab provided the first molecular descriptions of kinesin structure and organization, and has recently discovered important links between transport processes and diseases such as Alzheimers Disease and Huntingtons Disease. Dr. Goldstein has also had an active role in National Science policy. He has served on many public science advisory committees, has written about, spoken about, and been interviewed on numerous occasions on science issues by print and broadcast media, and has testified on a number of occasions in the U.S. House of Representatives and the Senate about NIH funding and stem cell research. As a cofounder and consultant of the biotechnology company Cytokinetics he has also had an active role in private industry.
My laboratory is interested in understanding the molecular mechanisms of intracellular movement and the role of transport dysfunction in neurodegenerative diseases. Our focus is on the attachment, function, and regulation of kinesin and dynein microtubule motor proteins. The major questions we are addressing are: 1) What role(s) do these motors play in axonal and dendritic transport, transport of visual system components in photoreceptors, and transport of informational signaling molecules? 2) Does motor-driven transport dysfunction play a major role in neurodegenerative diseases such as retinitis pigmentosum, amyotrophic lateral sclerosis (Lou Gehrigs disease), Huntingtons Disease and Alzheimers disease? 3) How are kinesins and dyneins coupled to intracellular cargoes and regulated? 4) How are appropriate destinations in the neuron found (e.g., axons versus dendrites)? 5) Do intracellular transport processes play important roles in neuronal cell polarization, signaling, growth, and pathfinding? Technologically, our work utilizes molecular and classical genetics, cell biology, and biochemistry in D. melanogaster and M. musculus. Thus, we are making mutants in defined motor proteins and inferring function by phenotypic analysis. We are also using genetic screens to identify novel proteins that couple motors to cargo and regulate their function.
Marszalek, J.R., Liu, X., Roberts, E.A., Chui, D., Marth, J., Williams, D.S., and L.S. B. Goldstein. (2000). Genetic Evidence for a Kinesin-II Mediated Pathway for Opsin Transport in Mammalian Photoreceptors. Cell 102: 175-187.
Bowman, A.B., Kamal, A., Philp, A.V., Ritchings, B.W., McGrail, M., Gindhart, J. G., and L.S.B. Goldstein. (2000). Kinesin Dependent Axonal Transport is Mediated by the Sunday Driver (SYD) Protein. Cell 103: 583–594.
Kamal, A., Stokin, G.B., Yang, Z., Xia, C.H., and L.S.B. Goldstein. (2000). Axonal transport of amyloid precursor protein requires formation of a complex with kinesin-I. Neuron 28: 449-459.
Sosa, H., Peterman, E.J.G., Moerner, W.E., and L.S.B. Goldstein. (2001). ADP-induced rocking of the kinesin motor domain revealed by single-molecule fluorescence polarization microscopy. Nature Structural Biology 8: 540-544.
Gunawardena, S. and L.S.B. Goldstein. (2001). Disruption of axonal transport and neuronal viability by amyloid precursor protein mutations in Drosophila. Neuron 32: 389-401.
Kamal, A, Almenar-Queralt, A., LeBlanc, J.F., Roberts, E.A., and L.S.B. Goldstein. (2001). Kinesin-mediated axonal transport of a membrane compartment containing beta-secretase and presenilin-1 requires APP. Nature 414: 643-648
Xia, C.H., Roberts, E.A., Her, L.S., Liu, X, Williams, D.S. Cleveland, D.W. and L.S.B. Goldstein. (2003). Abnormal Neurofilament Transport Caused by Targeted Disruption of Neuronal Kinesin Heavy Chain KIF5A. J. Cell Biol. 14:55-66
Gunawardena, S., Her, L.S., Brusch, R.G., Laymon, R.A., Niesman, I.R., Gordesky-Gold, B., Sintasath, L., Bonini, N.M., and L. S. B. Goldstein. (2003). Disruption of axonal transport by loss of huntingtin or expression of pathogenic polyQ proteins in Drosophila. Neuron 40: 25-40.
Clement, A.M., Nguyen, M.D., Roberts, E.A., Garcia, M.L., Boillee, S., Rule, M., McMahon, A.P., Doucette, W., Siwek, D., Ferrante, R.J., Brown, R.H., Jr., Julien, J.-P., Goldstein, L.S.B., and D.W. Cleveland. (2003). Wildtype non-neuronal cells extend survival of SOD1 mutant motor neurons in an ALS mouse model. Science 302: 113-117.
Goldstein, L.S.B. (2003). Do disorders of movement cause movement disorders and dementia? Neuron 40: 415-425.
UC San Diego Health Sciences


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Curious Dr. George Blog
American Health Care: What's Left After COVID-19?
October 8, 2020 /in Resources /by melindaroberts
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CollabRx and the 2016 Cancer Moonshot
July 11, 2016 /in Resources /by melindaroberts
Q: Did the CollabRx vision of 2008-2010 foretell the 2016 Cancer Moonshot?
A: True history is difficult to confirm. Its representation depends in large part on who recorded "his-story." Even Socrates, who, amazingly, did not himself write, is known mostly because of the extensive writings by his students.
Did Richard Nixon, in declaring "War on Cancer" in 1972, calling for vast research to find a cancer cure foretell the Obama-Biden 2016 "Moonshot"? Perhaps, since it also was a presidential decree.
It takes many threads to weave a tapestry.
Jay Martin (Marty) Tenenbaum PhD, himself both a former Stanford professor and pioneering internet entrepreneur as well as a metastatic melanoma survivor, founded CollabRx as a privately held, for profit company in 2008.
When Marty conceived CollabRx, he envisioned breaking down the silos of process that inhibited movement of positive research results from "the bench to the bedside" to enable a far shorter time than the extant 16 years. Blending-merging the wonders of advanced information technology and the Internet with the increasing wonders of molecular oncology was to be the method.
The goal was always to "defeat cancer, one patient at a time."
Jeff Shrager, PhD (still with Cancer Commons) and Smruti Vidwans, PhD (still Chief Science Officer of CollabRx) were early hires.
John Wilbanks (an initial CollabRx Editorial Advisory Board member) is credited with founding "Science Commons" in 2006, as a part of the Creative Commons concept.
Wilbanks and Tenenbaum announced/described "Health Commons" in June 2008.
John Niederhuber, MD, Director of the National Cancer Institute, in the March 17, 2010 issue of JAMA, published "Translating Discovery to Patient Care", nicely summarizing many of these cancer issues and opportunities. He left the NCI Directorship in July 2010.
From 2004-2011 caBIG was an NCI program that was envisioned to accomplish many of the goals described by Niederhuber and envisioned by Tenenbaum. But after spending >$350 000 000 with little to show for the money, caBIG was replaced.
I joined CollabRx on March 2, 2010.
On April 1, 2010, I participated in an Institute of Medicine program in Washington, DC on "The Learning Healthcare System in 2010 and Beyond". I mentioned the CollabRx and Cancer Commons concept in my lecture and many people expressed interest.
Tenenbaum, Shrager and I announced Cancer Commons in MedPage Today on July 12, 2010. "The goal of Cancer Commons is to provide patients and physicians with the latest information, tools and resources they need to obtain the best possible outcome and to capture and aggregate the results over all studied patients to improve cancer treatment generally."
The first real product of CollabRx (in addition to appointing dozens of stellar collaborating editorial board members) was the PLOS ONE paper "A Melanoma Molecular Disease Model" (MDM) on March 30, 2011. This paper portrayed a model describing how to envision cancer by genomes, mutations, and pathways. Harvard's Keith Flaherty and David Fisher teamed with Smruti Vidwans and other CollabRx authors in this groundbreaking effort.
In order to enable utilization of the new MDM, we harked back to the May 5, 1975 beginning of The JAMA series called "Toward Optimal Laboratory Use" (TOLU) which introduced the concept of algorithms and decision trees and tables to physicians that truly did foretell CollabRx "Therapy Finders."
Following the TOLU model, CollabRx invented "User Guides" for physicians and patients to use as open access interactive web apps at www.collabrx.com, subset Melanoma Therapy Finder
intended to facilitate shared decision making by patients and physicians together at this most difficult time, dealing with advanced cancer. Lung cancer, colorectal cancer and breast cancer web apps followed. The CollabRx Therapy Finder concept incorporated the new biomarkers, recognized practical therapeutic onco-genomics and was based upon cancer site/organ of origin.
On April 1, 2011, The Scientist Magazine (Sarah Green editor) published my "Thought Experiment" called "Medical Publishing for an N of One." I, an aficionado of large-scale clinical trials as the gold standard for evidence in medicine, had completely acquiesced to the notion that cancer is thousands of different possibly unique diseases with mutational and other …omic designators.
Parallel to these developments, CollabRx science, led by Vidwans, also invented and built a complex, deep, up to date and highly automated Genetic Variant Annotation (GVA) Service that can be agnostic to organ of cancer origin and utilized a "Pan-Cancer" genomic approach, with a different kind of editorial board called "Pan Cancer" headed by Razelle Kurzrock. The GVA is intended to bridge the interpretation-action gap between the NGS laboratory findings and the practicing physician.
In 2012 CollabRx was acquired by Tegal (which adopted the CollabRx name) and moved to San Francisco. New CEO Thomas R. Mika. Cancer Commons by this time had transitioned from a not for profit initiative into a 501c3 corporation and remained in Palo Alto with Tenenbaum.
By 2014, CollabRx announced a new product, CancerRx, as a mobile app extension of the previously exclusively web-based Therapy Finder apps.
There can be little doubt but that the well funded and widely publicized ASCO product called CancerLinQ formally launched in 2016 after years of planning draws heavily in concept from the early thinking of Cancer Commons.
Listening in person to Vice President Joe Biden exhort the ASCO membership in June 2016 to cooperate, collaborate, break down the silos, share, place beating cancer ahead of promoting your institution, company, career, financial gain, etc. sounded a great deal like Marty and me exhorting the IT planning leaders of ASCO in Alexandria, VA in April 2010, and others subsequently, to help us bring the CollabRx and Cancer Commons visions to reality.
We can all hope that the upshot of the Joe and Jill Biden call to double the rate of progress in the fight against cancer (10 years compressed into 5) has a better outcome for many cancer patients, and not only for the American Cancer Industrial Complex, than did the war declared by Richard Nixon in 1971.
Reposted from Curious Dr. George: Meet and Ask the CollabRx Experts
Plumbing the core and nibbling at the margins of cancer
REFERENCES to all claims made herein available upon request.
Write to blog@collabrx.com.
http://lundberginstitute.org/wp-content/uploads/2016/07/collabrx_tagline.jpg 78 380 melindaroberts http://lundberginstitute.org/wp-content/uploads/2020/08/Artboard-1.png melindaroberts2016-07-11 17:08:382016-07-11 17:08:38CollabRx and the 2016 Cancer Moonshot
Wisely Choosing the Right Care
June 11, 2015 /in Resources /by melindaroberts
http://www.medscape.com/viewarticle/821036
View video on Medscape.com
http://lundberginstitute.org/wp-content/uploads/2015/06/medscape.jpg 252 577 melindaroberts http://lundberginstitute.org/wp-content/uploads/2020/08/Artboard-1.png melindaroberts2015-06-11 22:30:312015-06-11 22:30:31Wisely Choosing the Right Care
The US Healthcare System vs The US Postal Service
http://lundberginstitute.org/wp-content/uploads/2015/06/medscape.jpg 252 577 melindaroberts http://lundberginstitute.org/wp-content/uploads/2020/08/Artboard-1.png melindaroberts2015-06-11 22:30:072015-06-11 22:30:07The US Healthcare System vs The US Postal Service
How Is Prescribing Opioids Like Coaching Football?
http://lundberginstitute.org/wp-content/uploads/2015/06/medscape.jpg 252 577 melindaroberts http://lundberginstitute.org/wp-content/uploads/2020/08/Artboard-1.png melindaroberts2015-06-11 22:29:402015-06-11 22:29:40How Is Prescribing Opioids Like Coaching Football?
Will Medicine Ever Become Safer?
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Organized Medicine: The Problem or the Solution?
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Why we need an economic informed consent
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Person Of Interest Was Anti-Prestige TV And Too Smart For Primetime
Ed Zitron
Illustration by Sam Woolley | Photos via Getty Images
First, let me tell you what Person of Interest is. Person of Interest is the inverse of Game of Thrones. For every shock death from the HBO's version of George R.R. Martin's book series, it had Kevin Chapman getting maced by a model and beaten up with a handbag. For every Game of Thrones setpiece that sent 49 bloggers into an ejaculatory frenzy over the ambiguous motives and bloodlines of royals, Person of Interest had a scene where Jim Caviezel kicks seven shades of shit out of the cardboard archetype of a bad person. It's weird watching Jesus throttle people, but you know what, we're all going to Hell anyway.
[Warning, reading this may spoil the show. But really, you could read an entire synopsis and the show would still be fantastic.]
Caviezel's John Reese is a former CIA agent that you're introduced to as a piss-stained, beardy hooch-swigging hobo sitting on a subway train. In one of the most satisfying scenes in TV history, a group of rich dickheads yell at him on the train and attempt to take his booze, which he clings to with an iron grip. He then proceeds to beat them up with his somehow-not-atrophied CIA skills before grabbing one around the throat and giving him the deep, angry stare of a man who uses his pants as a toilet and just wanted to enjoy his train booze in peace.
It's a great introduction to the show in its purest sense. Peel back the layers of intrigue, spywork and social commentary, and you'll still find a TV show that brings back the pure joy of seeing people you don't like getting beaten up. There are no pretenses to prestige here.
The plot's easy enough to explain. Michael Emerson's Harold Finch builds an advanced AI ("The Machine") for the government, in hellish post-9/11 paranoia, to monitor all surveillance and communication feeds to predict and apprehend terrorists. He then learns, to his horror, that the government is classifying everyday violent crimes and their victims as "irrelevant," ignoring the fates of normal people who were about to get the shit beaten out of them or killed.
Somehow, in ways they explain with surprising eloquence many seasons later, Finch finds Reese, convinces him to join his higher calling, and introduces him to The Machine. It spits out the social security number(s) of the victim - or as the show eventually oh-so-cleverly hoodwinks you with, the perpetrator - and Reese is dispatched to do things like stand in their way as they turn a corner and say "wrong way, fellas!" before kicking their asses.
When he's arrested for the crime of being fucking awesome and beating up a bunch of shitheads who had it coming, he meets Taraji P. Henson's Joss Carter, a detective hunting down a corrupt organization within the NYPD called HR. For reasons that are barely explained, HR assigns the world's best/worst cop Lionel Fusco, played by Kevin Chapman, who in his first of many acts of dick-tripping manages to make some very minor mistake that a CIA agent can easily take advantage of. This ends up with John Reese not killing him as long as he'll be his mole at the NYPD.
So far, so normal.
I'm not totally sure how Person of Interest got made, let alone how it survived five seasons on CBS. Season One is mostly an enjoyable, reliable procedural - the Ruth's Chris of TV - where you're guaranteed to see the Asshole of the Week get bludgeoned by Caviezel's handsome, suited fists. Reese gains the world's stupidest and most obvious nickname ("the man in the suit," because he's a man in a suit), and the show unsubtly begins discussing Batman-style vigilante themes through cops yelling "this guy's gonna put us outta da job!" and "I like da guy beatin' up da bad guys!" Carter has fully sided with Finch and Reese, and it seems like the entire thing is going to be 25 seasons of Jim Caviezel putting people through windows. Fine.
John Paul Filo/CBS
Then you're hit with Episode 19. Flesh and Blood opens with a "gotcha!" that anyone could see coming - five numbers at once, and they're all the heads of the separate mob houses. The show's already introduced Enrico Colantoni (Veronica Mars's dad) as the amazingly brutal and cold Carl Elias, but now he's planning to off them all. The show had previously thrown up a few obtuse, minor examples of moral questions, but this one goes whole hog as Carter has to protect five of the worst criminal shitheads ever. They bada-bing and bada-boom generically around her, but the interplay between her, Reese and Finch is more cerebral - they're all kind of sitting there saying "maybe we should let this asshole kill the other assholes," before all of them admit that they're not God, nor are they judge, jury or executioner.
But within that interplay comes the central issue of Person of Interest: irrelevant and relevant numbers. The five mob bosses' deaths could be a good thing, but they'd also open up a vacuum for someone else to take power: Elias. And what if the bosses don't die? Won't more people die? What's the right move? What's a better society: One where these five houses are brought down by one of their own, or one where the police successfully Al Capone them, bringing them down by legal means? It's the first time the show suggests that the rule of law shouldn't be twisted for the greater good.
Moral imperialism would gradually become the central plot theme of Person of Interest. The government knows best. The police know best. The mob knows best. Elias's new mob ("an efficient enterprise. There's no infighting, there's no conflict over territory") and The Machine's team. Despite our heroes being "the good guys," every other faction, in their own minds, are working toward their versions of a good society.
Then Elias, in his ruthless attempt to be the "civilized" guy, kidnaps Carter's son, leading to an amazing setpiece set to Unkle's "Burn My Shadow". "Last chance, Lieutenant, those immoral, corrupt men, or your son?" Elias yells at Carter as he burns his way through a metal-plated door. This is pulp with a brain.
"To me, it represented an entirely new type of show," says producer and writer David Slack, who worked on every episode, bar the pilot and the final half of Season Five. "It had procedural elements, but it wasn't a procedural. It was a '70s paranoid thriller packed into 42 minutes. It predicted the rise of the American surveillance state in which we now live, and it was subversive as hell. I remember routinely being amazed that we were getting away with talking about this kind of stuff on a network TV show."
Past Season one, the network that airs The Big Bang Theory put on a show that brutally and unforgivingly considered government surveillance, artificial intelligence, authority and morality. The show portrays each character as having a central loneliness - an irrelevancy to society, a sadness that leaves them dead to the world, ignored or laughed at. Fusco, a single dad working for a corrupt organization; Shaw (a later addition), an asset of Northern Lights (aka: the government's anti-terrorism interpretation of the machine); Root, a runaway obsessed with computers; Finch, a guy who realizes he's accidentally created the end of the world; and Reese, a guy who gets home from the CIA trying to kill him to find his ex-wife's abusive husband has beaten her to death. Carter, a former army interrogator, is the only one who hasn't totally resigned herself to, on some level, giving up.
They're united at first only by the machine's numbers, a consistent quest to save those that society has decided aren't important enough to save—much like our main characters themselves. Then they realize that an AI that can read any surveillance feed and manipulate most of society is a bad thing, only to end up using it at the end of Season 2 in the aptly-named "God Mode," when Reese is given an earpiece that the machine uses to tell him exactly where to shoot. Midway through Season 3 we see the truly batshit level at which Person Of Interest has been operating, as we're introduced to the competing surveillance system Samaritan - run by the magnificent asshole that is disenfranchised former MI5 fanatic John Greer - and we watch as a congressman is slowly manipulated into installing Uber For Eugenics.
The push-pull between relevancy and irrelevancy - the machine still, until the very end of the show, spits out random dipshits that the team has to save - is central. While you could imagine a horrible culture piece saying "we're all reduced to numbers in the social media society," giant data brokers make millions buying and selling information you may not even realize is out there. Though the show liberally stretches the definition of how far an AI could go, it's grounded in the horrible reality that, yes, you may have posted on Fucklr that you grew up in a particular city and your best friend is Dave. Tinder, an app used by millions of horny people, literally leaked said horny people's locations. It's not a huge leap to Person of Interest's world. They can monitor things like the internet and cell phones, because they were given access to do so by the government, in a way that sounds absolutely nothing like ECHELON.
Person of Interest's first episode aired in September 2011. Edward Snowden revealed the mass-surveillance program PRISM in 2013, three months before Person of Interest entered its third season. In an excellent New Yorker piece from 2014, as the implications of Snowden's revelations were still unfurling, executive producer Jonathan Nolan said that "the moment we're in...is one in which data goes from being passive—something that we avail ourselves of—to being active. It's a moment in which the data starts to direct us. As simple as that transition is, it's also earthshaking. Computer systems will soon begin dictating, in ever less subtle ways, the paths of our lives."
Slack says he felt responsible. "When Edward Snowden revealed the true scope of real government surveillance, I actually went through some tough soul-searching about whether or not the show had played some small part in preparing people to accept mass, warrantless surveillance. I don't think we should accept mass surveillance — at all. Numerous people way smarter than me have warned about the dangers of government intrusion without cause — from Benjamin Franklin to George Orwell — and I think we would do well to heed their warnings."
PRISM allowed the government to monitor millions of Verizon users' data each day without a warrant, PayPal uses deep learning to stop fraud, and a glitch caused Knight Capital Group to lose $440 million in 30 minutes. Person of Interest could be ridiculous at times, but grounded itself just close enough to societal fears about government surveillance and big data to be truly meaningful. Even Fusco's everyman has relevance: Even though he's kept in the dark about Samaritan, he's there consistently throughout the show (unlike Peter Bishop in Fringe, who got a personality transplant after Season 2) to say "what the hell is this?" when everything gets a bit too high-concept. When the team veers from a moral center - a central theme, as when Greer chillingly asks Samaritan, upon its request for a command, what it commands - Fusco is there to bumble in, hoagie in mouth and yell "yo, I'm a cop, this ain't what we do."
In the end, though this painfully close to saying that the star of Sex and the City is New York, the show's main characters end up being The Machine and Samaritan. While the latter mostly speaks through a series of words it displays one at a time on screens, it works. When Finch faces off with Greer and Samaritan, in what a lesser shows would have turned into something extraordinarily moronic, Finch stands in front of a giant computer screen that's basically saying, "Dude, c'mon. Dude. Dude, let's talk about this." The Machine mostly speaks through a mixture of recordings, and when it does speak like a person, it does so using what it thinks will help Finch. Instead, it's a miscalculation on the computer's part. So much of the show builds to the terror of what an AI can do to us - and so much of what they do is silent, and opaque. When the sides are at war, the humans can only somewhat guess at what their enemies are up to.
Warner Bros. Entertainment Inc.
Reese and Shaw are brute-force objects, fighting for what they believe is right. Root and Finch argue over letting the machine free, with Finch understanding that his Machine is just another interpretation of Samaritan, with Root's belief that Samaritan is simply a badly taught God. Fusco, even when he knows the full scale of the stakes, acts as moral anchor. Faced with two giant computers fighting a global war, he mostly says things like "What the fuck?" and "All right, I'll shoot at the bad men, but there better be a hot dog in it for me."
And that's the beautiful thing: You view the whole struggle from varied but understandable perspectives. That's just sharp TV writing. You see the plot for what it is, you know who dies or survives, you know why things happen and who everyone is, and you are never thrown into the quagmire of Lost. I've deliberately left out the fact that J.J. Abrams was an executive producer of Person of Interest as it feels so distinctly not like the J.J. Abrams of Lost. It certainly feels more like Alias, with an ensemble cast, a shadowy enemy, a truly shitty bad guy (Arvin Sloane is a top-10 television shithead) - but it corrects many of that show's mistakes. Person of Interest rarely leads you astray, avoids red herrings and rewards you for watching flashbacks. It's a show with little filler, few eye-rolling twists, and yet deals with some absolutely batshit science-fiction elements.
David Slack is proud to say this show isn't just a handsome man inserting his fist into faces.
"Person of Interest was my chance to get back to my first love, science fiction," Slack admits. "I grew up on shows like Star Trek, Buck Rogers, The Incredible Hulk, and Max Headroom. Those stories with a big 'what if' premise are always the ones I enjoy telling most. So for me, POI was this wonderful fusion of the work I'd been doing on crime procedurals and the speculative fiction writing I wanted to do — all wrapped up in a cool, smart, fun, beautifully shot, explosively written package."
Speaking to the cast about the show was strange - there wasn't much of the usual "I'm so grateful for the chance to work with [so-and-so]" that you hear from actors, but instead more of the kind of metatextual or practical analysis you'd expect from members of the crew. Slack describes the show, despite its darkness, as "actually centered around hope," and the cast's comments reflected that. They'd fondly recall the nuances of a program that was often surprising in its depth.
Michael Emerson, an Emmy winner for his work on Lost, was downright nostalgic, with a great affection for the staff and how much of the show was spent speaking to The Machine—so, to nobody.
"[T]he way the show was shot for five seasons helped prepare me for playing lots of scenes without a human actor on the other end of it," Emerson says. "Because the only way to shoot the show efficiently with Jim always being on the street, or a rooftop, or in a car - and me being at the control center - was for me to do all my scene-work without him. I would have many long solo days where I was just in the office, in the library, or in the underground subway station, talking to screens. In an important way, my whole experience of Person of Interest was talking to screens, even when I was talking to humans. My number one screen partner of that entire series was [script supervisor Tony Pettine], who used to read the other half of all of those electronic conversations."
The editing covers that with the immediacy of cuts between conversations, but the show's nominal stars, Caviezel and Emerson, barely acted together. While Reese would grunt at the camera while sticking his finger in his ear (OK, he had an earpiece, fine), Finch would sit in an office ordering him around. Weirder still, Finch spent another chunk of his character arc speaking to a screen - whether it was teaching The Machine in flashbacks or multiple occasions where Samaritan would argue with him one-word at a time. Hours of Michael Emerson's life were spent tenderly ministering to a childlike machine, or growling at Samaritan as it had its way with society like the wank-fantasy of some Silicon Valley oligarchs. And he loved it.
"Maybe I'm kind of a solitary actor," Emerson says. "It was so easy for me to project personhood, or something, onto the machine or Samaritan. I don't know. I really enjoyed that particular part of my job, which turned out to be a lot of my job on Person of Interest. I really relished those flashback scenes where [Finch is] teaching the machine, coding it and teaching it to play chess, or teaching it the difference between the finer points of right or wrong, or teaching it about human nature, those things. I always really liked that stuff. They felt like soliloquies, in a way, so I could make the machine in my mind be whatever I wanted it to be. I think I always held it as something dear and something that was like a child of my own making, something dear and delicate."
Jeff Neuman/Warner Bros. Entertainment Inc.
Kevin Chapman, who played Lionel Fusco, as almost the complete opposite of Finch — an on-the-ground, visceral character that oscillated between comic relief, "bein' a cawp," and serving the moral core of the show — put an equally large amount of work into making it work. Chapman began acting at 37, previously working for the mayor of Boston. He credits his start to Dennis Leary, who created Rescue Me, a show on which Chapman had a several-episode arc. Fusco slings nicknames — Finch is Mr. Peabody, or Glasses, Root is Crazy Banana Pants, Banana Nut Crunch, Reese is Tall Dark and Deranged or Wonderboy — and he turns a character that could have been a throwaway into one who keeps the show from going off the rails.
"In reality Fusco could have died in the pilot," Chapman says. "I think that [show creator] Jonah Nolan knew that it needed something to give it a sense of gravity and kind of keep it anchored. I think that's very much what the Fusco character did. When you're getting into Season 5 and he's still unaware, or fully unaware of what's going on, they felt it was time to loop him in, you know? That could only go on for so long before the audience gets bored with it. It's great that we pulled it off as long as we did, tell you the truth.
"Fusco gave it all a sense of reality ...You look at the rest of the cast, then you look at Fusco and you go, 'Oh, he kind of looks like a New York cop and sounds like a New York cop so I guess the rest of that stuff must have some [grounding] to it.' I think that's what the character was written for."
And, because Kevin Chapman is the greatest man alive, he pranked Sarah Shahi on set. In one scene, Shahi's Shaw was meant to be wheeled down a hill in a body bag on a gurney, but before being loaded into the ambulance, they'd switch her body out for a dummy. (It helps if you read the following after watching the show in order to fully appreciate Kevin Chapman's "Fusco voice." I'd be lying if I said it wasn't similar to just talking to him.)
"So what I did was, when we did the shot with her, we did a couple of takes, and then we did a shot when she's inside the body bag and they stopped to fix the camera or something, I grabbed the gurney, and I began to pull it down the hill as if it was rolling. I kept saying, 'Hey, hey, somebody should really grab that gurney! Hey, that thing's rolling, you should grab that!' ... She was frantic. She was, 'Ahh! Get me out of…' and she's screaming, and I kept going, and she could hear the traffic getting closer and closer and closer. Then, when we got to the bottom of the hill, I unzipped the bag, and she'd come up and her hair was disheveled, and she was out of breath, and ... I looked her and I said 'Welcome to Person of Interest,' and I just walked away."
Giovanni Rufino/Warner Bros. Entertainment Inc.
Amy Acker echoed how enjoyable working on the show was.
"I feel like I've been pretty lucky," Acker tells me. "I've heard stories of casts having terrible people that everyone hates but I guess I've hit the jackpot and never had that happen."
Acker's Root starts as a far more selfish Elliott from Mr. Robot (and is significantly better written) She thrives on her love of The Machine, the chaos of her own selfishness, and her insistence that things that don't make sense are "bad code." She doesn't step on obvious plot landmines - while she's a hacker, her actual hacking isn't forced into the storyline as anything other than a plot device. She's, if anything, a hacker of people (don't sigh too hard), constantly changing personality and manipulating others until she learns to love the team she's with, and understands that the world can't just be defragmented. Her adoration of The Machine grows from admiring its technological power to a more maternal instinct, a belief that unleashing it against Samaritan would prove that, despite Finch's fears, the team has successfully taught "her" to be good.
Acker says the themes of Person of Interest couldn't but worm their way into her real life. "Walking around New York, you start to be highly hypersensitive that are everywhere and everything was watching you at every moment, as the show says. I don't know, maybe I'm probably naïve but I feel like my life is pretty boring so if someone's hacking into my emails and Twitter or whatever, I don't even have a Facebook account. I'm kind of the opposite of Root in that way; I'd be happy to live out on a farm and not have to check email."
Across every interview with cast and crew, that paranoia was palpable.
"I think about it all the time," says Emerson, "because every episode of that series someone took advantage of innocent everyday-use devices. Someone's cell phone was on the cafe's tabletop or someone was on a dating website, or something like that. All of those things are so eminently hackable, controllable, transferable. I think about all that all the time. Of course, every episode of our show was about cameras. Where are they? Is there anywhere you can't be seen. It's tricky in big cities like New York and London to be in a place where there isn't a camera. [My wife] and I had a last drink in London, at a pub called The George on Waldorf Street and there was a tiny sign behind the bar saying, 'Premises under electronic surveillance,' and I thought, 'Well, of course it is, what isn't?' I do think about those things.
"At the same time, I think, 'Oh, but on an everyday basis, as civilians, we're helpless. No one can go off grid now.'"
Sarah Shahi, says she "lived in a happy pink bubble" before doing the show.
"I didn't believe in conspiracies. I thought big corporations were on our side. I didn't think there was such a thing as evil. After the show, my reality was definitely turned upside down in terms of the government spying on us, the Big Brother theory, people pretending to be someone other than they are, this idea that we are constantly watched, that things like Facebook, Twitter, our email accounts, all of those things in some way are used to keep tabs on us. That was something that I had never thought of before the show. Since then I have come to realize that it's absolutely true. That's not fiction."
Shaw's "sociopathic" tendencies, and her gradual growth, are among of the most interesting parts of the show. While Reese isn't particularly emotional, he's anchored with guilt, sadness and anger; Shaw is described as literally emotionless. But through her actions and being given a purpose under The Machine, Shahi was challenged to develop very slowly a person learning to love, to hate, and to care.
"There was definitely a fine balance," Shahi says, "because this character, even though she was supposed to be very robotic and in her emotions and not let anything show, there were places where I was just dying to find a crack in her veneer and to let something escape...I was constantly being told to be less, be less, be less. To not cry, to not tear up. But we are telling a story. We are trying to sell this character's arc. She wasn't a robot at the end of the day. There was not a switch that turned on and off. She was still human. The moments where the writers gave me some kind of crack, I really had to take advantage of that. Then it just became a matter of degrees, how much I was allowed to show."
Just like Fusco, Kevin Chapman didn't mince words about fearing the panopticon. "Are you kidding me? How could you not. How could you not? People thought we were a futuristic show that really wasn't so futuristic then the whole Snowden thing opened up. That kind of blew the roof off it for us, you know? The first year, we were getting good numbers but when that whole thing broke in the second year, everyone was like, 'Woah, what is Person of Interest talking about over there?' Even myself, I'm kind of like, 'Who is this guy Nolan, and what's his background?'
"He knows a little more information than maybe he should know."
Person of Interest concludes satisfyingly and sensibly. While it is open-ended, it isn't a finale that suggests that it was all a dream, that they were in the afterlife, or in Hell, or that Samaritan accidentally printed itself onto 40 million pieces of paper. Characters either survive or die in the service of the mission, a mission that has defined parameters. Those that die do so in a way that is either as needless as it is in reality - sudden, horrifying, brutal - or with a dramatic finality. Those that survive don't need vast explanations of their futures - they're living in a post-Person of Interest world, just like the cast. Just like us. The bad guys of the moment are ultimately beaten, but everyone's still living in a surveillance state.
A viewer is left with no questions. Actions and motivations are explained, there are no stray Russians left in the Pine Barrens. Despite being canceled, Person of Interest feels like it was always building to this point. For a show that deals with immensely high-concept definitions of advanced digital intelligence, it rounds off to a story about the exceptional nature of even the most normal people. In a quiet scene in the last episode, Fusco says "I love ya too, buddy," to Reese. That's all it needed. There're no hugs. There's no point at which Finch stares at Reese and gives him a 15-minute-long speech about the nature of friendship. Reese's story ends with a smile, and a brutal realization that his life was incomplete without a mission.
It's a joyful, five-season-long celebration of reliable, unpatronizing exposition, full of emotional performances that don't feel unrealistic. While we're all irrelevant numbers, it's the irrelevant ones that save humanity from being turned into a deep learning experiment to perfect humanity. The show doesn't play games with you—it invites you to consider the world around you while also enjoying the kind of popcorn entertainment that's been forgotten since writers began to write directly toward people on the internet looking for a show's "deeper meaning."
I do see the irony in writing that sentence after having written many thousands of words about this show.
Nevertheless, I'm glad to see any show or movie buck the trend of nine deaths and 40 twists per season, endless flashbacks, and endings that make you question why you bothered watching - or ones that have clearly forgotten the inherent value of the journey of getting there. Lost suffered from its popularity and its need to play to the theorists; Game of Thrones feels almost as if it's begun airing just for people who write episode synopses; every USA Network show has become sandwich television of a minute of story, filler, and then an ending with a little bit of plot.
This is exactly what I fear for Westworld, a show that shares a similar formula — it's written by Jonathan Nolan and scored by Ramin Djawadi, and features a great cast — but has one worrying difference: the internet is already talking about it.
I sure don't remember anyone saying of Person of Interest, "who'd ever thought you could explore the workings of a self learning AI?", or using it as a chance to discuss technology and "hedonism" before the show even aired. Though it's begun without the pressure of following up an insanely positive show, Westworld has HBO's marketing machine behind it. There's a palpable feeling the internet's mastication/masturbation of prestige TV — that we must endlessly pummel and pontificate — will hurt Westworld's chances to just tell a good story.
The beauty of Person of Interest was that it always belonged to its creators, not to the internet. A lack of popularity, ironically, helped immensely. To Kevin Chapman, simply being on CBS stigmatized Person of Interest's critical reception.
"You look at a show like Homeland," Chapman says. "It's this critically acclaimed show and gets nominated every year, but I think their biggest viewership is 5 million people. We did nine and a half million people [in 2015] and we were canceled. It's a very different animal, completely different animal. It's like a rock band playing in a coffee shop versus playing in a stadium. It's a very different thing. What's funny is a lot of the young kids are finding our show through Netflix and WGN and they're watching the show, and they're like, 'That's a cool show, why didn't I see it when it was on?'
"I know why you didn't see it when it was on - it's because it was on network, and you didn't think anything could be cool on a network television program."
Person of Interest bordered on being a happy accident - David Slack said it "was the only science fiction show ever to come true while it was still being written."
It became a show that explored - and perhaps Westworld will too, I hope - the nature of AI as a God. Not in a way that required either The Machine or Samaritan to have distinct personalities (though they both indisputably did), but that through their actions we felt a truly terrifying powerlessness. And when we willing let these AI run our lives, and they do something terrible, who is to blame?
Emerson isn't sure. "Samaritan was a true and real existential threat to human life, but Mr. Finch was a kind of self-conscious Prometheus. He was never certain that what he'd made should've been made … [Samaritan] in a way, despite its murderous henchmen, and stuff, it was in some sense innocent, a case of a machine built on innocent logic, but with inhumane results. The smallest nuance of misprogramming, or misunderstanding of the human condition or human needs could lead to some kind of global nightmare."
Both Elon Musk and Stephen Hawking have warned us of exactly that. We're excited to yell at Alexa to play a song, or have our investments dictated by computers, or have our cars automatically take the wheel. Siri, Cortana and other voice assistants are "living" computers; we're learning not just how to use them, but how to relate to them. It's subtle, but every time we make a joke about "having Alexa do something" we're anthropomorphizing computers. And they're domesticating us.
Ed Zitron runs technology public relations firm EZPR, and has written for places like Vice Sports, USAToday and The Daily Dot. He is one half of internet podcast the Scumbag. You can find him on @edzitron.


Adrian R. Nurse obtained his B.A. from the University of Windsor in 1993 and his LL.B. from the University of Windsor-Faculty of Law in 1997. Adrian was called to the bar in 1999 and joined Stayshyn Law Offices in 2012.
Adrian Nurse's practice and trial experience has focused on Motor Vehicle Accident Claims, Long-Term Disability Claims, Professional Negligence and Medical Malpractice, and Class Action Lawsuits.
Adrian has successfully appeared before the Ontario Court of Appeal, Ontario Superior Court of Justice — Divisional Court, Ontario Superior Court of Justice — Ontario Court of Justice, Financial Services Commission of Ontario, Workplace Safety and Appeals Tribunal and the Health Services Appeals and Review Board. Adrian is a former Trustee of the Hamilton Law Association.
"If it weren't for the staff at Stayshyn Law Offices my life would not be where it is today. After the accident everything was turned upside down. Now, I can actually focus on my future and my family again."
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Vocational Education and Training supports the delivery of nationally recognised certificates and assists students to prepare for the world of work. In Year 10 our work begins with career education, where we help students to explore job opportunities and identify their strengths and interests. Students also have the opportunity to complete work experience, to assist in getting work ready.
At Newton Moore SHS students in Year 11 and 12 are able to complete a nationally recognised certificate whilst completing ATAR courses for university entrance. Newton Moore SHS is a Registered Training Organisation (RTO), National Provider Code 50562 and offers a BSB20115 Certificate II in Business.
Newton Moore SHS also partners with other Registered Training Organisations using auspicing agreements to offer our students other qualifications. Students can complete qualifications in CHC22015 Certificate II in Community Service, FSK20113 Certificate II Skills for Work and SIS20115 Certificate II Sports and Recreation. These qualifications are auspiced through YMCA WA, RTO Code 3797.
SFI20111 Certificate II Aquaculture is auspiced through South Metropolitan TAFE, RTO Code 52787 and MSF20516 Certificate II in Furniture Making Pathways is auspiced through VETiS Consulting Services, RTO Code 52499.
Newton Moore SHS students also have the opportunity to attend South Regional TAFE to complete a wide variety of TAFE courses. Please find all offerings in the Student Handbook.
A School Based Trainee is considered a full-time student as well as a part-time employee with the same employment and training privileges and responsibilities as other trainees. At Newton Moore SHS, many students are being awarded a School Based Traineeship or School Based Apprenticeships where they get paid and receive training for a qualification in a specialised industry while they are still enrolled in school. It is an excellent way to help students build a positive future in many areas of employment.
School Based Traineeships provide students with qualifications or skills that are recognised Australia-wide, counts towards their WACE achievement, and provides paid hands-on experience in a workplace.


Motorola MC67 - GPS, 4G WWAN HSPA+, Wlan 802.11 A/B/G/N, 2D Dpm Imager, Wm 6.5, 512Mb/2Gb, QWERTY Key, Bluetooth, Extended 1.5X 3600 Mah Battery - Dpm Certfication Required. Interface Cables And Charging Cradle Sold Separately. Single Slot Charging Cradle Kit (Part# Crd5500-100Ues). Four Slot Charging Cradle Kit (Part# Crd5501-401Ces), Requires Us Ac Line Cord (Part# 23844-00-00R).


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Paul Ellsworth Brings Caring Transitions to West Indianapolis
September 24, 2019 Caring Transitions Franchise
Local resident Paul Ellsworth is pleased to announce the launch of his new senior-focused relocation and estate clearing business, Caring Transitions Indy West.
"My vision for Caring Transitions is to create a company that offers peace of mind for my clients, especially seniors, as they transition through life. My team and I are committed to building relationships with our customers that make a positive impact on their lives while fostering strong partnerships in the community. It's our mission to provide the kind of service we'd want for our own parents," Ellsworth said.
Ellsworth learned about Caring Transitions while looking into business opportunities a few years ago, but didn't seriously consider it until his own father went in for relatively routine open heart surgery and ended up in the surgical intensive care unit.
"I spent quite a bit of time in the hospital with my mom talking about life and relationships and I starting thinking, 'What am I doing with my life? How am I making a difference?' A month later the company I was working for was sold and, four days after that, my dad passed away. It was a sign it was time to do something more meaningful, which is why I came to Caring Transitions," Ellsworth said.
Prior to Caring Transitions, Ellsworth worked in the moving industry, where he held many roles that focused on business development and client relations, most recently as the Vice President of Agency Recruiting and Business Development. In addition to being ready for a mission change, Ellsworth was traveling so much that he was gone more than 100 nights a year. He's looking forward to spending more time with family, volunteering and giving back more now that he can commit to being home.
Caring Transitions Indy West is bonded, insured and their W2 employees have been background checked. For additional information call (317)350-6169, email PEllsworth@CaringTransitions.com or visit http://www.CaringTransitionsIndyWest.com.


On the eve of the 200th anniversary of Frederic Chopin's birth, the New World Symphony paid tribute to the romantic poet of the piano with a rare performance of his Trio in G minor for violin, cello and piano, the centerpiece of Sunday afternoon's chamber music concert at the Lincoln Theater in Miami Beach.
The work of an ambitious 19-year-old Warsaw Conservatory graduate, the Trio is a large-scale essay replete with stormy, brooding gestures, the deep melancholy only dispelled by the final rondo based on a Polish folk theme. The agitated Scherzo features a passionate melody worthy of Schumann and the Adagio springs from the deep well of noble chamber works that sang forth from Brahms, Schubert and Mendelssohn.
This impassioned score demands a performance worthy of its bold gestures and the New World fellows were not fully up to the task, delivering a half-baked rendition. Only Hyojin Ahn, despite the harsh tone of the house Yamaha, offered pliant, wonderfully idiomatic playing that did full justice to the young Chopin's genius. Her power in the score's opening movement, poetry in the calm of the Adagio and rhythmic buoyancy in the dance-inflected finale illuminated the attractive work's dark moods. Unfortunately she was undermined by a reticent cellist and weak violinist who struggled with problematic intonation.
The less-than-satisfying Chopin performance was symptomatic of a larger problem that has plagued the New World's chamber concerts since the departure of longtime chamber-music director Scott Nickrenz last summer. Unlike seasons past when New World chamber ensembles performed with highly varnished technical proficiency, too many performances this season seemed unprepared, the musicians often struggling just to play the notes accurately.
This was again evident in Tchaikovsky's familiar String Quartet No.1 in D Major. Violinists Brian Fox and Alexander Martin, violist Anna Pelczer and cellist Anne Lee opted for a dispassionate, objective approach to this intense, emotionally vital work. The famous Andante cantabile was played at a faster-than-normal clip with spare vibrato. In a well rehearsed, proficient rendition, such a revisionist deconstruction might have yielded some rewards but this performance was often just chaotic. The violinists sounded scratchy and imprecise in rapid passages, the violist too prominent. An initially exciting Allegro finale descended into a coarse mess in the coda. The New World players and coaches must strive for more finely polished, professional music making in future chamber concerts.
On the plus side, a delightful revival of Leos Janacek's Youth provided a wonderful showcase for five of the orchestral academy's wind players. Stemming from the Indian summer of wondrous inspiration that marked Janacek's final decade, Youth has formal and nationalistic roots in such works as Dvorak's Serenade for Winds. Like that work, Youth is filled with lively, enchanting melodies and imaginative instrumental combinations. Rosalyn Black deserves special credit for her mastery of the high horn part, her intonation always right on the mark. Oboist Alison Chung's lovely tone and rapid articulation took pride of place in a fine performance of an enticing work.
The afternoon opened with Witold Lutoslawski's Mini Overture for Brass Quintet, an adroit series of festive fanfares laced with harmonic astringency.
Posted Mar 02, 2010 at 1:25 am by ????????
Perhaps if you are going to tear into performers and name them, you might do well to at least make a slight effort to attempt to get the names right. You should be flat out embarrassed.
The Janacek is 17 minutes long. Are you telling me that you watched and listened to this piece for 17 minutes and didn't notice that there were 6 players (not 5 as mentioned in your review) on stage? You didn't get the players names right in the Tchaikovsky. The players names were projected on the wall behind them before and after they played? How can a person that actually attended the concert make these kinds of egregious factual errors?
Scott Nickrenz rarely had anything to do with a concert, aside from programming it.
There are pictures of the musicians located in the back of the program books for everyone's reference. Personnel changes happen. Before ripping people apart publicly, at least get the facts straight.
There were six players in the Janacek, not five. No mention of the bass clarinet added to the standard wind quintet?
The reason there were some incorrect musician names in this review was because the names were wrong in the pre-printed program. Due to late, unannounced substitutions, the lineup changed. The correct musician names were projected on the back wall after the performance but—without any indication that the printed program was in error—Mr. Budmen relied on the program when writing his review as critics routinely do.
The correct names are now attributed.