text:
Fluorescent Tags That Can't Be Copied to Verify Authentic Drugs
Omron at CES 2020 Showing Off New Medical Grade Consumer Devices
Laser Activated Gold Nanorods Create Silk Seal for Incisions and Wounds
Your (Smarter) Brain on Video Games: Interview with Daphne Bavelier, Ph.D.
Ravi Parikh Exclusive, Neurology, Society
"Turn off that video game and do something productive!" scream out parents around the world on a daily basis. Certainly, the content of some video games leaves much to be desired; but how does the act of playing video games affect our thinking? Daphne Bavelier, Ph.D., and her cognitive neuroscience laboratory at the University of Geneva, Switzerland have been studying the effect of action video games on brain plasticity and learning. Professor Bavelier's lab has produced seminal papers, including several inNature journals, showing that playing first person point action video games improves perception, attention, cognition, and, in contrast to what parents may tell their children, vision.
We had a chance to speak with Professor Bavelier about her research and its applications.
Ravi Parikh, MedGadget: Can you give us a bit of your background? How did you get involved in video games?
Daphne Bavelier: I was born and raised in Paris and did my undergraduate studies in Biology at the Ecole Normale Superieure in France. I wanted to spend a year abroad while in college, which quickly turned into 25 years of a career in Cognitive Neuroscience! I received a Ph.D. at MIT in Brain and Cognitive Science and did my postdoctoral fellowship at the Salk Institute in San Diego. During my postdoc, I became interested in brain plasticity and learning. I approached this topic by studying how the brain changes and adapts to the removal of a sensory modality such as is the case in deaf individuals.
In this context, when I moved to Rochester, we were investigating the concept of "useful fields of view" – the visual area over which information can be extracted at a brief glance and which generally decreases with aging. We were looking at whether this function may be altered in deaf individuals since previous research documented enhanced peripheral visual attention following early onset deafness. For this project, a young undergraduate lab tech, Shawn Green, programmed a version of the useful field of view task.
Surprisingly, when Shawn piloted the study on himself and a few other students, all the subjects scored near 100% – much better than what was expected based on previous studies! These were clearly outliers from the normal population. When we looked for commonalities between the pilot subjects, we found that all of them belonged to an action video game club. Considering the large effect, we changed the project from studying deafness to studying the effect of video games. A short time later, Shawn Green, who is now on the faculty at the University of Wisconsin, and I authored a Nature paper showing that action video games improved attention. We really took something that was unexpected and ran with it!
Medgadget: What a story! So how did you expand your research to cover other aspects of cognition?
Bavelier: After our original study, we wanted to ask, "What are the limits of these video game induced changes?" We turned to very low-level vision, for example acuity and contrast sensitivity, and the effect that action video game play had on them. We found that by forcing people to play action games, they actually had better vision. Interestingly, even those with normal visual acuity could improve their ability to detect contrast and make sense of visual clutter by playing action video games.
This led us to look into using action video games to improve vision in low vision patients. We joined forces with colleagues at UC Berkeley, McMaster University and the school of interactive games and media at the Rochester Institute of Technology to ask whether action games could be modified to help patients with amblyopia (AKA "lazy eye"). The theory behind this approach is that action video game play actually retrains the deficient connectivity between cortical visual centers in these patients. Interestingly, such retraining seems to happen even in adults that are thought to be past the "critical period" for visual plasticity. We actually know now that intense retraining of the amblyopic eye in the context of high action video games actually can improve acuity regardless of age.
Medgadget: Wait a second – we've always heard as children that playing video games was bad for our eyes. Is this not completely true?
Bavelier: Well, when it comes to action video game play, I can tell you it is certainly not true! There is evidence that certain computer-based activities – e.g. reading – are more tiring for vision than others. Reading forces the visual system to work over a very narrow range of spatial frequencies at rather high contrast; that may impact vision differently than video game play which tends to be much richer including many spatial frequencies and levels of contrast. Clearly, it is not the monitor itself, but what is actually on the screen and how you interact with it that is important for vision.
Medgadget: You mention in your TED talk that older adults are the video gamers of tomorrow. What age ranges does your research apply to?
Bavelier: Good question. Practically, visual learning is more efficacious during the "critical period" of youth. For older adults, the question remains, is the brain still plastic enough to be retrained? The dogma in the field has been that plasticity diminishes drastically in adults. Our work shows however that if you stimulate the adult brain in the right way, then you can still reveal significant plasticity. The limits of this are unknown – for example, we may not expect the same level of retraining in Alzheimer's patients.
Medgadget: Do you believe that simply watching what is on the screen is most important, or that actually playing the game is key?
Bavelier: Having a person in control of the action, able to predict what happens next at many different time scales, is certainly important for learning. However, we have not run a study that directly compares training participants by asking them to play versus watch. When you are simply watching a video game, you can either "zone out" or try to put yourself in the player's shoes. These may have very different effects, despite the participants just watching in both cases!
Medgadget: Was there any gender bias in your effect?
Bavelier: We did not find a gender difference in our studies. The bias seems to be in what females decide to play – usually social or interactive games (e.g. Dance Dance Revolution). Males on the other hand tend to pick action video games, which we have shown to be very useful in improving skills as varied as attention, vision or mental rotation. However, if you subject females to action games, then they actually exhibit the same (or even in some studies) greater improvement as males. This is probably because most males have already been exposed to action games so they have less room to improve. However, this is a positive story because it shows that even if you don't like action games, you can still learn from them!
Medgadget: Many action video games are very violent, which complicates this question a bit. Do you think the type of video game matters for the learning benefit?
Bavelier: The type of game certainly matters. With Tetris, for example, we don't get the same enhancement in attentional skills. There are a number of game components that are specific to first and third person shooter games that seem to be key in improving perception and attention.
Whether violence is a key ingredient remains unknown. Note that action games do not have to be violent by definition. Lets look at the mechanics: most action games emphasize precise aiming, control over where you go, and need for divided attention. It is perfectly doable to achieve the same goals in nonviolent games. Here is a possible scenario: you are on another planet with the mission of rescuing all sick animals. You need to shoot medicine at them in order to save them. Different diseases require different medicine, so this emphasizes problem solving and control. Furthermore, if sick animals touch you, you would lose health. You can recreate the same action game dynamics in a non-violent context – we are working on this with a great team of game designers!
Medgadget: Have you spoken to video game designers about potentially operationalizing this?
Bavelier: Yes, we received a National Science Foundation grant to create an action video game for 7-11 year-olds. The game would target "number sense" – the ability to quickly determine how many objects are in front of us. Greater number sense has been correlated with better future school performance in mathematics. The game would involve different number sense challenges. It engages the same mechanics of traditional action video games but without the violence. This is a really exciting project in collaboration with an innovative game publishing company (E-line Media) and the Joan Ganz Cooney Center, as well as colleagues at Johns Hopkins and the University of Wisconsin.
Medgadget: Last question – tell us about the medical implications of video gaming. How can this be used by clinicians to improve defects?
Bavelier: Last summer, we had a conference held by the US Office of Science and Technology Policy and the National Science Foundation. The conference engaged several different fields, with people ranging from the entertainment industry to neuroscience research. We were looking at what it will take to create video games that users will want to play and that improve neurological health – all backed up by independent evidence-based research. There is certainly motivation within the scientific community and the entertainment industry to transition from good research to applications. This push is exemplified by meetings such as ESCoNS (http://www.escons.org/), which are bringing together experts in the entertainment industry and brain scientists.
Check out Professor Bavelier's TED Talk:
Link: Bavelier lab…
Wall Street Journal: When Gaming is Good for You
Nature: Action video games modify visual selective attention.
Ravi Parikh
Ravi is a student at Harvard Medical School and the Harvard Kennedy School of Government. He also co-chairs the Crimson Care Collaborative, a Harvard network of student-run clinics that serves patients who have limited access to primary care. His opinion pieces have been published in the Huffington Post, Philadelphia Inquirer, Boston Herald and Tampa Bay Times. He enjoys basketball, going home to Florida, and spending time with his now-fiancé.


But did Grant Morrison deserve my bitchy crack about Coldplay toward the end of my review of Greg Carpenter's British Invasion? After being too pleased with myself for its cleverness, it occurred to me that I had not read a Morrison comic all the way through after All-Star Superman, which is about a decade old and the sentimentality of which I found grating, despite its other many virtues, especially its iconicism. (I have flipped through some of his Batman material, but it seemed too complicated for a Batman story, and I say this as someone who enjoyed the hell out of New X-Men.) So I saw Nameless, a work in the undersung genre of "space horror," and decided to read it to find out if I had indeed been unjust to Morrison's later career.
Of the events in Nameless, one character metafictionally explains/exclaims, "It's like the goddamn 'Exorcist' meets 'Apollo 13'!" Even allowing that such a film has already been made—such that the line of dialogue should have run, "It's like goddamn Event Horizon!"—that description aptly capture's Nameless's mix of space adventure with unsettling and sometimes subliminal demonism. Unlike The Exorcist's ingenious and intense crypto-papist propaganda, though, Morrison's book is not trying to make us consider a conversion or reconversion; the villain of Nameless is God, the God of monotheism, stranded in our universe as the prisoner of a long-ago galactic and interdimensional war, and accordingly psychopathic and the incitement of psychopathy in His worshippers. The graphic novel spins around a scene of murderous horror inspired by the Deity. The conceit of Nameless is something like the following: what if Lovecraft's fiction describes not a cold mechanical materialistic universe, as it is often taken to do by the Rhode Islander's admirers, but rather the universe as seen by traditional monotheism?
A set of endnotes far more compelling than the actual graphic novel concludes Nameless; in them, Morrison explains the novel's elaborate Tarot and Kaballah symbolism, its autobiographical and local Glaswegian roots, its debt to contemporary nihilistic metaphysics (Brassier and the ubiquitous Ligotti), and more. He further explains that his intention was to dramatize the passing of the Son's Aeon to that of the Daughter—a shift in cosmic consciousness wherein the feminine principle defeats the masculine, with the latter typified by monotheism's insane Gnostic demiurge (AKA God) and His malevolent male worshippers, to initiate an era of peace and mysticism. Is it me or are male thinkers more prone to these flights of mawkish fancy than female thinkers? Perhaps because I was educated by sometimes physically violent nuns and brought up in the suburbs where all those white Republican women (the ones we hear so much about every election year) live, I am unable to appreciate this worldview wherein girls are made of sugar and spice and everything nice; and say what you will about contemporary feminism, especially in its popular or vernacular forms, but it is certainly a force devoted to extirpating the so-called feminine principle from the world, givens its advice to Lean In (i.e., project oneself phallically) and its elevation of such warmongering women ("phallic mothers," I believe the psychoanalysts like to say) as Hillary Clinton to political authority. In short, I am not so unimaginative as to refuse to accept that there are psychic forces that might provisionally be labeled "masculine" and "feminine," but I also think the world is far more complex than such a philosophy as Morrison's chivalric sexism can capture.
Sometimes you ask yourself, what's real and what's not these days? Way I see it, everything's been fucked up since 2001 anyway. Since the towers came down—since the pylons fell on Trump 18 and Malkuth was gathered up into Yesod— My mum died just up the road at the Western.
This is all much better than a disavowed Event Horizon homage, and much closer to the ambition of producing comics as poetry. But if a poem is what Morrison wanted, why even bother with characters who never do anything or come to life as they go on a conventional action-adventure quest without an actual stake? You can write this way about characters readers already accept as archetypes and about whom readers already have many thoughts and feelings—such as Superman and Batman—but not about characters we're meeting for the first time. Is the veiled woman in this book anything at all other than Woman?
As for Chris Burnham's art, its shagginess—evocative of '70s horror and French SF comics—was very effective, but such ink-heavy styles often look awkward against today's computer coloring, with its relentlessly mimetic modeling and color gradients that seem to make black-spotting appear primitive or redundant. (This excellent article applies to more than just its ostensible topic, Frank Miller.) The grotesque imagery throughout is effectively discomforting, though probably best where most subtle (somehow the image of an eel about to eat its own tail in a way suggestive of copulation is far more nauseating than the image of a man getting his face hammered off in an explosion of blood and bone).
So, all in all, Nameless is not Coldplay, but it probably capitulates too much to conventional SF/horror tropes and structures to come into its own. A book whose tacked-on didactic essay is more interesting to read than the main narrative suggests an author more interested in lecturing than dramatizing or even lyricizing. If Morrison moves even closer toward such essayism, though, I think it may be all to the good. Piling up archetypal and occult correspondences does not really make for deep characters or involving narratives, but if those concepts are involving in themselves, sans narrative, there is no reason not to explore them as such.


text:
Browse > Theme > Expression through art
The Art of Gaman: The Story Behind the Objects (film)
Grades 6-8, Grades 9-12, Adult
Expression through art, Will to survive
Widely available
A short documentary film created by Rick Quan in 2010 to accompany the traveling exhibition, The Art of Gaman: Arts and Crafts from the Japanese American Internment Camps, 1942-1946 which features arts and crafts created by Japanese American internees while living in World War II concentration camps. The film includes stories about the inmates who created the objects included in the exhibition, as told by their children and grandchildren. It also includes an interview with the exhibition's curator, Delphine Hirasuna, who describes The Art of Gaman's purpose of celebrating the unique talents of these camp artists and helping people understand the larger story of the Japanese American mass confinement. The DVD release also includes Voices Long Silent, a 1980 short film by Bob Matsumoto, that was also shown in conjunction with The Art of Gaman exhibition.
The Art of Living: Japanese American Creative Experience at Rohwer (exhibition)
Grades 3-5, Grades 6-8, Grades 9-12, Adult
Art, History
Expression through art, Displacement
Exhibition of art objects created by Japanese Americans in Rohwer. Mounted in 2011 by the Butler Center for Arkansas Studies, the exhibition was based on the collection of Mabel Rose Jamison Vogel, an art teacher at Rohwer. Vogel bequeathed the objects to McGehee, Arkansas, Mayor Rosalie Santine Gould, who in turn donated the collection to the Butler Center in 2010. The Art of Living included about 125 pieces, ranging from fashion sketches to bird pins to paintings in a wide variety of styles, augmented by photographs of the camp and interview segments with former Rohwer inmates. The project also includes an online version of the exhibition. Among the public programs tied to the exhibition's run were talks by Delphine Hirasuna, author of The Art of Gaman and by Vivienne Schiffer, daughter of Gould and author of the novel Camp Nine, which is set in a Rohwer-like concentration camp.
The Brighter Side of Dark: Toyo Miyatake, 1895-1979 (film)
Expression through art, Immigrant experience
A 1996 short documentary film by Robert Nakamura about the life and career of Los Angeles photographer Toyo Miyatake. Through Miyatake's personal and artistic life (he was very much engaged with other modernists of the 1920s and '30s), the film reveals the vibrant artistic and intellectual milieu of Los Angeles's Little Tokyo district prior to World War II as well as the impact Executive Order 9066 and Miyatake's wartime incarceration had on his artistic career. Using a camera lens that he smuggled into the camp at Manzanar where he was incarcerated, Miyatake reconstructed a camera and eventually became the official camp photographer, producing iconic images of camp life and the landscape of the Eastern Sierras. After the war, Miyatake was able to reconstruct his photography business and resume work at his studio in Little Tokyo. For generations, he was the community's most trusted portrait photographer, enlisted for weddings, graduations, and ...
Hiroshi Honda: Detained (exhibition)
Expression through art, Evils of racism, Displacement
Exhibition featuring the internment art of Hiroshi Honda at the Honolulu Academy of Art (HAA) which ran from June 21 to September 9, 2012. Hiroshi Honda: Detained, was the HAA's second exhibition of Honda's art, after Reflections of Internment: The Art of Hawaii's Hiroshi Honda in 1994. The exhibition included drawings and watercolors produced during Honda's internment in camps in Hawai'i and in the continental U.S. drawn from the HAA's permanent collection.
Lasting Beauty: Miss Jamison and the Student Muralists (exhibition)
Expression through art
Exhibition featuring murals painted by Japanese American students at Rohwer High School under the direction of art teacher Mabel Rose Jamison Vogel. Lasting Beauty was one of eight exhibitions mounted in and around Little Rock, Arkansas, as part of the Life Interrupted project in 2004. It was later shown at the Japanese American National Museum in Los Angeles in 2005.
Living in Color: The Art of Hideo Date (exhibition)
Expression through art, Injustice, Immigrant experience
Retrospective exhibition featuring the work of Issei painter Hideo Date at the Japanese American National Museum (JANM) that opened in 2001. Curated by Karin Higa, Living in Color draws on works Date donated to JANM as well as works held by the Los Angeles County Museum of Art and Smithsonian American Art Museum from the 1930s to the 1980s. An established artist by the 1930s, Date was sent to Santa Anita and Heart Mountain during the war, where he taught art and formed an Art Students League at the latter. Best known for his watercolor and gouache painting before the war, he turned to pencil drawings while incarcerated due in part to the difficulty of obtaining painting materials while in camp. The exhibition includes several of these drawings. Unlike artists such as Henry Sugimoto or Estelle Ishigo, Date's wartime drawings do not depict scenes from the concentration camps, most being ...
Relocations and Revisions: The Japanese-American Internment Reconsidered (exhibition)
Expression through art, Displacement, Injustice, Evils of Racism
Exhibition at the Long Beach Museum of Art featuring work inspired by the wartime expulsion and incarceration by contemporary Japanese American artists, most of whom were too young to experience the concentration camps firsthand. Opening on May 10, 1992, Relocations and Revisions also included a program of videos and well as a catalog with both print and video components.
Ruth Asawa: Of Forms and Growth (film)
Expression through art, Nature as beauty, Role of women
Documentary profile of Nisei artist Ruth Asawa produced and directed by Robert Snyder. Of Forms and Growth includes footage of Asawa at home, in her garden and at work, and features the artist talking about her artistic influences and techniques. In particular, she highlights the influence of artists Joseph Albers and Buckminster Fuller, and the film includes footage of Asawa and Fuller. She goes on to talk about the various media she has worked with, including ink and oil paintings, wire and paper sculptures, and sculptures made from baker's clay. The film also explores Asawa's community work, particularly in establishing art programs in schools as well as a community arts festival. Photographer Imogen Cunningham talks about photographing Asawa and her family and about Asawa's marriage to Albert Lanier. Asawa's early life—including her wartime incarceration—is covered only briefly, and her later work that is influenced by Japanese American history is not ...
Citizen 13660 (book)
Memoir, Graphic Novels
Displacement, Evils of racism, Expression through art, Will to survive
Published in 1946 as the last camps were being shuttered, Nisei artist Miné Okubo's illustrated eponymous memoir, Citizen 13660, has the distinction of being the earliest, first-person, book-length account of the American concentration camp experience. Always a vigorous booster of her own work, Okubo promoted the book that came to define her career as "the first and only documentary story of the Japanese evacuation and relocation written and illustrated by one who was there."[1] All told, Okubo produced an estimated 2,000 portraits of camp life in a range of styles and materials, including ink, charcoal, and gouache, while imprisoned at the Tanforan temporary detention camp in California and the Topaz concentration camp in Utah. Okubo's voluminous output notwithstanding, it was primarily Citizen 13660's roughly 200 line-drawings that established her standing as a major chronicler of and historic witness to the camp experience.
Harsh Canvas: The Art and Life of Henry Sugimoto (film)
Expression through art, Immigrant experience, Injustice
A 2001 biographical documentary film on the life and work of Issei artist Henry Sugimoto, based on the artist's memoirs and testimony before the Commission on Wartime Relocation and Internment of Civilians. The film highlights Sugimoto's art through archival and contemporary footage and follows his life's journey from immigration to his incarceration with his family during World War II in Arkansas, and postwar relocation to New York. Actor Mako narrates the film in the voice of Sugimoto. Interviews with his daughter Madeleine Sugimoto and sister-in-law Naomi Tagawa provide additional information on his life, while fellow artist George Mukai and curators Kristine Kim and Stephanie Barron discuss the significance of his work.
Henry Sugimoto: Painting an American Experience (exhibition)
Expression through art, Immigration experience, Displacement
Retrospective exhibition at the Japanese American National Museum (JANM) featuring the work of Issei artist Henry Sugimoto, who was best known for his depictions of the wartime incarceration experience, many of them executed while he was confined at the Fresno, Jerome, and Rohwer camps. Debuting at JANM in 2001, the exhibition subsequently traveled to Sacramento and to Arkansas.
Matsumi Kanemitsu: A Japanese American Artist (film)
Short profile of artist Matsumi "Mike" Kanemitsu that includes his own thoughts about his techniques and goals as an artist. Narrator Amy Hill provides a brief outline of his life and work accompanied by many photographs and the music of Miles Davis. His World War II experience as a Kibei in the U.S. Army is largely passed over to focus on his postwar art career.
The Music Man of Manzanar (film)
Expression through art, Optimism – power or folly, Power of the past
A short documentary film by Brian Tadashi Maeda about Lou Frizzell, who came to the World War II American concentration camp at Manzanar to teach drama and music to the Japanese American high school students who were imprisoned there. The film includes interviews with his former students, who were inspired by Frizell's ability to help the students temporarily forget their circumstances and lose themselves to the beauty and power of music and the joy of being young. The film also includes re-enactments of Manzanar High students performing parts of Frizzell's operetta Loud and Clear. The second half of the film turns its attention to Arnold Maeda, the filmmaker's older brother and a student of Frizzell's who performed in Loud and Clear; we attend a 2002 ceremony at Santa Monica High School in which Maeda and other Japanese American students receive the diplomas they were denied by the mass incarceration and ...
My Life with a Thousand Characters (book)
Coming of age, Expression through art, Overcoming - fear, weakness, vice
The creator of numerous Hanna-Barbera characters including those from Scooby Doo tells his life story, including his childhood as a Nisei in Los Angeles and his experience incarcerated at Manzanar concentration camp.
Searchlight Serenade (film)
A 2012 documentary film on Japanese American swing dance bands in the World War II concentration camps. Produced by Claire Reynolds for KEET, a Eureka, California, based public television station serving California's northern coast, the hour long documentary debuted on October 30, 2012. The film was funded by grants from the Japanese American Confinement Sites Grant program, the California Civil Liberties Public Education Program, and the Humboldt Area Foundation (Victor Jacoby Artist Grant).
The Journey (book)
Picture Book, Children's
Evils of racism, Expression through art, Power of the past
A children's book by Sansei author and artist Sheila Hamanaka, published by Orchard Books in 1990. The Journey: Japanese Americans, Racism and Renewal is based on a 25-foot mural painted by Hamanaka that mixes the history of Japanese Americans with an emphasis on the American concentration camps of World War II with her own family's experience using a mixture of Japanese iconography, realism and caricature. The book features both close-ups of the mural as well as a panoramic view of all five panels, which are accompanied by the author's text, giving her perspective on history, tradition, and hope. It also includes a preface and afterword reflecting on these themes.
The View from Within: Japanese American Art from the Internment Camps, 1942-1945 (exhibition)
Expression through art, Displacement, Injustice
The first-ever national exhibition of more than 130 paintings and other works of art produced by Japanese American artists during their incarceration in the World War II American concentration camps, timed to commemorate the 50-year anniversary of the signing of Executive Order 9066, which authorized the mass incarceration of over 120,000 Japanese Americans. The exhibition was curated by Karin Higa and jointly coordinated by the Japanese American National Museum, the UCLA Wight Art Gallery, and the UCLA Asian American Studies Center. It first opened at the Wight Art Gallery in Los Angeles on October 13, 1992, and ran until December 6, 1992, then subsequently traveled to the San Jose Museum of Art (January 15-April 10, 1994), Salt Lake Art Center (July 1994), Honolulu Academy of Arts (September 1994), and the Queens Museum New York (May 11-July 16, 1995).
You Don't Know Jack: The Jack Soo Story (film)
Expression through art, Overcoming – fear, weakness, vice
Feature-length documentary film on singer and actor Jack Soo. Based on interviews with friends and colleagues along with many clips from his film and television appearances, You Don't Know Jack also covers his time at Tanforan and Topaz during World War II.
The Art of Gaman: Arts and Crafts from the Japanese American Internment Camps, 1942-1946 (exhibition)
Expression through art, Displacement, Beauty of simplicity
Traveling exhibition highlighting art and craft objects made by incarcerated Japanese Americans in wartime concentration camps. Curated by Delphine Hirasuna and based on the 2005 book of the same name, The Art of Gaman exhibition has traveled to fourteen venues since its debut in 2006.
California's Gold with Huell Howser: Songbird of Manzanar (film)
Reunion, Expression through art
Episode 7003 of the long running California public television television series, California's Gold with Huell Howser. Filmed at the 2004 Manzanar Pilgrimage, this episode profiles two Nisei artists, painter Henry Fukuhara and singer Mary Nomura. Fukuhara is introduced by colleague Al Setton, and two of his paintings from the collection of the Japanese American National Museum are also highlighted. Fukuhara, who was just short of his ninety-first birthday at the time, is interviewed and is shown working on a painting. Nomura, the "Songbird of Manzanar," is interviewed about her singing exploits at Manzanar and is shown performing "The Manzanar Song" at the grand opening of the Manzanar Visitors Center.
Days of Waiting (film)
Expression through art, love and sacrifice, injustice
An award-winning 1990 documentary film by Steven Okazaki about the life and work of artist Estelle Peck Ishigo, a Caucasian woman who voluntarily entered the Heart Mountain concentration camp in Wyoming during World War II with her Japanese American husband. The film won an Academy Award for Documentary Short Subject in 1991 and The George Foster Peabody Award.
Gasa Gasa Girl Goes to Camp (book)
Memoir, Art
Coming of age, Expression through art, Growing up – pain or pleasure, Immigrant experience, Oppression of women
Concentration camp memoir by a Nisei artist. Ten years old at the time of the wartime incarceration, Lily Yuriko Nakai Havey was sent to Santa Anita Assembly Center and Amache with her older brother and Issei parents. Evolving from captions that accompanied displays of the author's postwar paintings, Gasa Gasa Girl intersperses stories of life in the camps with recollections of happier days with her parents, brother, and aunts in Hollywood, California, before the war. The book is illustrated by twenty-eight color reproductions of her watercolor paintings that depict both her external and internal lives during the war, as well as a like number of family photographs, archival photographs, and photographs of key objects mentioned in the text. Published by the University of Utah Press, the book includes an foreword by historian Cherstin Lyon.
The Invisible Thread (book)
Grades 3-5, Grades 7-8, Grades 9-12
Grades 3-5, Grades 7-8
Memoir, Children's
Immigrant experience, Growing up – pain or pleasure, Expression through art, Facing darkness, Overcoming – fear, weakness, vice
Memoir for young adult readers by the acclaimed children's book author that covers her charmed childhood in Berkeley, California, and her wartime incarceration during World War II.
Jimmy Murakami-Non Alien (film)
Injustice, Expression through art, Power of the past
Documentary film about the expatriate Nisei artist and animator Jimmy T. Murakami, focusing on his and his family's wartime incarceration at Tule Lake and his return to Tule Lake as part of the 2009 pilgrimage. The film mixes live action footage set in the film's present with animated segments recalling the eight-year-old Jimmy's experiences in camp and also notes his formative years, his Hollywood career, and his life as an expatriate in Ireland. The film was produced in Ireland by Loop Line Film and directed by Sé Merry Doyle. It has screened in numerous film festivals in both Europe and the United States.
Relics from Camp: A Video Journey (film)
Expression through art, Power of the past, Evils of racism
Companion film to art installation of the same name produced and directed by artist Kristine Yuko Aono and narrated in her first-person voice. Aono explains the origins of the projects and includes footage of her and her family visiting various former concentration camp sites to collect dirt and artifacts as well as installation of the exhibition in three venues. The film also features three Nisei who contributed objects to the installation talking about the significance of those objects.

redpajama_set_name: RedPajamaCommonCrawl


text:
Samsung 840 Pro SSD: More Speed, Less Power, And Toggle-Mode 2.0
By Andrew Ku 2012-09-24T13:00:00Z
Samsung is taking the wraps off its new flagship 840 Pro SSD. It's promising better performance, lower power consumption, a five-year warranty, and aggressive pricing. Is such a compelling combination of benefits really possible in such a crowded market?
Benchmark Results: Power Consumption
Page 1: Samsung 840 Pro: A New SSD Flagship
Page 3: Benchmark Results: 4 KB Random Performance
Page 4: Benchmark Results: 128 KB Sequential Performance
Page 5: Benchmark Results: Storage Suite v1.0 And PCMark 7
Page 6: Benchmark Results: Power Consumption
Page 7: Samsung 840 Pro: The Makings Of A New King
Power Consumption: Idle
Fact: SSDs are so fast that they spend most of their time idle. During a recent virus scan benchmark we ran that lasted almost 30 minutes, the drive was only busy for 281 seconds. Consequently, idle SSD consumption is the most important power measurement to take in a desktop environment.
In our experience, the capacity of an SSD has almost no impact on its idle power consumption. And if past reviews taught us anything, it's that the same manufacturers tend to do well (or not) from one generation to the next, giving us a reason to get excited about the 840 Pro.
Samsung's 830 impressed us with its efficiency (high performance at low power). However, the 840 Pro takes things one step further. Not only does it best the competition, but it does so using the least amount of power at idle.
Power Consumption: PCMark
Power consumption during a workload is also a critical measurement, revealing a more complete picture of efficiency. It's impractical to log the energy use of an SSD over the hours it takes to run our Storage Bench v1.0. So, we're forced to rely on a shorter-duration run of PCMark 7. The results of this test mostly mirror what we saw in the first power chart, scaled up slightly. The difference this time is that capacity matters more. Larger models tend to consume slightly more power during use, though the outcome still largely lines up by brand.
Samsung impresses us yet again. The company's latest SSD consumes the least amount of power during idle and during use, all the while offering top-of-the-line performance. When it comes to power efficiency, Samsung's 840 Pro is the clear winner.
Current page: Benchmark Results: Power Consumption
Prev Page Benchmark Results: Storage Suite v1.0 And PCMark 7 Next Page Samsung 840 Pro: The Makings Of A New King
mayankleoboy1 24 September 2012 19:09
Kudos to Samsung for getting ahead of the competition yet again. And the complete SSD is designed and manufactured in house! And thay are sure of its reliability, hence the 5 year warranty.
I dont see why it did not get a Toms approved award.... its faster, uses less power, and offers better warranty than the competition. And the firmware is also stable, unlike SF.
Where are the TRIM efficiency tests ?
Despite what the judges believe, Samsung is a great innovator. Unlike some fruity companies, that basically license other companies tech....
willyroc 24 September 2012 19:35
Wow, Samsung was ahead of competitors with its 830 due to superior performance and low prices. Now I bet the 840 has, (or will) widened that lead.
pocketdrummer 24 September 2012 19:57
mayankleoboy1Kudos to Samsung for getting ahead of the competition yet again. And the complete SSD is designed and manufactured in house! And thay are sure of its reliability, hence the 5 year warranty. I dont see why it did not get a Toms approved award.... its faster, uses less power, and offers better warranty than the competition. And the firmware is also stable, unlike SF.
Probably because it still costs $600 for a pathetic 512gb of memory. Once you can get 512gb for under $200 and have a life span that gets close to a decent HDD, then you can expect an award.
They keep increasing the speed, but they do nothing to reduce the COST. I would take an SSD half as fast as some that are out now if they cost me half as much and had a decent amount of storage. It's still pointless for someone like me who has over 1.5TB of space used. I can't load Windows and all of my critical programs on a 256GB SSD, and the 512GB wouldn't give me much wiggle room. Not to mention my sample libraries that would benefit from the speed... that are hundreds of GB each.
So it's the Samsung 840Pro 256GB for C:, and it's the Seagate single-platter 1TB drive (ST1000DM003) for storage. Awesome awesome combo.
sherlockwing 24 September 2012 20:10
Gah, 1 month after I get the 830 now comes the 840 Pro who gets another 120 mb/s in extra speed.
sherlockwingGah, 1 month after I get the 830 now comes the 840 Pro who gets another 120 mb/s in extra speed.
Thats technology growth for you :D
aicom 24 September 2012 20:36
Well this makes my new SSD decision much easier.
To those that complain about SSD life span, the truth is that in 3 years(typical warranty of an SSD) you won't be using the same SSD because the new SSD will be 40-50% faster. 3 year from now I'd be using the 860 Pro with anyway and when an SSD reach end life it just can't write anymore, you can still read all the files onto your new SSD unlike a hard drive that just breaks down.
AMD CEO Lisa Su Joins Cisco's Board of Directors
Upcoming Raspberry Pi Alternative Stands Out With 2 Ethernet Ports
Nvidia GTX 1650 Ti Specs Listed in Benchmark Results
Trump's Tariffs and Tech: Everything You Need to Know (Update: Some Postponed Indefinitely)


We consistently strive to increase the service life of buildings, and therefore the value of our clients' assets, by adhering to high professional standards and ensuring modern technical facilities. Even during the pre-implementation phase of your investment project, we offer complete supervision services until its successful completion.
Management of CIMEX GROUP facilities is carried out by ARRIDERE s. r. o.
Although ARRIDERE s. r. o. was founded in 2015, it firmly stands on CIMEX GROUP's strong foundation of long time commercial property and hotel management experience. Facility management by ARRIDERE is defined by efficient, reliable and flexible support with always positive attitude. ARRIDERE quickly adapts and responds to the changing landscape of property management so your individual needs, and the unique needs of your building's character, are always put front and centre.


After being born a chubby 8 lb 6 oz baby, landing solidly in the 75th percentile for weight, Annabelle's growth chart started to quickly take a nose-dive. As her parents, we nervously watched her weight fall to the 26th percentile at two months, the 12th percentile at 4 months, the 6th at nine month, and off the growth chart (below the 3rd percentile) at 12 months.
We remained very concerned not only about Annabelle's weight, but also that, since birth, she had not been eating enough. When Annabelle was 13 months old we finally received a referral to Children's Hospital, and from the time she was 15 months old until the time she was 6 years old, she was a patient of the Feeding Team at the Children's Hospital Feeding and Swallowing Clinic. No words could ever express appropriate thanks for the care she received during those years. It was truly second to none.
At our first appointments at Children's our suspicions were confirmed when we learned that although Annabelle should have been consuming 1,000 calories a day, at times she was consuming as few as 90. The immediate goal was to increase Annabelle's calories to get her to gain weight, and the long term ultimate goal was to get Annabelle to a point where she felt hungry on her own and wanted to eat.
Throughout the next 4-5 years, through the combined use of the dietary supplements, medication, and the behavioral tips from psychologist Dr. Silverman, ( who would observe Annabelle eat –both at the clinic an well as live from our kitchen in De Pere via webcam) we were able to build up Annabelle's appetite and in turn get her to a point where she was relying less on supplements and more on "normal" food. Then, eventually, when Annabelle was about 5 years old, we were able meet our long term goal, and Annabelle was able to eat well enough on her own, that she was able to be taken off the mediation and supplements completely.
Dealing with Annabelle's growth issues was very difficult, but working with the Feeding Team convinced us that we were receiving the best care possible for our little girl at Children's Hospital. Today Annabelle is a happy, healthy, active, bright, eight year old, that , like most eight year olds, seems to be hungry all the time! We will be forever grateful to the Feeding Team, as we truly believe she would not be where she is today without the amazing care she received from them at the Children's Hospital Feeding and Swallowing Clinic.


Most of business owners are using "1C: Business accounting" for an accounting. Tax calculation and creation of tax reports are making in the same program. Very often employees of the business accounting department are making mistakes in the information addition and reports creation, which can influence badly on the business.
Ask your office accountant to create and print a document "trial balance" for any period. Best of all – for the last quarter, in which all reports were done. This operation will take 3 minutes.
"Red" or "negative remainder" in accounts.
First of all, these accounts are 01, 10 and 41.
In these accounts assets of a company are shown, specifically main funds, materials, articles. Negative remained is a sign that it was written off more from the accounting than come to the balance.
Negatives in 20, 25, 26 and 44 accounts are a sign of an incorrect formation of the prime cost.
Negative remainders in 50 and 51 accounts show the overrun of money funds: there is a negative «remainder" on the operating account and in the cash desk.
Ask your office accountant how it is possible and how it influence on tax reports. Most likely such mistakes will cause an incorrect calculation of a consumed part in tax reports and mistakes in a business accounting balance and reports about gains and losses.
Outstanding balance in 84 and 90 accounts means that business and tax accounting gain was not closed fully by the end of the reporting period.
This means that some losses were not distributed and some part of costs is still open. That fact is reflected on taxes – they will be bigger. It applies to a profit tax and to a united tax on the simplified tax system.
If there is an outstanding balance in "00" account, it means that accounting was done with rough mistakes.
Remember: zero accounts are used only in one case: in transferring of outstanding balances during program changes (for example, from version 1C7.7 to 1C8.1).
If an office accountant made such operation in other cases, it was a rough violation.
Business accounting operations, made by hand.
There is an opportunity to make operations by hand if there are untypical operations or updating in programs 1C.
Anyway presence of such operations is a reason for anxiety. May be employees made such operation to hide the mistake.
Every such operation should be proved by some documents – source documents, reference-calculations, contracts, etc.
Pay attention: business accounting reference is a special document. It should be mentioned in it, why such untypical operation is formed, also link to concrete circumstances or concrete calculations should be shown. Such reference should contain date of creation and signature of the responsible person. An absence of sustaining documents for a proof of business accounting reference is a danger for tax recharges during tax inspections.
Requirements for source documents are shown in the Regulation for making of a business accounting and business reports in the Russian Federation (Approved by an order of the Ministry of Finance from 29th July, 1998, #34n).
Invoices, acts of made works, sale and cash desk receipts, arrival and consumed orders, payrolls on employees salary – these are source documents.
They are source documents, because on their base different operations are doing in the business accounting.
Incorrectly made source documents or an absence of requisites in them can bring disagreements of tax inspectors.
Ask employees from the business accounting department folders with invoices, expense reports, cashier reports and make a selective inspection.
Pay attention on the fact that all documents should contain the date and the number. Corrections in such documents are impossible. It is necessary to have all signatures of all responsible persons.
For example, in a cash voucher during the getting money from a cash desk it is necessary to be a signature of the getter and also his passport information. All employees should put their signature in payrolls after getting a salary.
Mistakes in source documents can cause tax recharges during the tax inspection. Most attentively should be looked at documents which prove company's losses and at invoices.
Requests about tax, charge, penalty payments.
Ask your employee about the reason of this "arrearage".
For example, taxes were paid but there were erroneous requisites, what brought a "suspension" of these sums as unexplained payments.
Also it can be unpaid taxes. All reports were made in time, but taxes were paid later.
Such letter, for example, can cause a blocking of the business account, after what the activity of the company will be paralyzed for some time.
If an inspector asks to explain the discrepancy in tax reports, ask him, what caused this discrepancy.
Such discrepancy can be caused by sending of the declaration "as it is", and later some changes in this declaration.
Such variant can make inspectors to check your activity more detailed.
By this means every manager or a business owner even without business accounting education or outside auditors, can make primary analysis of business and tax accounting of his company. This will help you to save money and time and find undesirable situations in time.