Daily Archives: October 10, 2012

Test Spots Newborn Gene Disease

Posted: October 10, 2012 at 7:18 pm

WASHINGTON (AP) - Too often, newborns die of genetic diseases before doctors even know what is to blame. Now scientists have found a way to decode those babies' DNA in just days instead of weeks, moving gene-mapping closer to routine medical care.

The idea: Combine faster gene-analyzing machinery with new computer software that, at the push of a few buttons, uses a baby's symptoms to zero in on the most suspicious mutations. The hope would be to start treatment earlier, or avoid futile care for lethal illnesses.

Wednesday's study is a tentative first step: Researchers at Children's Mercy Hospital in Kansas City, Missouri, mapped the DNA of just five children, and the study wasn't done in time to help most of them.

But the hospital finds the results promising enough that by year's end, it plans to begin routine gene-mapping in its neonatal intensive care unit - and may offer testing for babies elsewhere, too - while further studies continue, said Dr. Stephen Kingsmore, director of the pediatric genome center at Children's Mercy.

``For the first time, we can actually deliver genome information in time to make a difference," predicted Kingsmore, whose team reported the method in the journal Science Translational Medicine. Even if the diagnosis is a lethal disease, ``the family will at least have an answer. They won't have false hope," he added.

More than 20 percent of infant deaths are due to a birth defect or genetic diseases, the kind caused by a problem with a single gene. While there are thousands of such diseases - from Tay-Sachs to the lesser known Pompe disease, standard newborn screening tests detect only a few of them. And once a baby shows symptoms, fast diagnosis becomes crucial.

Sequencing whole genomes - all of a person's DNA - can help when it is not clear what gene to suspect. But so far it has been used mainly for research, in part because it takes four to six weeks to complete and is very expensive.

Wednesday, researchers reported that the new process for whole-genome sequencing can take just 50 hours, half that time to perform the decoding from a drop of the baby's blood, and the rest to analyze which of the DNA variations uncovered can explain the child's condition.

That's an estimate: The study counted only the time the blood was being decoded or analyzed, not the days needed to ship the blood to Essex, England, home of a speedy new DNA decoding machine made by Illumina, Inc., or to ship back the results for Children's Mercy's computer program to analyze. Kingsmore said the hospital is awaiting arrival of its own decoder, when 50 hours should become the true start-to-finish time.

Specialists not involved with the study said it signals the long-promised usefulness of gene-mapping to real-world medicine finally is close. ``Genomic sequencing like this is very practical and very real now," said Dr. Arthur Beaudet of the Baylor College of Medicine, which also is working to expand genomic testing in children. ``Fast forward a year, and I think this kind of thing will probably be pretty routine."

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Test Spots Newborn Gene Disease

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Mount Sinai researchers discover gene signature that predicts prostate cancer survival

Posted: at 7:18 pm

Public release date: 10-Oct-2012 [ | E-mail | Share ]

Contact: Mount Sinai Press Office newsmedia@mssm.edu 212-241-9200 The Mount Sinai Hospital / Mount Sinai School of Medicine

Researchers from Mount Sinai School of Medicine have identified a six-gene signature that can be used in a test to predict survival in men with aggressive prostate cancer, according to new research published in the October issue of The Lancet Oncology. This is the first study to demonstrate how prognostic markers may be useful in a clinical setting.

Using blood from 202 men with treatment-resistant prostate cancer, researchers found six genes characteristic of treatment-resistant prostate cancer. Men with the six-gene signature were high-risk, with a survival time of 7.8 months, and men without it were low-risk, with a survival time of approximately 34.9 months. A replication study of 140 additional patients validated these findings. William K. Oh, MD, Chief of the Division of Hematology and Medical Oncology of The Tisch Cancer Institute at The Mount Sinai Medical Center, led the research team.

"There is an urgent need for predictive models that help assess how aggressive the disease is in prostate cancer patients, as survival can vary greatly," said Dr. Oh. "Our six-gene model, delivered in a simple blood test, will allow clinicians to better determine the course of action for their patients, determine clinical trial eligibility, and lead to more targeted studies in late-stage disease."

Until now, disease prognosis in advanced prostate cancer could only be determined through clinical predictors or, occasionally, tumor biopsies with only moderately predictive results. This study shows the efficacy of the six-gene model blood test in determining length of survival.

"The genes noted in the model suggest possible changes in the immune system related to late-stage disease that warrant further study as a target for immune-based therapies," said Dr. Oh.

Dr. Oh's team is conducting additional studies exploring the feasibility of the six-gene signature in other types of prostate cancer, the stability of the signature during the course of a patient's illness, and the predictive ability of this signature in patients with prostate cancer treated with immune-based therapies.

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This work was done in collaboration with colleagues at Dana-Farber Cancer Institute in Boston and Memorial Sloan-Kettering Cancer Center in New York City.

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Democratic PAC using ‘loud’ Walsh in ads against colleagues Dold, Biggert

Posted: at 7:18 pm

By Natasha Korecki Sun-Times Media October 9, 2012 4:14PM

Three Democratic U.S. congressional candidates, Bill Foster, Brad Schneider and Tammy Duckworth. File photo. | John H. White~Chicago Sun-Times.

storyidforme: 38239530 tmspicid: 10042379 fileheaderid: 4623087

Updated: October 10, 2012 2:42AM

A pro-Democratic group is using video cuts of the loud, politically incorrect tea partyer Joe Walsh to turn up the volume against Republicans in three key Chicago-area races.

Walshs bluster is the centerpiece of a new spot, which is part of a $2.4 million ad buy attacking the 8th District congressman from McHenry, and two other Republicans who are targeted by Democrats.

Dont blame banks! I am tired of hearing that crap! Walsh is seen imploring on a video of him talking to district residents.

In another clip hes shown saying: I want America to pay for my contraceptives. Youre kidding me. Go get a job!

Clearly viewing Illinois as fertile ground to win over congressional seats, the House Majority PAC, which aims to put Democrats back into the lead in Washington, disclosed Tuesday it had pumped $2.4 million into the three key Chicago-area races including U.S. House races in the 8th, 10th and 11th congressional districts.

One video titled Loud links Walsh to U.S. Reps. Bob Dold of Kennilworth and Judy Biggert of Hinsdale, both of whom are incumbents. While Walsh is a tea partyer through and through, both Dold and Biggert are far more moderate. Still, the ad which, according to the House Majority PAC, will run in heavy rotation for two weeks works to link the three as equally out of step but only plays video snippets of Walsh talking.

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Democratic PAC using ‘loud’ Walsh in ads against other Dold, Biggert

Posted: at 7:18 pm

By Natasha Korecki Sun-Times Media October 9, 2012 4:14PM

Three Democratic U.S. congressional candidates, Bill Foster, Brad Schneider and Tammy Duckworth. File photo. | John H. White~Chicago Sun-Times.

storyidforme: 38239530 tmspicid: 10042379 fileheaderid: 4623087

Updated: October 10, 2012 2:42AM

A pro-Democratic group is using video cuts of the loud, politically incorrect tea partyer Joe Walsh to turn up the volume against Republicans in three key Chicago-area races.

Walshs bluster is the centerpiece of a new spot, which is part of a $2.4 million ad buy attacking the 8th District congressman from McHenry, and two other Republicans who are targeted by Democrats.

Dont blame banks! I am tired of hearing that crap! Walsh is seen imploring on a video of him talking to district residents.

In another clip hes shown saying: I want America to pay for my contraceptives. Youre kidding me. Go get a job!

Clearly viewing Illinois as fertile ground to win over congressional seats, the House Majority PAC, which aims to put Democrats back into the lead in Washington, disclosed Tuesday it had pumped $2.4 million into the three key Chicago-area races including U.S. House races in the 8th, 10th and 11th congressional districts.

One video titled Loud links Walsh to U.S. Reps. Bob Dold of Kennilworth and Judy Biggert of Hinsdale, both of whom are incumbents. While Walsh is a tea partyer through and through, both Dold and Biggert are far more moderate. Still, the ad which, according to the House Majority PAC, will run in heavy rotation for two weeks works to link the three as equally out of step but only plays video snippets of Walsh talking.

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Posted: at 7:18 pm

Margies lived all her life in blue-collar South Boston. Now 30 years since she was a teen, she recounts the fates of former Southies. Sheila Sheen odd. And Marty McDermotts doing time in Walpole prison. The Burke brothers? Who knows, but it cant have been good. And homeless Cookie died on the street just days ago.

Margies doing better? Dont kid yourself. She just lost her cashiers job at the Dollar Store. Her deadbeat husbands who knows where. Daughter Joyce has special needs, which is why Margie was often late to work, and the landladys already tapping her foot for the rent.

For two months around the time Joyce was conceived? Margie dated Mickey Dillon. He made it out of the hardscrabble, Old Harbor projects and became a fertility doctor. Now hes got a classy roost on Chestnut Hill. Margie and friends remember him as good people. Even though they havent seen each other in decades, and even though hes probably lace curtains the opposite of a gravel-mouthed Southie maybe he can her find work.

In an interview, David Lindsay-Abaire said he gets the idea for a play when two ideas collide. He hailed from Bostons south side, made (in)famous in The Departed and Good Will Hunting and also for its antibusing stance in the 70s. He left, got an education, but found that some part of him will always be a Southie.

In the beginning, his Good People feels odd to watch. Its about subjects you almost never see in a theater. First and foremost, Margie needs a job. She must make ends meet or she and Joyce could end up like Cookie. Shell even babysit, if it pays more than her babysitter charges while Margies working. For those who can afford theater tickets, heres how the who-knows-how-many-jobless struggle day to day. Today.

Good People is also about social class, practically a taboo topic on American stages. Lindsay-Abaire explores differences, but without sociological generalities or authorial intrusions. Instead, in Act Two, he creates a triangle: a have-not (Margie, at Chestnut Hill in search of a job any job); a have (Kate, Mikes Georgetown-educated, African-American wife); and Mike, a nouveau-have, convinced he made it out of Southie on his own, but unable to sever ties with the old neighborhood.

Stevie, the store manager, says Maggie makes everything so difficult. She pushes buttons, as if she wants to hurt others as much as shes been hurt. As Margie, a terrific Eva Kaminsky never skimps on her irksome qualities (if she went into the audience, Margie would interrogate patrons to expose pretense and best kept secrets). At the same time, Kaminsky shows that underneath and if she had some luck the plays title could refer to Margie.

She needs a helping hand. Mike, whom the play practically shreds, denies he ever had one. Silver-haired R. Ward Duffy bounces Mike between social classes, his past and present. The friction shatters his patrician veneer.

Denitsa Bliznakovas excellent costumes cut to the quick. When she goes to Chestnut Hill, Margies best outfit cant compete with Kates designer-tailored, lounge-about-the-house togs. As Kate, elegant Nedra McClyde exudes restraint and sophistication, then fires sharp jabs when the gloves come off.

Paul Mullins directs with a deft, almost invisible hand. When the Southies gather James McMenamin (Stevie), Carol Halsted (Jean), and especially Robin Pearson Rose (Dottie) Mullinss stagings are a politically incorrect, internecine hoot.

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Censorship Bill pushed aside by Parliament

Posted: at 7:17 pm

Local artists, theatre-goers and theatrical producers are displeased by the fact that the Censorship Repealing Bill is set to be relegated once again to make room for discussions about the IVF Bill, the Cohabitation Bill, and the Car Park Privatisation Bill.

Unifaun Theatre Company Director Adrian Buckle told di-ve.com that while he understands the importance of the other bills, he is very disappointed that the impending issue is not being given more precedence.

I have a feeling at this point that we will have to wait for a new legislature for this bill to be approved, he said, before claiming that Minister for Tourism, Culture and the Environment Mario De Marco seems to be the only voice in our favour in this affair.

When asked whether he thinks that should the Labour Party (PL) be elected in government, things would change, Mr Buckle revealed that he was personally promised by Dr Owen Bonnici that PL, if in Government, would pass the bill.

I will be holding PL to this promise. If the party is elected to power in the upcoming elections, I will be producing Stitching and then we will see if PL is as good as its promises to fight censorship, he maintained.

The play "Stitching" was banned from being staged last year by the Film and Stage Classification Board. Penned by Scottish writer Anthony Nielson, "Stitching" addresses themes such as abortion and death.

An appeal to the Courts decision was made by the producers of the play in an effort to send out the message that the very banning of the play represented a denial of freedom of expression.

Mr Buckle told di-ve.com that board member Teresa Friggieri admitted to influencing the other members in reaching a decision to her liking by giving them notes on what to look for in the text. He also said that Joe Camilleri, another member on the board, admitted that he had no idea how the play ended, even though he had reread it a week earlier. Dione Mifsud, yet another member, said in court that his theatre experience was limited to his daughters school concerts and a couple of pantomimes.

Despite the Arts Councils determination to formulate an anti-censorship bill and make the public aware of it, this bill has been shrugged off by Parliament, which is choosing to focus on other issues.

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Libertarians are wrong about smoking bans

Posted: at 7:17 pm

Among the mythologies of the pseudo-libertarian ideology fashionable among modern Republicans is the notion that any government regulation is an unconscionable assault on individual liberty and, if left alone, individuals will themselves make decisions that are ultimately good for the community.

There is no clearer proof that this is an asinine theory than the current debate regarding smoking bans in the Lowcountry, where the City of North Charleston recently decided against enacting a ban on smoking. After all, how long should the community wait for individuals to realize that their personal liberties are negatively affecting everyone else?

Smoking bans are nothing new. One of the earliest dates back to the middle of the 1500s when Mexico and some Spanish holdings in the Caribbean banned tobacco consumption inside churches (which is now such a common thing that it is hard to imagine that one could ever smoke in church). One wonders if such bans were as controversial back then as they are today. Regardless, I doubt smokers 500 years ago thought that the ability to smoke whenever and wherever they pleased was considered to be a right, as many do today.

Today's pro-smoking libertarian crowd is focused primarily on the perceived right of business owners to do what they want with their businesses, a point made moot by existing regulations detailing exactly what business owners may or may not do. The pro-puffers also like to proclaim that patrons are free to pick and choose businesses that either ban or allow smoking and then act as if this one "freedom" is the only benchmark of a free society.

Business owners, naturally, tend to view themselves as individuals who should have the right to allow or ban smoking as they see fit. This ignores the simple fact that there exists a communitarian aspect to any business that is open to the public and which employs individuals other than the proprietor. As a result, the government has the right to regulate and legislate these businesses. Safety standards, wage guarantees, and equal hiring policies are all part of this arrangement, as are restrictions even on hours of operation.

As for patrons, how their rights are affected one way or the other is unclear. After all, they truly are the ones with the most choice in the matter, and they are going to go somewhere no matter what bans or regulations are in place. Otherwise, most of the bars in places like New York City would have dried up years ago, as would most churches.

Ultimately, though, smoking bans most benefit those who are often least mentioned the workers who spend anywhere from four to 10 (or more) hours a day in smoke-filled bars and restaurants. When they are mentioned, it is usually with the most rational and reasoned of conservative mantras, "If you do not like where you work, you are free to go elsewhere." Of course, the individuals who spout this kind of nonsense ignore the fact that jobs aren't as plentiful as they used to be.

For people who claim to be interested in Constitutional government, it seems that ignoring the parts that disagree with their ideology is common. The Constitution in all its vaguely worded glory does contain references to both personal liberty and the general welfare. How a society balances those two concepts is as important as having either one of them individually, and it is this balancing act that few people readily accept in modern politics.

One accepted premise of individual rights is that mine end where yours begin. In other words a person should be free to do what she likes as long it does not infringe on another's freedom to do the same. Smoking in public places, even "private" businesses, is not an inviolate right. As Canadian conservative writer Rachel Marsden puts it, "Smoke anywhere you want, but do it with a plastic bag tied over your head, please. Then everyone is happy. Smokers lament the law becoming increasingly restrictive as to where they can light up in public, but it's only because enough of them have chosen to behave in a manner that restricted others' freedom not to smoke."

Ultimately, the inability to understand that personal behavior affects communities and that legislation is sometimes required to achieve a balance between individual freedom and the needs of the community is the fundamental failure of the pseudo-libertarian ideology. True libertarianism understands the difference between personal rights and infringing on the rights of others just to fulfill a selfish desire, and it is this libertarianism that informs the best public policy decisions. The City of North Charleston's vote against a smoking ban is not one of the best by a long shot.

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Exhibition at the Grand Palais seeks to shed light on Edward Hopper's works of art

Posted: at 7:16 pm

PARIS.- Paintings by Edward Hopper (1882-1967) have the deceptive simplicity of myths, a sort of picture-book obviousness. Each one is a concentrate of the hypothetical knowledge and dreams conjured up by the fabulous name of America. Whether they express deep poignancy or explore figments of the imagination, these paintings have been interpreted in the most contradictory ways. A romantic, realist, symbolist and even formalist, Hopper has been enrolled under every possible banner. The exhibition at the Grand Palais seeks to shed light on this complexity, which is an indication of the richness of Hoppers oeuvre.

It is divided chronologically into two main parts: the first section covers Hoppers formative years (1900-1924), comparing his work with that of his contemporaries and art he saw in Paris, which may have influenced him. The second section looks at the art of his mature years, from the first paintings emblematic of his personal style - House by the Railroad - (1924), to his last works (Two Comedians -1966).

Hopper entered Robert Henris studio at the New York School of Art in the early years of the twentieth century. Henri was a colourful figure; in 1908, he founded the Ashcan School, whose very name was a statement of the uncompromising realism of its most radical members.

Hoppers time in Paris (nearly a year in 1906, followed by shorter stays in 1909 and 1910) offers an opportunity to compare his paintings with those he saw in the citys galleries and salons. Degas inspired him to take original angles and apply the poetic principle of dramatisation. The massive structure of his views of the quays of the Seine was borrowed from Albert Marquet. He shared with Flix Vallotton a taste for light inspired by Vermeer. Walter Sickert was his model for the iconography of theatres and paintings of damned flesh. In Paris, Hopper adopted the style of Impressionism, a technique which he felt had been invented to express harmony and sensual pleasure; Back in the United States he absorbed the gritty realism of Bellows or Sloan, that of the Ashcan School, whose dystopic vision he shared. He earned his living doing commercial illustrations, which will be presented in the Paris exhibition. But it was his etchings (from 1915) that brought about a metamorphosis in his work and crystallized his painting, as he put it. One room in the exhibition is devoted to his etchings.

1924 was a turning point in Hoppers life and career. The exhibition of his watercolours of neo-Victorian houses in Gloucester, in the Brooklyn Museum and then in Franck Rehns gallery, brought him recognition and commercial success which enabled him to work full time on his art (he had previously sold only one painting, at the Armory Show in 1913). Hoppers watercolours open the second major section of the exhibition, which shows the American artists emblematic paintings and iconography. The chronological presentation permits visitors to appreciate the continuity of his inspiration, the way he explored his favourite subjects: houses infused with a near psychological identity (House by the Railroad, 1924, MoMA), solitary figures sunk in thought (Morning Sun, 1952, Columbus Museum of Art), the world of the theatre (Two on the Aisle, 1927, Toledo Museum of Art), images of the modern city (Nighthawks, 1942, Art Institute Chicago).

The apparent realism of Hoppers paintings, the abstract mental process that prevails in their construction, destined these works to the most contradictory claims. The bastion of the American realist tradition, the Whitney Museum of Art, regularly showed his work. And yet it was the MoMA of New York, the temple of Formalism, which gave him his first retrospective, in 1933. The MoMAs director, Alfred Barr, hailed an artist whose compositions were often interesting from a strictly formal point of view.

The complexity of Hoppers oeuvre puts it at the intersection of the two historical definitions of American modernity: one derived from the Ashcan School which claimed the Baudelairian principle of modernity linked to the subject, and the other taken from the lessons of the Armory Show which, in 1913, revealed the formalism of European avant-gardes (cubism and cubist futurism) to the American public. In the fifties, the surreal strangeness, and metaphysical dimension of Hoppers painting led to comparisons with De Chirico. At the same time, in the columns of the magazine Reality, the painter joined American realist artists in denouncing abstract art, which, in their view, was submerging collections and museums.

Only a few months after the artists death, the curator of the American section of the Sao Paulo Biennale, Peter Seltz, reconciled realism and avant-garde art by organising an exhibition of Hoppers works in conjunction with paintings by the Pop Art generation.

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Exhibition at the Grand Palais seeks to shed light on Edward Hopper's works of art

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North Freedom schoolhouse had long history

Posted: at 6:25 pm

NORTH FREEDOM This village lost more than a century of history Monday when flames claimed a former schoolhouse.

In 1902, decades before the building was converted into an apartment complex, the North Freedom School Board voted to establish a school on Oak Street. A new school was needed because the state had condemned the framed building that had previously served as a school, according to local historian Joe Wards book North Freedom: The First 100 Years.

The schools cornerstone was laid in October 1902. The next year, the local library took up residence inside the school.

In 1922, village voters approved adding a gymnasium and auditorium to the school.

The school handled all grades from elementary through high school until the mid-1940s, Ward said. Then, upon graduating from eighth grade as Ward did in 1947 students had to choose to attend high school in Baraboo or Reedsburg.

In 1961, the Baraboo School District annexed North Freedom, whose enrollment had dwindled to 98. The old schoolhouse continued to house classes until 1990-91, said Baraboo District Administrator Crystal Ritzenthaler, who then taught a combination fifth- and sixth-grade class there before moving to the new North Freedom Elementary School in 1991.

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Exploding Barrels Blog – Freedom Fighters, My Favourite Game

Posted: at 6:25 pm

Do you remember 2003? Of course you don't, nothing happened then. And besides it was ages ago. At least fifteen years ago. There were no iPhones; Harry Styles hadn't been invented; if you said 'Facebook' people probably thought you meant something like this:

Whatever this is

No, 2003 was a really bloody boring year as far as most things were concerned. Except for games, of course, because it was when Freedom Fighters came out.

Launching on 26 September, 2003, Freedom Fighters was a kind of afterbirth to the Hitman series; it used the same engine, was made by the same people, but for some reason never managed to become even half as popular. The plot centred on a ragtag bunch of American rebels, fighting off an invasion from the Soviet Union, which, in this re-imagined history, had become the world's leading superpower after beating the US to inventing the atomic bomb. Combat was squad based, guns were many, and the story was ludicrous. On paper, Freedom Fighters was a turd.

I bought it anyway (or at least my mum did because she was nice like that) and played it beginning to end in one night. First impressions were...meh. Of course, I was thirteen years old at the time and therefore an idiot, but nevertheless, Freedom Fighters was not initially remarkable. Friends who I've lent it to since have said the same; despite lengthy conversations about Freedom Fighters in the pub, and my drunken assurances that its "the bes' *hiccup* game ever" my pals remain unconvinced, often returning it to me after a couple of days and some pretty good excuses.

"It's aged, it's a bit clumsy" they say, and I can't argue. Freedom Fighters is more than nine years old; in computer game terms, it's the equivalent of a silent film. But even sober, I still think it's the best game ever made. Why? I don't hear you ask, because you're reading this days later, in your head and I'm not there: Here's why.

An ideal world

We talk a lot today about "gameplay", and how "gameplay" will, in an ideal world, somehow represent a game's themes and story. Look at pixelated masterpiece Passage: You play as a virile young man, steadily aging as he side scrolls a la Mario from one end of the game to the other. Along the way, obstacles get harder to navigate (ostensibly illustrating how life gets tougher as you get older) and you meet a wife, who doubles the amount of points you get. It's a short but powerful demonstration of how playing a game can tell a game's story; Freedom Fighters pulls a similar trick, but on a much larger scale.

Guns felt awkward and unwieldy; on the PS2, aiming down the sight was mapped to the L3 button, meaning that moving and firing at the same time was difficult to master. Like your character, a plumber from Brooklyn, you weren't very good with guns: The controls prevented you from ever feeling too comfortable with shooting people.

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Exploding Barrels Blog - Freedom Fighters, My Favourite Game

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