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Do We Really Want To Separate Clinical Data Gathering And Data Analysis? – Forbes

January 31, 2016

http://www.forbes.com/sites/davidshaywitz/2016/01/24/do-we-really-want-to-separate-clinical-data-gathering-and-data-analysis/#302089b42671

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Gerstein Lab Highlights in 2015

January 31, 2016

I recently had to complete my 2015 Faculty Activity Report (FAR), summarizing key lab “activities” of last year. (Sounds a bit like summer camp.)

Here are some excerpts:

* A full updated CV describing my lab’s activities (in too much detail):

http://archive.gersteinlab.org/public-docs/2016/01.31/cv57/M-Gerstein-Full-CV-28Jan16-publ.pdf

* This is mostly based on compiling the people in the lab in ’15 & the papers they’ve worked on :

http://archive.gersteinlab.org/public-docs/2016/01.31/cv57/papers-page-dump-28Jan16/
http://archive.gersteinlab.org/public-docs/2016/01.31/cv57/people-page-dump-28Jan16/

There’s also an update on lectures in ’15:
http://lectures.gersteinlab.org/summary/

* Finally, I’ve done little write up of some highlights, viz:

Highlights for 2015 include a number of technical computational biology papers, discussing such things as structural variant breakpoint analysis, regulatory network characterization in terms of logical circuits, and the identification of recurrent cancer variants. We also participated in some major consortium papers (1000G, PsychENCODE, and TCGA Prostate & Kidney) and had some popular-interest pieces (eg a SF Chronicle op-ed on website regulation). There were a few important lectures (eg keynote at Genome Informatics ’15). Finally, we received new grants such as the renewal of the Yale CMG sequencing center.

(Private link, with authentication only for my reference:
http://facultyadmin.yale.edu/far/mark-gerstein)

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Tags: 28Jan16, cv57, FAR, lab

Working with the Whitney’s Replication Committee – The New Yorker

January 30, 2016

The Custodians http://NewYorker.com/magazine/2016/01/11/the-custodians-onward-and-upward-with-the-arts-ben-lerner What will be the new tratteggio? Acknowledging the hand of museum conservators in the digital age.

Onward and Upward with the Arts JANUARY 11, 2016 ISSUE
The Custodians
How the Whitney is transforming the art of museum conservation.

The Art of Conservation
The New Yorker · by Ben Lerner

QT:{{"
What will be the new tratteggio? I don’t mean a technique for covering
losses in new media. I mean a strategy for acknowledging the hand of
the institution in the life of the work—a way of showing when and how
and why the museum has altered what it displays. In the Whitney’s
recently concluded inaugural exhibition, the museum label describing
“Cost of Living (Aleyda)” was somewhere between insufficient and
misleading. It said that the objects on the cart were made by 3-D
printing, but it said nothing about the planned obsolescence of those
particular objects; it did not indicate that the work remains
unfinished, awaiting more advanced printers. (Curators, as if granting
Duchamp’s pessimism about conservation, call museum labels
“tombstones.”) This placard is a placeholder until Kline and the
Whitney can settle on a more accurate description of the work. What’s
clear is that the traditional data—measurements, materials, even
dates—will be inadequate.
"}}