Ipanna Toothpaste and Sal Hepatica, present. Mr. District Attorney, champion of the people, defender of truth, guardian of our fundamental rights to life, liberty and the pursuit of happiness. Mr. District Attorney is brought to you by Ipanna Toothpaste and Sal Hepatica. Ipanna for the smile of beauty, Sal Hepatica for the smile of health. Ipanna, Sal Hepatica. And it shall be my duty as District Attorney, not only to prosecute to the limit of the law, all persons accused of crimes perpetrated within this county, but to defend with equal vigor the rights and privileges of all its citizens. Tonight's case of the unknown source is particularly vital, ladies and gentlemen, because it concerns a lawyer, or at least a man who was once entitled to practice law. Here indeed is an infuriating and sorry spectacle, a criminal whose mind was keen enough to attain the privilege of the bar, but warped to the point of degrading himself and his profession. We begin in the lobby of the Revere House, an inexpensive hotel catering to young career girls here in our city. Honey! What? Honey Bartlett, wait up! I just saw you get out of the elevator. Gee, have I got news? Oh, it's you. Look, I... Don't you remember, honey? We were talking last night with soda fountain downstairs. I'm Alice Stratton. Oh, sure, I remember, kid. I'm just in a hurry, that's all. That gentleman sitting over there is waiting for me. Oh, she got a date, huh? Gee, lucky you. Oh, well, yeah, you could say that, I guess. Well, I'll see you around, Alice. Oh, but I haven't told you. Remember, I said I worked in the District Attorney's office. Oh, you remember, honey? I told you when I came from Sheboygan, I got a job typing there. Yeah, yeah, well, that's just great, kid, but really, I've got to go. Oh, well, this won't take a minute, honey. Well, anyway, guess what? Yeah, what? Miss Miller, that's the District Attorney's private secretary. She's gone on a vacation. And what do you think? I'm going to substitute for her. Isn't it thrilling? I'm going to be the District Attorney's secretary. Oh, wait a minute. You're what? Can you imagine? Oh, I've never even seen him. And I'm going to be right there in his own private office while Miss Miller's on vacation. The DA himself? Mm-hmm. Are you sure? Of course I'm sure. I start tomorrow morning. Miss Miller came down to the bullpen where all the typist work and shows me herself. Mm-hmm, I see. What's the matter? You don't seem excited about it, honey. Gee, a wonderful break like that and everything. I'm just so thrilled. You've never seen the DA, huh? And he's never seen you? He will tomorrow. Isn't it wonderful? Yeah, come on, um, Alice. Uh, come on with me. Well, come where, honey? I don't understand. Oh, it's just an idea. Oh, uh, Jimmy. Good evening, honey. I'm sorry to keep you waiting. Jimmy, this is a girlfriend of mine here in the hotel. This is Alice, um... Alice Stratton. Alice Stratton. Meet Jimmy. I'm very pleased to meet you. Yes, thank you. Now then, honey, shall we be going? I just wanted you to hear Miss Stratton's good news, Jimmy. Starting tomorrow morning, she's going to be private secretary to the district attorney. What? I'm just so thrilled. His regular private secretary is on vacation, and I'm going to substitute for her. Are you really? Uh-huh. I knew you would be interested, Jimmy. The DA has never seen Alice, and she's never seen him. You don't say. I just had to tell honey about it. Honestly, I'm so excited. Why, it might lead to just anything. You're looking for something, Chief? Yes, Harrington. Have you any idea where Miss Miller keeps my sunglasses? Your sunglasses, Chief? Yes. Usually puts them right here on my desk. Don't ask me. Ain't they sending up some girl from the bullpen? Oh, to take Miss Miller's place while she's away. Yeah. Yes, I think she did say something about it, and she said she was coaching the girl during lunch hours. Yeah, Miss Stratton or something, wouldn't she? Something like that, I believe. Oh. Yes, yes? Excuse me. May I come in? Yes, of course. Oh, you're the district attorney. Yes, I am. Is it something you wanted? And you'd be, Mr. Harrington. Oh, I've heard about you. How do you have? I certainly have. I'm Alice Stratton. Yeah, who? From the bullpen. I wouldn't have been late my first morning, Mr. District Attorney, but honestly, this office is so upside down. I see. You had to work up here while Miss Miller's on vacation. Yes, sir. Although really, I don't see how Miss Miller got anything accomplished at all. Why, the files? Now, honestly... Miss Miller does okay. Oh, I'm sure she does, Mr. Harrington, in her way. Was there anything you wanted, Mr. District Attorney? Well, yes, yes. If you will take notes, please. I want to discuss the Nick Venice trial with Mr. Harrington. Nick Venice? Yeah, there's a folder on him over on that table, Miss Stratton. Oh, thank you. You are nice. I am? Yeah. Let me see, where were we? Pretty boy, Venice, Chief. Oh, you're going to trial on him this week? Yes, I hope to. I've got just about all I need. Well, it ought to be first degree, Chief. He sure put the B on that girlfriend. I found the folder. Oh, yes, thank you, Mr. Stratton. And now, if you'll just take notes as we talk, please. Yes, sir, I will. Yeah, who's defending him, Chief? Venice, Jimmy Appleton. He got Nick out on bail on a technicality. You mean this Appleton ain't disbarred yet? There's always hope. And as for Venice, I think we will have clear sailing. Well, I'll be glad to check him off my list, Chief. He gives me the creeps. Yes, he ought to. Well, the material I've collected on him is absolutely astounding. The fellow's ignorant, rude, arrogant, definitely below normal and intelligent.  Why, that guy even wears perfume. Yes, I know. That's part of the picture.  This is going to be some trial. Well, let's not underestimate it, however, Harrington. Jimmy Appleton's a tricky defender. And that's a mild word for it. Appleton is that? That's right. You'll find the name in the folder. Oh, thank you. I promise you this, Harrington. Appleton can pull all the tricks he knows in that courtroom, and I'm still going to nail Nick Venice Cole. Put the food on that table, Nick. No, no, no, that table over by the girl. I know Jimmy. Here, huh? That's right. Now I'm tired, will you? Listen, what am I around here? You're my client, Nick, remember?  You're getting paid for it, Scheister. You amuse me, Nick. Untie me, Stratton, please. I am. Excellent. Now, the gag from her mouth, please. Hold still, baby. Look, get away from me. Now, just untie me, baby. Hey, you're okay, you know? Ain't you, Jimmy? Okay. Get away from me. Help! Come now, Alice. I should think after 24 hours you'd be calmed down. There's food on that table. I demand to know the meaning of this. You can't keep me here like a prisoner. Oh, yes, you can, baby. Hey, you like violet perfume? Smell it. Don't touch me. That will do, Nick. We'll leave Alice alone in here to enjoy her dinner. You can't do this. I tell you, let me out of here. Endure time, Alice, until then do try to relax, won't you? Come, Nick, this way. She's okay, you know? Well, he's smooth. Come back here. I demand to... What's she fussing about now? Oh, honey, my dear, I didn't realize you'd come home. Hiya, honey. Hi, Nick. Hey, you're girlfriend. She's okay. How is she, Jimmy? Alice? Confused, I'd say. I hardly think she realizes what we've done. Neither does the DA. Oh. It's a tough racket being a secretary again. I've been at it since 9 o'clock this morning. He assumes you're Alice Stratton, of course. He does. Good. Now, then, about our client here. Me? You needn't bother trying to follow this, Nick. Rest assured, I have your interest at heart.  Later, Nick. Well, honey. We worked on Nick's case all day. With you? Sure with me. There's the envelope. It contains what I want? Yeah, the works. His brief copies of his notes, copies of his plan for trial, description of all his evidence, everything. And I made an extra copy of everything I typed for him. Splendid, honey. Splendid. I, um... I've been a busy girl, Jimmy. Do I get a reward? My dear child. Can I go in and talk to a jury? No. Maybe she's lost it. I said no, Nick. As for your question, honey, the answer is yes. Mm-hmm. Uh, keep on being Alice Stratton, my love, and you'll get everything your heart desires. Oh, you'd be surprised, Mr. Harrington. Yeah. Why, I've saved every clipping about you from the newspapers. You have, Miss Stratton? Mm-hmm. I certainly have.  No kidding. Mm-hmm. A picture of me. Well, I told you you'd laugh. Incidentally, my name's Alice. Yeah. Well, uh... Oh, you're here, Harrington. Yeah. Good. You, uh, even had some calls, Mr. District Attorney. Yeah, I'll just go to... In just a minute, Harrington. Oh, Miss Stratton. Yes, sir? Will you tell whoever's waiting? I'll be delayed, please. I want to talk to Mr. Harrington. You'll be delayed. Yes, sir. I'll tell them right away. Mm-hmm. You look worried, Chief. Nothing went wrong over at that courthouse, did it? Harrington, I simply can't understand it. I had to ask the court a recess until tomorrow morning. Under Nick Dennis' trial? Yes. Well, I thought that was all set up, Chief. Yes, it was. And that's just the point. And that's how it helped me. Jimmy Appleton was prepared for every move I made. What? I tell you, it was uncanny. Almost as if the man had read my mind. I even knew I intended to put the cab driver on the stand first. What? Oh, Chief, he couldn't have. Why, you only decided that yesterday? Well, he knew it. Yes, and he had prepared notes on his objections. I tell you, Harrington, it was beyond understanding. Hey, you've got to delay, you said. Just until tomorrow morning. I don't get it, Harrington. I just don't understand it at all. Oh, and was he burned up, Jimmy? His face was a sight. Oh, that's delightful, honey. Then how did he spend the afternoon? He made a whole new set of plans for when court opens in the morning. Do you have a copy? Yes, I put it on your desk. Wonderful. Simply wonderful.  Oh. Yeah. He's going to knock over the Green Hat Club at 9 o'clock. That's interesting. Remind me to call Lou Woodruff. I'm almost sure I can sell him that information. Hi, honey. Hi, Scheitzer. Well, if it isn't our boy. Hi, Nick. What I told you to stay off the street, Nick, has been gone an hour. I was getting the papers. Hey, my picture's all over. I've seen the papers. Now, will you leave us alone, please? Honey and I want to work. Not in there. I was just going to see if she's thirsty or something. Oh, Jimmy. How's the kid, by the way? Somewhat difficult, I'm afraid. Oh. Can't I, Jimmy? I won't bother her with nothing. Right? Oh, yes. Go on. Go on. She's some dish, you know. Got a red dress, too. I like red. Now, then, honey, I think first we'll go over the eminent sister attorney's plan for tomorrow. Hey.  What do you want? No need to get on your high horse, sister. I just came in to talk to you. What do you want? The world is happening to me. Come on. Come on. Sit down and be comfortable. Please. Sit down. Why don't you? Hey. Hey, you like perfume? Smell. Your name is Nick, isn't it? You mean you ain't never heard of me? I'm Nick Finnis. Listen, Nick, you can help me. Please help me, Nick. I'm scared. Ah, that's no way to be.  Okay, you know, kid? You will help me. You'll tell me what they're going to do to me. You got nice arms, kid. You're nice and tan. Oh, please. Don't move away. I said don't pull away from me like that.  Go on.  I could break your wrist just by squeezing my fingers together. I said, help! Help!  You want to get Jimmy's storming? Help!   I won't.  I won't. Help! They slapped me in the kitchen. Will you come back here? Get out of here!  Nobody's slapped Nicky Pena's little girl, but nobody. Come here. I didn't mean it. Please. Please won't you leave me alone.  You ain't going to hit nobody.  Dumb dame. Smack me, will you? What in the world's going on in here? Nick! Honey, come in here. Listen, Jimmy, this crazy man. He's right. Honey! What's the matter, Jimmy? Did you want... What's the idea? What happened to her? I've been trying to tell you. Let's get married or something, Jimmy. But... Will it be okay? Okay. You blundering boob, this girl is dead. Alice Stratton, innocent victim in a monstrous plot. Dead. Well, here's what happens next in this unusual case in just a moment. But first, here's an important question. Tell me, who should know best the difference between toothpaste? Who should know best the difference between toothpaste? Why, just one man. Your family dentist. For through study and experience, your dentist has become your authority on the care of your teeth, the health of your gums. 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Nobody's touched the body since I threw a blanket over it. You've been here how long, Herrington? About 20 minutes, Chief. I tried to get in touch with you right away, but... A strange girl dressed like that in a district like this. Yeah, she's no waterfront character, Chief. About 23 or so, wouldn't you say? Yes, something like that. Have you checked the neighborhood, Herrington? I was doing that when you drove up, Chief. We can't get much on tire marks. All the trucks in the south end of town dump here at the river. Yes, I know. Of course, that dam's little, whoever she is. And somebody could have carried her from that alleyway. Got scared and didn't even drop her into water. Yeah. What about the cause of that? No, no, no. Your guess is as good as mine, Chief. Look, she's got a terrific bump here from the back of her head. And it looks like a broken jaw. I bet either one of them could have done it. Yes, well, we'll get the examiner's opinion when he gets here. What about identification? Not a thing, Chief. No purse, no gloves, nothing. They even tore the label out of her jacket. Oh. And that's another reason I thought you would have a look. This is strictly a professional job. Yes, yes, it seems to be. Well, let's get to work on it, Herrington.  I didn't mean no, huh? Arm! The girl's dead, Nick. Don't you understand that?  Nobody knows it, Jimmy. We got rid of the body, didn't we? I know it, my friend, and don't forget that. Yeah? So what do I pay you for? I am an attorney, Nick, not your personal bodyguard. I resent a thing like it's happening in my apartment. So go ahead and resent. I got to... That is beside the point. I've got to come up against the district attorney in court in the morning. This kind of thing unnerved me. You'll take care of the DA. Honey got you all adoped, didn't she?  How you've managed to survive is remarkable. I got a smart lawyer. My dear boy, I hope and pray you're right. Yes, doctor, and if I'm not here, Harrington will be. Yes. Yes, call as soon as you can, will you, please? Oh, and one thing more. Will you send up that report you did on the victim and the Nick Venice murder? Yes. Yes, that's right. The waitress. Yes, thank you, doctor. Chief. Oh, come in, Harrington. I was just going to phone for you. Chief, I got something that's... I haven't much time, have I? No, chief, listen to this. That kid we found down by the river last night? Yes, yes. Skippy took a set of fingerprints off the body, so I checked him against the master file. And? Get this, chief. That girl is Alice Stratton. Alice Stratton? Yeah. Harrington, what are you talking about? Sir, help me, chief, it's true. The kid we found dead last night is supposed to be your secretary while Miss Miller's on vacation. Yes, but that's impossible. Miss Stratton is right outside. I was just going to send for her. Chief, that's a positive identification. You know yourself all the employees around here have their prints on the master. Yeah, you checked carefully? Carefully, I checked four times. I couldn't believe it myself. Well, and this girl outside is... Say, wait a minute. Chief, are you thinking what I'm thinking about how Jimmy Appleton knows so much about what goes on in this office lately? Yes, find out if Appleton is connected to that raid that backfired last night. I did, chief. Yes? He's a personal friend of Woodruff, the guy that owns the joint. Oh, this is beginning to come clean, isn't it, Harrington? Appleton's success in court in the empty gambling club when you stage the raid? Clean!  Get her in here, chief. Let's find out what this is. No, no, let's wave, Harrington. Let's wave. Wait!  Why, there's no telling who she is. We can tell, all right. I think we'll play this young lady right into our hands. I can't believe it, honey. Are you sure you copied this accurately? Jimmy, I tell you, he said it himself. He dictated the memo and then went out to the courthouse. Leaving Harrington in the office? He's still there, I guess. I said I had a sick-head ache and had to come home. What's it all about, Jimmy? I didn't get it. It seems, Nick, we're about to have a visit from the district attorney. He is? It's your place? So he informed honey when he dictated a memo this morning. Are you sure, honey? I tell you, he said he was coming here at 8 o'clock tonight with new evidence against Nicky. Me? What's the bum-up with me?  I don't like this. I don't like it at all. You think I do? What is that great no? You better slip out the back way. Certainly be confused to find you here. Confused? Are you kidding? Hey, somebody's at the door. Well, Jimmy... All right, be calm, honey. No, don't go. You might have someone posted downstairs. But I can't stay here. Get into the other room and keep the door shut. Go on, dear, hurry. For Pete's sake, watch it, Jimmy. This isn't good. What do you want me to do? Just sit still, Nick, and don't say a word. Yes? Why, it's my esteemed colleague, Mr. District Attorney. May I come in, Mr. Appleton? It's late, I know. Ain't nonsense. Oh, you know my client, of course. Live it, Liz. As a matter of fact, Nick, it's about you that I've come. What's that mean, Jimmy? This is a business call, then. I'm disappointed. Or you won't be, Appleton. I have here a rather interesting document. A completely new kind of evidence against Nick in this envelope. May I see it? At this time, no. Sorry? Let Jimmy see it. What's that, Venice? You heard me. Hand it over to him. Nick, put down that gun. Yes, Venice. Isn't it unwise to draw a gun in your circumstances? I said hand it over. I'll show you why I got this gun-wise guy.  Now we're gonna play this game my way. With a gun. That's right, Doc. You're sure I've been waiting here ever since the chief left. Huh? Yeah, yeah, I get that right. No, no, that's all he wants to know. Huh? Do I know what to do now? Doc, we got this one timed for the second. I put down my hands, Nick.  Keep them in the skies. I need Harley WDA. I'm not responsible for my client's actions. I wash my hands of him. You pipe down two shots, sir. What do you intend to do now, Nick? Or may I offer a suggestion? Huh? Ask the young lady to come out of that bedroom. Oh, there's no need to look surprised, Appleton. I mean, Miss... Well, there's a question about her name. Honey.   I'm pulling out a hip of good. Honey! Don't tell me you got rid of it. Oh. Well, Miss Tratton, you do seem to get around. Jimmy, what's the idea? It's making a fool of himself, DA. I give you my word, I know nothing of all this, nothing. You pipe down. I gotta take a powder. You got any dough? Dough? For what? And Nick is in the act of escaping, I think you might say, young lady. Oh? Oh, I have a suggestion, Nick, if you're interested. Yeah, what? There's a rather interesting memo in that envelope I'm brought with me. Why not read it? Not to it. I look shy so I want dough. You know I ain't got any cash around here. Did you say memo? What memo? One you couldn't have copied for Mr. Appleton here, Miss Tratton. I have it prepared after you left. Open it, honey. No. This? Yeah. This will interest all of you, I know. You too, Appleton. Oh, Jimmy. What's in it, honey? Some more about me? Jimmy, listen. Yes, dear, what is it? Memo to James Appleton, Nick Venice, and to my secretary. Yes, that would be you, Miss Tratton. If you'll open the door, Mr. Harrington is waiting for you. You are all under arrest for murder. Black Muffy here. Now you're going to put away the gun, Nick. Oh, Harrington, you outside? Right here in the hall, chief. The joint's around it. Well, Nick, that's better. It's much better. All right, Harrington. Oh, and will you open the door, please? Honey?  And closes it behind her. Your district attorney will return in just a moment with an explanation of the clues in tonight's case. 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I'm happy to report, ladies and gentlemen, that all three members of this unusual trio, Honey, Appleton, and Nick Venice, will pay the full penalty demanded for the murder of Alice Stratton. I'm happy to say that Miss Miller will be back to her job next week, Chief. Boy, what a dame that Honey was. Fortunately, Harrington, we've seen the last of her. Hey, Chief, why don't you explain just how you put all the pieces in this puzzle together? Well, actually, we didn't connect the murder of Alice Stratton to Nick Venice until the examiner reported traces of strong perfume on her body and not a scent she was wearing, but one that had apparently clung to her arms from contact with another person. Violet perfume, huh, Chief? Yes, exactly, Harrington. The same cheap St. Venice reeked of, the same I might have that we found on the wait receipt murdered some weeks before. Sure, and on top of that, there was a nice, clean set of Nicky's prints dug into Alice's wrists, huh, Chief? Harrington, and that just about closed the case. I'll say it again. Oh, hey, Chief, what about next week? Well, our story for next week, ladies and gentlemen, is the case of the athletic louse. Timely and dramatic. It's one I'm sure you'll enjoy and I invite you to join us for. And so until then, thank you and good night. Tell me, when you think about shaving, do you worry about your whiskers or your face? Better just forget your whiskers and think about your face. How your face feels and looks is what matters. To get a more comfortable feeling, a smoother shave, try Ingram Shaving Cream. That rich Ingram Lather on your brush helps condition your face for the razor. You get cool, comfortable, soothing shave. Remember, comfort means coolness. Coolness means Ingram. I-N-G-R-A-N. Ingram, the cooler shaving cream.


The 454-GSFLX sequencing technology has been found to have a mean error rate of 1.07%, which is significantly lower than the 3-6% error rate reported in earlier studies using the GS20 system. However, the error rate is not uniformly distributed throughout the genome, instead being concentrated in specific regions. This suggests that there are certain factors that contribute to the error rate, such as the presence of homopolymeric stretches, the position within the sequence, the size of the sequence, and the spatial location of the sequence on the plate. By taking these factors into consideration, it is possible to reduce the error rate further. This article was authored by Miloza Tibor, Ferrera Stephanie, Peck Nicholas, and others.


Yes, sorry. So first I have to apologize for the change of topic. I was supposed to present this nice work by Lully and with the assistant of Melanie Stéphane that was published last week in plus one, but it deals with calcium and calcinerine and camcanes too, and you already heard a bit about that. Melanie is with us today, so if you want to talk about this work, which is really great, that shows plenty of interesting things like both calcinerine and camcanes too are actually increasing together rather than the balance, and it's a ratio that changes that you have because of the allosteric property of calcine, you have stabilization, you have a response that outlasts after a certain frequency much the calcium signal and so on, so please go and talk to Melanie. But instead of that I will effectively talk about automatic generation of models, and the reason is the following. So at the moment we have, and that will be the topic of this afternoon's workshop, I guess, you have a huge amount of information about pathways, networks and so on in the literature, and you have also a lot of information stored in database is all over the world, curated or non-curated, many of them specific to neuroscience, but not only. However, in the immense majority of the cases, the modeling process is that one scientist pick a few papers out of the literature, write down a model, either using a processed representation or directly a question, and does its own modeling and simulation exercise. And the question is what about all this information here and here and all the information in the database that is basically there, but we don't use it, we restart from scratch all the time. And I think that's very valid, I mean there is a lot of interesting modeling and simulation to be done that way, but as we gather more and more data we need to have other methods to generate models, so from structural genomics, interactomes, and as Mary already showed, another version of this went from knowledge on pathways. Also, we now are able to build much bigger models, so you maybe have seen this paper in July in Cell on a model of mycoplasma, this is not neuroinformatics, but that's a game-changing paper where people try to model a whole cell, really a whole cell, all the genes, all the molecule, and after the movie of Thomas, even if that was not the right one, I mean I think we're maybe not far from that. And there are examples as well in the literature where large curated pathways give rise to many different models where people started from an existing pathway, so that's the curated version of the yeast metabolic networks published a few years ago, we have now submitted the human one, and for the last four years, plenty of papers were based on this where people pick part of the network and build models. So, because I will mention models and pathways a lot, I need to define what those are. And I will base myself on Wikipedia, as we saw yesterday, Wikipedia is a good source of information, a reliable one. So Wikipedia tells us that in biochemistry, metabolic pathways are a series of chemical reactions occurring within a cell. And that will be our operational definition, you have plenty of pathways databases, but the important thing is that those pathways are detailed representation of reality based on observation, they are meant to represent the reality. But when you do modeling, this is not always what you want. And Wikipedia tells us that the model is just a description of a system using mathematical concept and languages, so you have variables, functions, constraints to limit this model. And the important thing is that this model is an abstract representation of reality, right? Based on needs, you develop your model based on the question you ask and the data you have to generate the model and validate the model and that was already mentioned this morning. So the whole project, the idea was to start from pathways, possibly in proprietary format, transform them in standard format, either to represent the models for a computer or for a human being, generate mathematical models and put everything in a database for everyone to be able to use it. And I will, so a bit of SBML and already some people in the room maybe say, oh no, he will talk about SBML again. That will be just a few slides. So SBML, the symbology marker language is just an XML language to encode models, right? And then you can exchange them. It's very simple. You basically define your variables, the compartments, the molecular species you put in there, the parameters and all the relationships between those variables. You can represent values, so containers, pools that react within containers, between containers. You can put discrete event, arbitrary rule and so on and so forth. So that's a micro-SBML model with two species, ANB, right, in the compartment cell, one parameter. And then I can describe a mathematical reaction, a kinetic law here, regulating the velocity of the reaction. And if I load that in value software, for instance, copasi or cell designer and I click run, I get the same result. And that was not possible before SBML. So SBML now is the level three. And the important thing is that in level three, you have a modular language with various packages covering different aspects of models or different type of model. And today we will talk about the core package, which is shared between everyone, the layout package and package to encode qualitative models, logical models, patronet and also flux balance constraints. The other standard we will use is SBGM, the system's biological notation, which is a set of three languages to represent biochemical, biological pathways. And I won't deal in the difference between those three languages, but you will see why we need them. And I will present an example based on keg. So we did actually the same workflow on other database. We just published the NCIPID database to model transformation. But keg was important. So the Kyoto encyclopedia of gene and genomes has a subpart called keg pathways. If you organize a course in systems biology, the first thing the student want to do is to go to keg because it's nice graphically and download keg information. And the second thing they do is to convert keg information from this proprietary format that cannot be used anywhere into SBML. So that's why it's an illuminating example. So you have two types of maps in kegs. If you take a metabolic network, for instance, the TCS cycle that is very, very important for the brain, remember, brain, 2% of your mass, 10% of your energy consumption, I think. And so in those maps, you have those bubbles here that represent chemicals. And those chemicals are transformed into other chemicals using reactions. And this annotation is an enzyme classification number. And we have another way to represent pathways in kegs. If you look at the signaling pathway, you have a complete different representation where you have those rectangles here, annotated with something that vaguely look like a protein name. And those have arrows connecting them together. So this is a B-parted graph, right? You have two types of nodes. This is a graph with only one type of node. This is a positive regulation that will be a negative regulation. Okay? So it's important to understand the difference between those two graphical representation.  The first representation is a process description. It's a classical biochemical representation used for the last 70 years or so, where you have two pools of molecular species that are transformed into other pools through processes. And those processes can be regulated by yet other pools, okay? B-parted graph. These nodes never connect to this one. This one never connect to this one. So those are representation directional. They are sequential. You can start from somewhere and somewhere else. They are mechanistic. You know exactly what's happening. But they are subjected to combinatorial explosion, something alluded to by Thomas. They're used a lot in process modeling for biochemistry and so keg metabolic pathways are in process description or reactome for those of you knowing these database. And we will encode that in SBML core. The second type of diagram is an activity flow. So this is directional as well, sequential as well, but it's non-mechanistic. When you have that, you don't know what RAF does to make. RAF stabilizes an active state of MEG, stimulates the expression of MEG, inhibits the degradation of MEG. You don't know, right? So you just know that RAF. So this is actually an activity. What you represent here is RAF activity, stimulate, make activity in some way. It can be used to build logical models. And it's used a lot for signaling pathways, kegs in any pathways, but also STKE, for instance, use the activity flow. And we'll encode that in SBML core, the package used to encode logical models. This is a complete workflow. It's a bit more complex than the previous one. So we'll have three different sub workflows. The first one is to take all keg metabolic networks, convert them into SBML core, represent them graphically with the SBML layout package, and converting them into SBGN for the graphical representation, transform those into chemical kinetics models, put them in a database. A second workflow will take the non-metabolic pathway, the signaling pathways, basically, mostly. Enrich them with information coming from other databases we used by Okarta in this example. Generate SBML core, same, we generate the graphical representation with symbology graphical activity flow. And generate logical models, distribute them. And finally, we'll have a third branch, when we will take the metabolic networks in keg for a given species, reconstruct all genome metabolic networks. Enrich them with information coming from Metasite, which is another database of metabolic reactions. And generate models called flux balance constraints model and distribute them. I will start with the whole genome reconstruction. So we take the information from keg, we extract it, we convert it into SBML, and we annotate them with so-called identifiers.org URI, basically URIs that identify exactly all the elements of the model. We do the same for Metasite. And then we will go through the workflow with those SBML files and identifiers that will be all handled, that will be able to relate information. So we merge the information from keg, we protonate on both sides, we mass balance the equation, and then we merge them. The information coming from keg and Metasite, thanks to the identifiers. We add the transporters, you will see in a minute why it's important. We add the biomass, and then we generate the FDM models. So what are flux balance constraint models? The idea is that for any metabolic networks, you can represent a matrix which is a stoichiometric matrix. You have on one dimension all the metabolites, on the other dimension all the reactions. So this is a small metabolic network, we have a small matrix, minus one means it's consumed, one is produced, and zero means this metabolite is not involved in this reaction. So the first thing for FBA is we need to add the boundary condition, the input and output, so that inflates a bit our matrix. Once we have that, we'll go further. So for each reaction, we can have a velocity, and so we have a vector of velocities that we will work with. We don't need the kinetic rate load for FBA. The only thing you need to know is there is a velocity number. And then you do a steady state analysis. So the steady state analysis is basically the multiplication of the stoichiometric matrix by the velocity vector equals zero. That gives you all the possible steady state of your network. But that's not enough because generally our model is under determined. So you can't determine all the velocities just with your information. So you need to add objective function. For instance, you will say I want to maximize the production of ATP, or if you are brewing beer and you're using saccharomyces, you say I want to optimize the production of ethanol. And then you can solve that. So that will be the result of the steady state analysis for those three velocities. If you put your objective function, you can reach a given vector. So now for individual pathway, I said we will generate chemical kinetics model. So we do that with a workflow based on something called keg translators. So we generate SBML core. We clean the reaction using the keg API that allows us to interrogate all the different databases of the keg constellations.  We will interrogate Sebiore keg, that is a database of chemical reactions. If we have mechanistic rate law for this reaction, we reuse it. This is unfortunately not the case for the majority. So for the majority of the case, we will use modular rate law. So modular rate law is something that's been presented by Wolfram Liebermeister in the group of Edaclip in 2010. And this is great. This is the absolute general rate law that represents any possible rate law for a chemical reaction. And then you have variants. For each of those bits, you have variants. And so for instance, here this will be a generalized representation of mass action law. And based on the data you have, you have to decide the granularity and the generality of your rate law. And for the signalling pathways, remember, we don't have metabolic networks. We just have activity influencing all other activities. We'll use logical models. So logical models, briefly, you have different activities here, A, B, C. And you put logical rules, right? If A and B then C, if C not B and so on and so forth. So you end up with vectors of activity. Here I use a Boolean, but some people use multi-valued models as well. So if you have 1, 1, 1, then B is inhibited by C. C is 1, then B becomes 0 and so on. And you can generate a state diagram and identify the values, behavior of your network. Right. So we release the first version of the models in May with the 22nd release of bi-models database. We have so big numbers. We have plenty of models. Now we have about 150,000 models that represent, I think, a bit more than 10 million reactions. And importantly, they are annotated with 400 million cross references that allows you to identify specifically which metabolites, which and so on and so forth. And if you go to bi-models database, there is now a new branch called pass-to-models. And you can explore them, browse them or search, explore them with taxonomy as well. That's a non-tri in the database for the Glutamatergic Sign-Up. You even have the representation coming from KEG. And I would like to end up here with acknowledgement. Those three chaps have generated most of the data. So Neil was in charge of the metabolic reconstruction, the vulginum metabolic reconstruction, clements of the kinetic chemical kinetics models, finia of the logical models. Tobias took care of the graphical representation of the process-based models, Michael of the logical models. Andreas was the PI on the Tubingen website. Camille is the coordinator of bi-models database and all associated activities. But actually we had many, many more people involved in this work because it was a pretty large work. I won't enumerate all of them, but they will be in my presentation. And I would like to end with an advertisement for a book. So for the few of you who are not authors of this book, all the others are probably in the room. So systems biology applied to neural analysis system is a very, very wide topic. I believe in this workshop we will address mostly biochemical systems. But we have many, many more systems at different levels. So there you will find information from transcriptomic and proteomics all the way to very large network and modeling of EEG and so on and so forth via classical spacking neurons or multi-compartment neurons, etc. Thank you.


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Dear students, in this topic we shall discuss what are pro-enzymes. The pro-enzymes are the inactivated forms of enzymes. Most of the proteolytic enzymes are synthesized, stored and released in inactive form. This inactive molecular form is called pro-enzyme or zymogen. They are released in this form to prevent self-digestion of the lining of the digestive tract.  As you know, the proteolytic enzymes are capable of digesting the proteins present in the lining of the digestive tract, stomach and intestine itself. This is why these enzymes are released in inactivated form to prevent self-damage. These pro-enzymes are activated by cleaving a certain portion of the molecule. This cleavage happens by another enzyme or by changing the pH. Dear students, now we shall take few examples of enzymes secreted as pro-enzymes. First we shall discuss pepsinogen. The active form of pepsinogen is pepsin, which is a gastric proteolytic enzyme. This enzyme is synthesized by the chief cells of gastric glands of stomach. It is released in the inactive form pepsinogen, which is a pro-enzyme. This pro-enzyme pepsinogen is activated in the lumen of stomach by raising the pH by hydrochloric acid. The increase in acidity converts pepsinogen into its active form pepsin. The second example of a pro-enzyme is pepsinogen, which is activated to form pepsin. Pepsinogen is secreted in pancreatic juice as a pro-enzyme. It is a polypeptide which contains 249 residues. It is activated in the duodenum by cleaving it. A 6-residue segment is cleaved from the amino terminal and after cleaving this 6 amino acid residue, it becomes activated. This cleavage is done by two types of enzymes. One is the anterokinesis enzyme, which is an intestinal proteolytic enzyme. The third example of a pro-enzyme is the chymotrypsinogen, which is activated into chymotrypsin. Chymotrypsinogen is secreted as a pro-enzyme in the pancreatic juice. It is activated by trypsin and its hydrolytic active form is the chymotrypsin. A 10-residue segment is cleaved from the amino terminal and the anterokinesis enzyme is the chymotrypsin. It is a pro-enzyme, which is activated from the anterokinesis enzyme, which is activated in the pancreatic juice.


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Hello and welcome everybody. Thank you for coming to today's program, a very special poetry reading with authors Monica Modi and Sophia Naz. I'm John Smolley, a librarian here at the General Collections and Humanities Department of the Main Library, where we have tens of thousands of volumes of poetry in 41 languages. Before we get started, I want to take a moment to acknowledge our community and to tell you about a few of our upcoming programs. On behalf of the Public Library, we wish to welcome you to the unceded ancestral homelands of the Ramatrisha Lone, who are the original inhabitants of the San Francisco Peninsula. As the indigenous stewards, and in accordance with their traditions, the Ramatrisha never ceded, lost, nor forgotten their responsibilities as caretakers of this place. As guests, we who reside in their traditional territory recognize that we benefit from living and working on their traditional homeland. We wish to pay our respects by acknowledging the ancestors, elders, and relatives of the Ramatrish community and by affirming their rights as First Peoples. As you know, April is the coolest month because it's National Poetry Month, so I want to just mention a few of our upcoming programs. This Thursday, author Morten Paley will be giving a talk in this very room at 6 p.m. on William Blake's Songs of Innocence and of Experience. That will be an illustrated talk on Sunday, April 21st. Next in the afternoon, we'll be screening two documentaries on poets, The Poetry Deal on Diane de Prima and The Life and Times of Alan Ginsberg. And the following Thursday, next week, we have a program facilitated by San Francisco Poet Lauer Emerita Kim Shuck, which will feature poets Dino Rod, Tanish Kaur, and Manaz Badiheon, who will be reading from their recent works. And we'll wrap up the month with the Haydashbury Literary Journal. Poetry preserves 44 years of vital verse. They will present a reading featuring some of San Francisco's finest bards. You can learn more about these programs by picking up one of these flyers on the table over there or one of our library newsletters. You can also visit our website, sfpl.org, the online events calendar there. Please also help yourself to coffee and cookies on the table. So this ends these preparatory announcements. Before I turn the microphone over to our guests, I'd like to just say a few words of introduction. Monica Modi is a poet, scholar, educator, and author of the books Wild Finn, Bright Parallel, and Kala Pani. Her writing is one awards, including the Sparks Prize, the Zora Neale Hurston Award, and the Total Award for Creative Writing. Sophia Nance is a bilingual poet, artist, editor, translator, and author of Bark Archipelago, Pointillism, Date Palms, and Peripheries. She has been nominated twice for the Pushkar Prize in 2016 for Creative Nonfiction and in 2018 for Poetry. Please give a warm welcome to Monica Modi and Sophia Nance. And Monica, please come up. Thank you for the introduction, John. And it's so great to see everyone. Thank you all for coming on a Sunday afternoon when there is a lot happening in the city. So I wanted to begin by reading from a book that I don't usually read from these days. It's Kala Pani, my first book. And I wanted to read this, read a little bit from Kala Pani also because the San Francisco Public Library just recommended it amongst its spring picks, the San Francisco Public Library General Collections. So I wanted to start with this text and, you know, it's written in the form of screenplay. And I'm reaching for words here because Kala Pani, you know, it's a text that doesn't let me find adequate language sometimes also, right? So it's written in the form of a screenplay. And what I'm going to read to you to begin with is something the fifth world traveler speaks. And as I was searching for a selection, I realized that, you know, some of the teams in Kala Pani permeate my work even now, although in many different ways. For instance, the team of transformation, self-transformation. So the fifth world traveler. One day, same shape and other shape rode their boat to the center of the lake. A single lotus bloomed. It must be a magic lotus, open petals, skylight. They circled it, trying to memorize its curves, running their hands in the air around the light. Long exposure camera, minute and a half, click, sky, blur, boat, click, blur, shapes, vertical and horizontal, background and foreground, inner and outer, income and expenditure, elemental and artificial, candles and cellophane, water and film, scalp and wheel, first and second and third. The lotus's reverie was interrupted by a vision. The lotus had not long been a camera, but it was not offended at all if some still saw it as lotus. It remembered its early experiences with color, how it first learned to adjust its lenses and inward gaze of total concentration. The first time it managed to shrink its focus until everything looked small and sharp and precise, dissolved. Yet it did not like thinking of the past. When it did so, something severe rose within it. A memory of sorts, slender and stony, of a refusal that had squealed and refused to go away. But time changed it till it shuffled and shamefully melted away, no resistance at all, into something mucky, this self that was not compact, nor instant digital SLR, TLR, not even pinhole. This self, more properly, a plant, botanically, nilumbo, nusifera, symbolically, taintless. And the payoff of the identity it had acquiesced to was nothing more than it was now easy to be a camera. The photojournalists who had first called the lotus into a camera continued to think that everything was, as it always was, same shape and other shape, reminisced, self-absorbed, like a flower. Thank you. I'll read another brief excerpt from Kalapani, and this is in the form of a newspaper story, or rather it is a news flash. And people who are living in these times, that is all of us, might recognize some of what this book presaged. News flash. The media, who are not often surprised, said they were surprised, at sources having sent them a picture of the new government brand, accessorized with several captions, such as, fascism hard at work, and endearing portrait. Why freedom of expression will prove to be an ordeal for you? Homage to our new values of cowardliness. How to cripple thousands of lives and limbs? Citizens were asked to stay calm and light-hearted, while the new government stripped the pictures of the dangerous properties. Contorted face of the revolution looked back. Its masts had surrogated a ventriloquism act. This will be known in history as an act of indiscriminate transparency. The illusion has been lapping up all the sensory information that comes its way, transmitting them as popular visual and auditory stimuli. Beeps and flashes emanate either from some location or from another location. Clap, clap, clap, clap, clap. This is not a flash in the pan. Reliable resources confirm our glasses are quite full. Thank you. Thank you.  I lived here for almost 11 years, and I moved to the Central Coast, Santa Barbara, Shumash lands, six months ago. And this morning I was walking around a little bit and recognized so much that I was familiar about the rhythm of the green ones, the plants, the rhythm of everything, the energy running under the earth, right? So I wanted to start us off with this invocation from my book Bright Parallels, still thinking of Kalapani. The invocation starts that I exist only as a speck on your bloodshot eyes, but I'm willing to sweat. Ancestors, when I see the least, I'm closest to you. That I have forgotten to praise you, but without this praise and this knowing, I'm nothing.  I'm inviting you to come visit me, come visit me, and make my heart hospitable. Make my heart soft and fierce. Make it so alive that any animal that wanders in would know its home. Thank you. Deep ear to ground and flowers growing like fingers into sky, beckoning. A heart comes out of sky as blue as love with a skein of tremors opening its eye to us. And heart sees heart like a beckoning, like furred cheek meeting in sorrow in trance. Like roundness of drops from eye imprinted with flowers and all that is moving on earth, like current moving in water that is water that is body that is wind and sound that wind makes. That is bird calls you can hear. And all forms collect here on this ground. Ancestors beam their love at us. Ancestors like milk running on our faces and sound cups our faces and drinks us in sounds breath. We're breathing. We are elemental of deep inhabiting e in flame head thrown back like birds. When ash falls from our tongues, its own breeze calls out and we smile like morning about to sing itself into existence. I flip over an old leaf and in its venation a name, mine, love crawls like an infant. What was said was a name spell and leaf asked me to unhide. Who wrote us into leaves? Who can read us? Who held apart mouth of cave so we could enter like bears? Who called out to glyphs of light and walls of cave? Who filled our eyes with charcoal to see pain of others, of heart, of tiger? Who planted rice medicine, salt medicine, seed medicine? Whose songs tipped with metal of ash line our mouths? Who hears these songs? Who wrote them into existence?  Your old souls see us in the bead of your eye and thus unto wisdom we climb fences of a heart and wave in that vast ocean. Sheshnag uncoils. A time came when this was all that mattered. Breath hovers. Breath flows through your skin into mine. Sound breathing between us. Breath taking apart the word you just held. Breathing between your teeth like a dove. Breath melancholy and breath song. Breathing like an infant sunrise. Wind swept, smile. Breath stone fire, wind water. Breath's living texture coloring the mirror between. Breath lately sent a search party for one of its lost members. Breath caught like a bird in my entrails until two eyes looking at you in darkness are alive with murmurs, with a dream spliced open with a chasm. This feature of breath must have you puzzled. Can you not sense the diving part of pain in which I rest my claim to be swallowed by you? When I allow my breath to breathe, your fingers flutter.  Finally there is space around pain in the lungs and time runs like a swollen coursing, Eddie's. Thank you. And this one's for all the writers. It's called And Sometimes. When you begin to write, thought is merely redness on horizon that insinuates itself into your body like a dancing bear.  For it is wise to want to be born out of ferocity of need, out of skeleton bones and shark teeth, out of impelling, driving like electricity, intention into turbulence. So unscrew the mind and set it on the table. And find a feast. Other heads lowling. Images blinking their eyes at you and space to meander in if you choose. Unspoken butts its head against yours. Thank you everyone. And I'm going to read some poems from my newest collection, Wild Finn. And Wild Finn is a San Francisco book. It was not only published in San Francisco by Viewer's Press. The designer, the painting on the cover of the book is also by a San Francisco based artist, Ann Marguerite Herbst. And the first poem I wanted to read from this is something that really evokes for me the ocean here in San Francisco. Mouthfuls of joy. Ocean surrounds every time. In point of harmony, a focus emerges. Your own divine knowing breath and echo of distant ones. Their edgy hearts walk by your own desire filled song. Lip brims with rock and wind precipitates beginnings. Thank you. And then I think the next poem I'm going to read is called Makes a Difference. And the question it's really asking it, what does it take to write, you know, in the midst of war, in the midst of genocide, in the midst of killings, in the midst of torture and slaughter and brutality, right? So makes a difference. Times like today.  Losses stitch my tongue into clawed mouth. Tigers, stripes, washed white, linen my eyes. All my organs fold up. Can I let meaning scatter? Fragrant like raw blossoms, raw blood pooling into patterns, gestures commensurate with guidance barely perceived. Places where we are stuck, stuck again. Can I grow a flower? The move so our lips can utter songs of love and freedom. It is no grand leap between then and now. Bridge that brought us now was a shimmer. I felt earth tremble, surging with presence. Can I stay rocking in this moment of undecidability, not becoming anything at all? Is it easy? It is easy. Every season that turns brings us back to pit a dark moon folding into sun. I fold myself into time and scream until scream flies still tied to my throat. We swallow each other's bones. We swallow each other's blood. We swig and gulp until white blood cells find us in the center, raw. Nightmare changes into a vision of great beauty. Fire raises sweat off its face, consuming waste parts that long ago came undone. Bodies swinging from rafters, lassos of despair, throats on fire.  Pain is tremendous, pain, staggers, deep cuts in skin. We let out a sleighing noise that shakes gulls off their perches. Who is to say what lay to roost under slaughtered bodies? Low and behold, rain fed my blackbirds. Showers of rekindling, I cried every night into their throats. I cried my pain till saliva dripped and it all tangled dark, swallowed us whole. We sat in it like raw ants. Eagle motions stopped at the center, body wet. Shower of blood fell from skies last night.  O skies, you keep bringing me death. Faith shatters again and again. I wrap it into little bundles and bleed with it. I mark its forehead with excess of love. In this time of grave despair, an eye opens and closes at the center, immeasurable filled with tears. Elders tell us of the many gates around the world that are opening, gates opened by great white wings of love, of sorrow. Each gate points straight to our hearts, that place where broken realities are woven. Sometimes skin, sometimes skin we think stops world and cumbers wind within. Alertness, we are small we think. Listening risks too much. Mind wants to possess every twirl of leaf in air, border condition, tense. Must keep out tremendous mystery, protect ourselves, redact body, guard its banks. Fear is old, practically a fossil. Ghosts have lived in her mouth as long as history. Ice congeals eyelids. She flakes at banks we try to cross. Immortality, not wisdom. Thick with forms, world. Dignity trapped in man-made, dirigible of colonial shame. World views that sliver off beingness, savage, civilized, subdued from speaking of those others. I keep them secret even from myself. Make it linear, we learned. World of straight angles between angles fall. I tried to tame what I was in contact with. It gushed back in my face. Skin has a million tongues. Thirst points to divine capacity. Hours to mingle out of porous self. Brushing my palm on tree moss. I sense myself as Noah entangled. Flash in body moving across. No longer compressed. Space swept with breath and void. What slips between lights it's mist. Rubicons darken. Flit with sharp longing. Faces in trees nod. This me human wakens to not much else. Just my rightful place in world. Fear will not keep us small and folded. We who are mysterium, tremendous. I'm going to end with a poem, Spirit of Regeneration, and I wrote it for a teacher and a friend who lives in San Francisco, well, half of the year in San Francisco, and I learned a lot about regeneration and spirit and magic from her. So, in some ways it is, you know, it's for San Francisco again. Spirit of regeneration. You say there is a crack in the world. We bring out our needle and thread. You say world is a forest on fire. We become wolves that shape rivers course. You say perfection. We continue to sing the great song that is always complete, knowing rising like dough through its notes as we sing. Need its living scale with our breath, will, living cosmos rearranging as we continue to sing. You sing of death culture. Into mud we weep, step, waist deep, howl our way into lone dark where beginnings wiggle, life nuzzles death as sister, double to self. You laugh at simple-minded hope. We let nature take us by hand, teach us, beginner's mind, small actions, smallest arc of flitting wings, tips, towers, change, cascading. You say aren't you tired? We show you recesses where we scoop commitment again and again, stores of long memory, bone and beak entangled in root of tree, watered with ash. Renewal flows again in cupped hollows. Spirit billows. You tell us not enough. We release to earth in adequacy. Earth herself wells up in our bones like water finds its way. Elbow deep in sap of life we mend life's web, partners to what is broken, what we will create aligned with all our relations. This world, it's ours to make, we say. Thank you, Aria. Hello, everyone. I'd like to thank San Francisco Public Library, John Smalley, and all of you for spending your Sunday afternoon with us. I'm going to read today from a book that's my latest, my fifth collection of poetry. It's called Bark Archipelago, and it was published right here in San Francisco. This is a poem called Undocumented. Unbecoming I, tooth loose from aerial root, slow hanging, consonant in the trafficked jam, man a hut, sound of self, startled reflex jerks open like a pickpocket. Tirchi, pirti, kirchi, kirki, fly, mouths, moths, out under radar of surveilled night casualties in weight. Two. One thousand and one dollars rolled up tight make the traffic stop. Nothing but a closed shave with ice, window to palm in the scheme of things, a hair to brush past, paper over paper, shreds the synapse, Xeroxing silo, fog the lens, ache her back, her Bombay bow, go round the bend to stay a trophy, sigh low, darling green card on board, off duty eating language standing up in the united tastes. E pluribus umami, ramen, ramen. Three. Forgive me if I mix up cartographies, black Thursday, white Friday, month to mouth, lease, February, New York City, in the middle of walk, don't walk. I'm lost looking for the amaltas blooming at Humayo's tomb. Four.  Yellow, red and green bindis. No, my religion is not Hindi. Look closely and you will see photo negative elephants of prosperity. We sleep four under the table in basement slum. I was a doctor once. Sutra comes down from Sutra. I saw my future ghosts back handed this. This next one is called popcorn.  Gums feel like shrapnel in my mouth an explosive leaves soft flesh and hard crack. Decades since I left Kabul but could never understand strange English that walks about America. When you say it's the bomb, how is that good? It's the sensation, I reply, way sweet, salty, buttery, whiteness fills as you watch, chase or place go up in flames. Unopened kernels stay buried at bottom out of sight. Until stepped on she says lifting her pants to flash a prosthetic leg. Okay, this one. This is a long poem, a prose poem called blow hole. A word made flesh makes its own world. What worlds does flesh made into words dismantle? After the kill, she was secured to one of the boats where a rope passed around and through her tail. Then the harpoons and attached lines had to be removed. A difficult operation because the whale was floating on her back with the harpoons deep underwater. Once were mammals that came from the sea made landfall and returned back to mother water. Boyant is the air that escapes the twin bulbs of lips to echo a beautiful letter. Towed back to the ship by all the boats rope together in a long line upon arrival she was taken to the larbid side and secured with the head towards the stern ready for flensing the removal of her fat.  Black begins with the letter blank as does blue. Next the body of the whale was forcibly extended rump supported by a tackle and drawn forwards by a stout rope. Head drawn in the opposite direction by means of the nose tackle.  A band of blubber two to three feet wide lying between the fins and the head known as the Kent was used to turn the whale over. A system of powerful blocks and pulleys hanging from the head of the main mast was attached to the Kent by means of a hook. Many years later I saw a bride her nose pierced with a large gold hoop. There was no blood anywhere. The rope was then pulled tight by the ship's windlass raising the whale in the water. The whale lying belly up extended and well secured was ready. At this point the crew usually took a meal and a dram. Harpooners feet armed with primitive iron crampons to prevent them slipping climbed down onto the belly of the whale. Under direction of the spexoneer they divided the blubber into oblong pieces or slips by means of a blubber speed. The first slave ship arrived in the Americas in 1619, 402 years ago. A hook was then attached to the slip and drawn upwards by means of a rope and capstone progressively flaying the strips of blubber from the carcass. The slips weighing up to a ton each were winched onto the deck where they were cut up into one foot cubes. Once the belly had been flayed the whale was rotated onto its side by the kent tackle and the upper surface stripped. The lips were then removed exposing the baleen which was extracted in one mass. Once safely on deck the whale bone was split with bone wedges into further pieces. The word whale comes from the proto-Indo-European root bale to blow, swell. A heart swollen with kindness floats becomes bhala but bhala is also an ancient weapon, language, a double meaning bow. Once all of the blubber including the kent had been removed the carcass or kring as it was known was released to sink or to become food for bears, sharks and birds. The crowds are swelling onto the streets. They grow and grow each body a ripple. The gathering river quickens but more police are waiting their batons also swollen. To strip a whale of 20 to 30 tons of blubber would have taken little more than three hours. Mouth of sea, whale of syllables, dissolving, crusted in salt. Thank you. This is called weight. When my water broke it had no color, only heart race, a foreign sensation weighing anchor to plant, biology in geography, settling underneath flux, pacific note, sweet spot where you nest even now, taller by a head, sun flower. I watch the west go down in twin moons of your eyes. My eyes, dark circles, bead pain, staking claim to each sharp nail glossed in the daily feed. The sum, thing I am trying to pin top most, mind your man and tend a bean to grow and unto that line. Up end, yellow tape, white silo, flashing red, wearing blue, weight that comes to a head. Thank you. So, let's see, where did this go? Yes, this is called emergency room. Sound signature is its own indelible animal. The growl of the disconnected heart monitor on a flickering finger, neon seismographs of the quaking, slim, gleaming sliver of your body. Fish from a far away ocean hooked, clamped, injected and bald in the ping-pong of sonic graffiti. Language is useless, Rubble. Your tongue makes garbled syllables. My throat a three chord refrain. I and you and love over and over again. Thank you. Okay, so where was I? Yeah. This is another prose poem. It's called Nine Yards of Muslim. The beauty of a plain length of fabric is that it's free of the hierarchies of what's up and down, what's important and what's not. Each thread is vital to the integrity of the whole and the smallest loss irretrievably alters its character. A hole in the fabric makes a space, a space that's filled by whatever is available. If you hold it up to the sky, it's filled by a hue that is an oxymoron, wearing its bluest drape when utterly bone dry. Though she did not live anywhere near the sea, she felt its inchoate roar, an unnamed absence weighing on her from the moment she awoke. Something was missing from the air. The crow blacks, the traffic jam, the hawkers, the spitballs, the offal, the stray dogs, the comb and balloon vendors, Thursday, Friday, Saturday, Sunday, Monday, Tuesday, load shedding, the pins in her hair, a weak left ankle, everything was there, except it wasn't. A cloth folded into flat layers, each thin as an amnion. If birth was transparent, was age translucent? She buried her face in the muslin and took a long, deep breath. A hundred years old, or at least that's what her grandmother had always told her.  The darn thing, still chafing occasionally at the back of a throat, a placemat set out of habit. What to a woman is muslin, if not next of skin? In those days, it wasn't called muslin, but abiravan, flowing water. Over the years, Nani had carefully apportioned its riverine span. Two yards for an embroidered ead dupatta here, half a yard for swaddling cloth there. By the time a clumsy molotov cocktail landed in the courtyard of their house in Ilahabad, the flaming petrol-soaked rag fortuitously fizzling out in the fountain, it was abundantly clear that another river, baying for blood, was nipping at their heels and would soon rise above their heads and that there was no choice but to leave the land of their birth. There were only three yards left. Nani measured a hand span, bringing the fabric from her outstretched index finger to the tip of her nose, made a small snip, and tore off a yard in a final partitioning of the parent gauze. A split second, two hand spans, each half a grave length, the time it took to crest a continuum of water. This one's called border. Imagine I'm aging up a border where this side could not go there. Not that side, come here. If my right of passage wanted to kiss my left bereft giving lip, there would be a row, armed band of teeth, grandstanding, mouthing off to guard each mile, stone after stones, through no one left to mourn. Okay, so I think I'm going to read a khazal. This is called darkness after Agha Shahid Ali. Earth spin around the sun, Kashmir, where it was in darkness, while tyrants spin untruths, enact laws in darkness. Twin apples, her eyes blinded in paradise. Whose bite marks are these? Flesh knows their jaws in darkness.  Even Jesus did not bear his cross in darkness.  Mothers of the disappeared have cursed your sleep. The last of your conscience gnaws in darkness. You are welcome to your skyscrapers, their glitter. Gnaws is anomalous fire, she thaws in darkness. Thank you. So, of course. Okay, all right. Okay, you're welcome to your skyscrapers, their glitter. Gnaws is anomalous fire, she thaws in darkness. So that was the last answer. Okay, can everyone else hear me? This is called B words.  I like bird the best. How she nests, warm against, abreast one minute, gone the next. I am a creature of such piercing flights, such slow-filling quills. I am a creature of such piercing flights, such slow-filling quills. Thank you. Okay, so how am I doing on time? I think I'll read something called Body of Work. Body of Work, a poem in six parts. One, heart. While I was away, dirty dishes aped Mount Everest, zucchini grew monstrously inedible, while 200 cherry tomatoes sank into a desiccated fire. Delias died untimely debts, the swollen mailbox had a baby, loud bills cried, pay me, pay attention, a mirage dissolved. My skipping heart beat, I sank, a stone into the marriage pit. Two, feet. A woman stamped her feet in the desert, and a spring came bubbling up from the hot sand, the way I imagine your touch across the passage that separates us, a mirage, the science of heat. Why was she only a prophet's wife and not a prophet? And tired of knowing the answer to that question, the past doesn't hold water anymore. Three, elbows. What if these bony right angles were actually storm angels? I mean guardians of flesh and blood, not zither or lyre.  What if these elbows made a thunderous fuss, made buss, both noun and reverb? Four, nose. Lord, Lord knows, Lord knows how to work these words, a bridge to where you don't turn up yours. Five, hands. My hands are pregnant, and they birthed a destiny of alphabet stars on a desert page. My pregnant hands say the night sky is white and the swiftly inked stars are black. The book of the patriarch warns against the poets, and I, a woman, she, she, danger, doubling, dribbling, dabbling juice from that delicious peach breach of Helios. The icebox is already empty, Carlos. Don't mess with my pregnant hands. They're sweetly sticky fingers. Six, eyes. Waking to a sensation of elevation, of rising into unnamed enveloping, not like weightlessness, but a subtle force exerting itself against my torpor. A voice emanates, seemingly from everywhere. Direction is a relative beast in the near darkness. What is the voice saying? Sound, syllables, and alphabets float past in air bubbles from whose throat? An o hovers near. I hook my fingers around its neck like a lover and swallow. A woman covered from head to tail with eyes in the shape of darting fish is looking at me. A woman with 9999 eyes, all seeing hands, all seeing strands, all seeing glands. Eat another letter, she commands, reaching into the gelatinous twilight for an almost full moon attached to a stick of stem and popping it in my mouth. It's just like a black-eyed pea. I'm a black-eyed pea, I exclaimed. Yes, she smiles. Yes, you are. Eat some more, and we will begin. Thank you. I think I'll read one last poem, which is called All the Water in the World. Just like an ocean has a current and an undercurrent, so this poem flows in two parallel streams, so I'll be shifting the tone of my voice to alternate between the two. Two parallel streams means I was thinking globally. I was... Bark Archipelago is a poem about basically dislocations caused by migrations, including forced migrations like slavery, and so there are two parallel streams which are global and also the undercurrent is personal, so it takes place on both canvases. Welcome. All the water in the world. All the water in the world, about 13 billion eons old water of tethys and new womb breaking. A crack, thin as razor wire, ran from the lip of the basin to its bottom, stray drops from her. Eons old water of tethys and new womb breaking. Turbid and limpid and frozen and gushing. Niagara and eerie and Indus and Atlantic and speaking of the basin to its bottom, stray drops from her. Skin that did not sink congregated there. Niagara and eerie and Indus and Atlantic and speaking of oceans, anonymous, numinous, snow flakes falling silently as hair grazing ground. Skin that did not sink congregated there. An immigrant moss, water, ate air. Flakes falling silently as hair grazing ground, still secrets of the drowned, undoing time, abiding in the tides, march of middle passages. An immigrant moss, water, ate air. Verdigree to hide copper. Abiding in the tides, march of middle passages, tsunamis of history, whose rust still stains ink the color of blood. Draw. Verdigree to hide copper, one hand a relic, another a river. Ink the color of dried blood, draw blood that runs like water, cries for mother, a clot, a stop to the shot in the back, in the dark, in the bed. One hand a relic, another a river. Lakes here and twin seas see. A stop to the shot in the back, in the dark, in the bed. The madness of no return belongs to the desert. I've pinned my hopes on the young. I've pinned my hopes on the old and young flood. Lakes here and twin seas see. A crack, thin as razor wire, ran from the lip. I've pinned my hopes on the old and young flood. The whole damned thing. Come, swell current, swift straws of hands to skies. Bring on the rain. Thank you. One more round of applause for Monica Muri and Sophia Nass. And the authors have examples of their publications on the table. Feel free to come up and examine them. Purchase them if you like. We also have some more cookies. I think we're running out of coffee, alas. Thanks for coming and pick up a flyer also for our coming events.


It's time for the Lawn Jean Chronoscope, a television journal of the important issues of the hour brought to you every Monday, Wednesday, and Friday, a presentation of the Lawn Jean Wittner Watch Company, maker of Lawn Jean, the world's most honored watch, and Wittner, distinguished companion to the world-honored Lawn Jean. Good evening. This is Frank Knight. May I introduce our co-editors for this edition of the Lawn Jean Chronoscope? Edward P. Morgan and Winston Burdett, both of the CBS television news staff. Our distinguished guest for this evening is the Honorable Warren Lee Pearson, chairman of the United States Council International Chamber of Commerce. Mr. Pearson, it hardly goes, it actually goes without saying, that in addition to your present post, you are also chairman of the Board of Transworld Airlines and an ex-president of the Export-Inport Bank, which makes you ipso facto, whether you like it or not, an expert on finance and world trade. Now these two things are matters that trouble and puzzle people, I think, and most of us are wondering if our government's grants to foreign countries may not be unnecessarily subsidizing, trade abroad, spending too much money. As a matter of fact, Mr. Humphrey, the secretary of the Treasury just has made a speech. In which one, from which one infers, that the government policy on money abroad except for military expenditures is going to be very carefully looked at. What are your comments on that general subject, Mr. Pearson? Well, Mr. Morgan, I think what Secretary Humphrey had in mind was that the so-called giveaway program or at least the rather abundant foreign aid, which we've been giving to the world the last five years, is coming to an end. I think he was pointing out what's pretty common knowledge now, I think, to all of our citizens. Well, both the Europeans and ourselves are agreed now that it's trade and not aid that is the problem. Well, yes, I don't like those cliches, but I think what they really mean is they'd like to do business and and so far as possible, forget about this foreign economic aid. Well, Mr. Pearson, I think it would be helpful if you would spin out for us in a few words. What your own philosophy is about world trade? Should it be a high level, a low level? Should we be isolationist and tend to our own knitting or just what? Well, I feel this way, ever since the end of World War II, I think our business people, our exporters, have been living in a fool's paradise. They have had they've had trade at a high level. They can only continue that trade at a high level if we're prepared, if we, the people of the United States are prepared to keep on our foreign aid programs. Otherwise, we must do one of two things. We must let the let our imports drop and that means that our exports will drop or we have to keep up what we've been doing before and let the taxpayer carry the burden. My, my hope would be that we'll find some means of maintaining high export trade and the only way we can do that without costing the taxpayer a lot of money is to take some foreign goods. It's my thesis that what we want to do is to get rid of our what I would call our historic protectionist policy and make it a national policy to liberalize trade, to accept more goods. Well, Mr. Pearson, Chancellor Adnauer of Germany has been one of the most ardent and consistent European champions of free trade and lower tariff policy and Adnauer has just been triumphantly re-elected. What effect do you think his re-election will have on the trade picture in Europe? Well, I think it's going to have a very beneficial effect. I think that that Adnauer's election marks a great turning point in European history. For the last year or so, there's been a very apathetic attitude in Europe, if I may put it that way. The question of defense is are European friends have been dragging their feet on that? After Stalin's death and Melanchov started his so-called peace offensive that that apathy was accentuated. I regard Chancellor Adnauer's election as a great change. I think that it may be recognized in the future as the beginning of what I would call the economic unification of Europe. Well, Mr. Pearson, in this struggle that we're involved in with the East, is it correct to say that for the purposes of our particular discussion now about trade, that we have two objectives. First, our own economic solvency in this country, without which we won't be able to do anything. Second, the economic solvency of Europe, which many people say can only be achieved by European unity. And is it true, are those two things true, and does it also follow that Mr. Adnauer's election is going to hasten European unity, in your opinion? Well, I think it's going to hasten it. One very interesting side-light of this whole matter is that about three days after Chancellor Adnauer's election, we find our French friends, Premier Laniel and George B. Doe, the foreign minister, meeting with their cabinet, and it's common knowledge that what they're discussing is the European defense community and the possible unification of Europe. I think it's a good sign. Well, Mr. Pearson, just exactly how does European unity fit into the trade picture, and how is it going to promote freer trade in Europe and a healthier Europe? Well, you just have to remember that you have all these small, highly industrial countries contiguous to each other. They're cursed by boundaries and customs between all these boundaries. It's very difficult for one to do business with the other. The industries of one country are dependent largely upon the customers of that country. Whereas with real, the real economic integration of Europe, they would have at their disposal a market of around 200 million people, which really is more than we have in the United States. It would give them a chance to have mass production, something they don't have now. Mr. Pearson, it's often most valuable for us to learn and know what other people are saying about us, whether it's beneficial or whether it isn't. Mr. Stevenson, Mr. Adelaide Stevenson, who has just come back from a world tour, made a remark in a nationwide speech that he feared we might be returning to economic nationalism. There has been a lot of criticism in Europe that we were returning to protectionist policies, and I know that you and your capacity with the International Chamber of Commerce have recently returned from a meeting in Vienna. What was the atmosphere in Vienna? Were we criticized? And what were the criticisms? Well, the attitude of our European friends towards the United States is that in their opinion we lack a definitive policy. They say that we blow hot and cold on what we're going to do. They were very much disturbed about some hearings we had in Congress, which had to do with the renewal of the reciprocal trade agreements program. They took all the things that were said in the press by the opponents to the continuation of the reciprocal trade agreements program as though it were the actual feelings of the American people. I think they were unnecessarily disturbed, although you know and I know that the Congress of the United States is at the moment far from being unanimous towards liberalizing our trade policies. As a matter of fact, I think Congress is leans to the side of protectionism at the moment. Well, sir, the Europeans are asking continually for assurances of a new and liberalized foreign economic policy by us. Where do we stand at the moment? What is being done about it? Well, you know that the President has taken a quite a firm stand towards liberalization of the United States trade. He has in very recent weeks signed the bill which set up the commission on foreign economic policy, which is being headed by Mr. Clarence Randall of Chicago. The purpose of that commission is to give a thorough, full-dress study to this question of American trade policy. The terms of reference given by Congress are exceedingly broad. If the commission can answer half the questions that Congress has asked in the act, it'll be doing very well. Well, right along that line, Mr. Pearson, Mr. Lewis Douglas, our former ambassador to Great Britain, has recently given a report at the President's request specifically in relation to our trade with Great Britain, and he's emphasized that unless we liberalize our trade policies, we're going to be in for trouble. And as I understand it, that report has been turned over to Mr. Randall's committee for further study. What are your views very briefly on that, sir? Well, I think that Mr. Douglas has in his report to President Eisenhower found what a lot of us who've given some thought to the matter have also found, and that is that it would be to our best interest, and that the best interest of the European countries, if we could as a national policy, mind you, open our markets. It would be, I think, not a selfish policy at all. I think we would benefit by it. Well, now, as a last question, Mr. Pearson, and tying into these other things that we've been talking about, you have just said that in your estimation Congress had a protectionist lean. But you've also said that world trade is very important to us. What do you think are the prospects of that policy being followed by the next Congress? Well, I think it's going to have a lot to do with what Mr. Randall's committee can accomplish. And I'd like to put in just one last word on that general subject, and that is we must remember that it was a disunity of Europe that brought the Russians into the scene and put them in position to disturb Europe. We must remember, too, that if ourselves in Europe can together work out our trade policies, we will be doing the best thing we can to protect ourselves from that particular menace. Thank you very much, Mr. Pearson. The opinions you've heard our speakers express tonight have been entirely their own. The editorial board for this edition of the launch in Chronoscope was Edward P. Morgan and Winston Burnett. Our distinguished guest was the Honorable Warren Lee Pearson, Chairman of the United States Council International Chamber of Commerce. If you're contemplating the purchase of a very fine watch, it would be profitable to compare the facts about long gene watches with the fact you have about any other timepiece. 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Since 1866, maker of watches of the highest character. We invite you to join us every Monday, Wednesday and Friday evening at this same time for the Long Gene Chronoscope, a television journal of the important issues of the hour. Broadcast on behalf of Long Gene, the world's most honored watch and Witner Distinguished Companion to the World Honored Long Gene. This is Frank Knight reminding you that Long Gene and Witner watches are sold and serviced from coast to coast by more than 4,000 leading jewelers who proudly display this emblem. Agency for Long Gene Witner Watches. Starts this Saturday the Mirror Theater on the CBS Television Network.


Is there a way that I can tell the cancer cell is going to be sensitive to this treatment? And I would guess that it requires you to have the cancer cell. Number one, is that true? And number two, I believe there's a physics angle to it, right? A little like basically saying that something must change that can change the qualities of cancer and you looked at density. Well, we looked at mass. Mass, forgive me. Wait, simply the weight of the cell. Yeah. And so what was discovered at MIT and Dana-Farber was that if you take live cancer cells out of a patient and we do have to have live cells and you apply an effective cancer drug to those live cells, they change their weight by a tiny amount. I mean really, really minuscule very quickly. And then four or five days later, the drug will actually kill the cell. But in a few hours, we can tell if the drug is going to kill the cell four or five days later or not. And by using that really sensitive measurement that would happen so quickly, we could build a two-day turnaround cancer therapy guidance test that predicts which cancer drugs are going to work for which cancer patients.


The recent pandemic exposed deficiencies within the health systems of many countries. The world began attempts at returning to normal in 2023 after the World Health Organization declared an end to COVID-19 as a public health threat. Permanent Secretary in the Ministry of Health, Wellness and Elderly Affairs Jenny Daniel recounts some of the areas within St. Lucia's health sector which was worst affected. The COVID-19 pandemic affected every aspect of our lives. However, the health sector was particularly hard hit as a need for an effective response placed unprecedented demands on the infrastructure, human resources, equipment, pharmaceuticals, diagnostic services and all other components of the health service delivery in St. Lucia. Yet, in the face of this adversity, we have continued to show resilience, unity and unwavering determination as we proceed with our health sector reforms. In response to the shortcomings of the health sector during that period, the government of St. Lucia embarked on various strategies focused on capacity building. One such strategy included partnering with the Inter-American Development Bank IDB and the European Investment Bank IEB through the Caribbean Development Bank CDB to host a two-day regional workshop. CDB's division chief of projects, Ms. Therese Turner-Jones, says coming out of the COVID period, the organization sees it necessary to improve regional health. The pandemic really just underlined, underscored some of the structural weaknesses in our health systems and the fact that while agencies like CDB and others are trying to build resilience, economic resilience, internal social resilience, financial resilience, all the good things that development institutions like to do, what we realize that the regional health is really the wealth of this region. And for St. Lucia, I would say, as we would say in the Bahamas, you know, the health of the nation is the wealth of the nation. Chief of Operations of the Country Development in Barbados at the Inter-American Development Bank, Mr. Jean-Eric Fianot says the collaboration represents a commitment to the sustainable growth and development of the region. The project that we are launching this morning is critical for the country as it focuses on strengthening resilience and supporting recovery. This project has been made possible under a 50 million US dollar loan facility established between the IDB and the CDB in November 2020 to support the response of Eastern Caribbean countries to the health, economic and social consequences of the pandemic. Representative for the Southern and Eastern Caribbean European Investment Bank, IEB, Ms. Christina Isley says though their main focus for the region over the years has been on climate action, the devastation caused by the pandemic led to a change of plans. So these were funds that were committed to climate action and we decided to re-channel 30 million euros towards health resilience in the Caribbean to really support countries to address the COVID-19 crisis, which as many have stated is still ongoing. So this EIB project in St. Lucia that is totaling almost 10 million US dollars is part of that funding and this is one of three projects in Eastern Caribbean that will benefit from this EIB funding that was re-channeled from climate action. Health Minister Moses Jabatist encouraged the participants to put their best foot forward and aim for excellence at the workshop. The health minister went on to see that the post-COVID period has created opportunities to create new knowledge from the experiences within the region which can be translated into solutions. Whatever we're doing here we must demonstrate to the IDB and to the CDB and to the EIB that we are going to create experiences, we are going to document those experiences scientifically and possibly share them with the world and who knows one of you may well become a world famous offer in a particular experience. The two-day session focused on building capacity and resilience in the health sector to respond to COVID-19 and building public health system resilience within the region. Jade Brown reporting for the Ministry of Health, Wellness and Elderly Affairs.