Toby on The Most Controversial Photograph in Biology

October 14, 2024

She's putting this on her main channel now, in light of the 2024 Nobel Prize events. Huh?

She has done an interesting Q&A on her Patreon page https://www.patreon.com/Tibees, talking about living in Australia, her book on life in the fourth-dimension (and the Sci-Fi novel she's co-authoring!) and getting a position as an adjunct research fellow at a University. She could do that because she knows what she's interested in and what she wants to do.

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David Baker explains his Nobel Prize research on protein design

Doing things to it that the manufacturer had never thought of. Ever wondered what a protein sounds like when you stretch it out and pluck it? Ask Elizabeth Mamani C. (See The Jaguar Circuit and John Stuart Reid on Sound).

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AlphaFold - How do proteins fold-up?

Science is a drug!

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Demon Seed was a Wild film!

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US scientist Gary Ruvkun speaks after being awarded the 2024 Nobel Prize in Medicine

It's all about Better Health! Transpersonal Shadow Work - Maggie Reviewing "The Substance".

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See Space Mog on Ada Lovelace's Bug.

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I guess they were worried about a repeat of 1922: see Angela Collier - Who Gets The Nobel Prize?

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Beware of Scotch people, especially when there's Scotch around. Here are my daughter's ten commandments:

I'm not sure what she made of this at all!

Here is an interesting and very well-written book: Acoustemology - Four Lectures by Steven Feld.

In the introduction, he mentions Irving Goffman's book Forms of Talk:

Once home, the first stop in my library was to revisit Erving Goffman’s book of 1981, Forms of Talk, which contains a chapter in the form of a revised lecture titled “The Lecture.” Goffman reviews how the academic lecture genre involves a particular commitment, not just to what can be conveyed in the typical time constraint of forty-five to sixty minutes, but to a persuasive mixture of summary and depth. That summary and depth is meant to intimate both a broader and deeper knowledge beyond the text, (itself an assumed reduction, often multiply cued or indicated as such) with references to what lies beyond that being spoken. The performance, Goffman assumes, often keys the promise (stated or not) or desire (secret or not) that listeners will request that the elaborated, less oral, and more formal scholarly text will in time appear in print. And this of course is connected to the performative life of the lecture: once printed there will no longer exist the need nor the right to orally re-present the same text.

In the now more than forty years since Goffman wrote “The Lecture,” the academic genre he dissects has undergone numerous critical changes. He was writing about the speaking of written texts, not about the presentation of ear-centric voice work. Additionally, the age of powerpoint now often defaults to the science-centric practice of speaking without a written text, but as accompaniment to ubiquitous bullet point and summary slide images of relevant charts, diagrams, and data displays. In the humanities, arts, and social sciences, virtually everyone has experienced lectures with projected graphics, photographic images, audio and video clips, and new sound-visual analytics, like watching a musical score or viewing a text or lyrics while listening to their performance. I decided to update the lectures by weaving Goffman’s insights on keying and framing into their form, to equally make them meta-lectures, with their intermedial structure central to their signification.

Here's a forty-minute lecture: