The New York Times is out with its own telling of Rothberg's story, and its own analysis of Ion Torrent. Most interesting new fact: Illumina apparently passed on purchasing Ion Torrent. This makes sense: a small, cheap upstart provides benefits to Life Technologies, which has to both guard its older sequencing business and look for new ways to unseat Illumina in the more lucrative next-generation sequencing business, that it wouldn't provide Illumina. (On a second read, I appear to have misread this, as a loyal reader points out.)
This is a compelling idea to anyone who has studied the history of the computer industry -- that revolutions can be driven by broader access. It helps drive home how quickly DNA technology is moving forward.
Cover Story torrent
Based in Singapore, I am a senior reporter for Forbes Asia, covering billionaires, entrepreneurs, wealth and deals across Asia. Prior to joining Forbes, I worked for several media organizations in the past two decades, including Bloomberg and Thomson Reuters. In recent years, I have also ventured into PR with stints as Associate Director at Singtel and as Chief Storyteller at boutique media consultancy FDM Media. For news tips, you can reach me at jburgos@forbesasia.com.
I am a journalist based in Venice and originally from Scotland. I have been writing about my adopted country since I moved here five years ago after completing a degree in History of Art from Cambridge University.
I cover the Philadelphia 76ers and NBA salary-cap issues for Forbes. I've been writing about the NBA since 2009 on websites such as Bleacher Report, BBALLBREAKDOWN, FanSided and ESPN's TrueHoop Network. Check out my podcast, The NBA Podcast, wherever podcasts are found. I still trust the Process.
The PGM was launched in December as a $50,000 alternative to the big $600,000 machines used to sequence the individual chemical base pairs that make up the DNA code. (I wrote a cover story about it.) On a base-pair-per-dollar basis, the PGM is not as cheap as the big machines made by Life and rival Illumina. But it can deliver that smaller packet of data with a shorter turn around time (two hours instead of as much as two weeks) and the entry cost is low enough that scientists who have shied away from DNA sequencing could buy their own PGM. The PGM uses a semiconductor chip to sequencing DNA, a technology that Ion Torrent founder Jonathan Rothberg says will allow his machine to increase in speed at a rate of 10-fold every six months.
The story begins with O'Neill returning home from the library to find that his wife and small daughter have left him, explaining that "It takes a lot to mend the walls of fate." O'Neill, desperate for companionship, befriends a British waitress, Diana, at the restaurant where she works and immediately asks her to marry him.
Yogi Johnson has a period during which he anguishes over the fact that he doesn't seem to desire any woman at all, even though spring is approaching, "which turns a young man's fancy to love." At last, he falls in love with an Indigenous American woman who enters a restaurant clothed only in moccasins, the wife of one of the two Indigenous Americans he befriends near the end of the story, in the penultimate chapter. Johnson is cured of his impotence when, viewing the naked woman, he is overcome by "a new feeling" which he hastens to attribute to Mother Nature, and together they "light out for the territories."
Mixed reaction greeted the novella, itself sharply critical of other writers. The work is generally dismissed by critics and seen as vastly less important than The Sun Also Rises, which was published in the same year. Hadley Richardson, Hemingway's wife at the time, believed his characterization of Anderson was "nasty", while John Dos Passos considered it funny but did not want to see it published. F. Scott Fitzgerald, on the other hand, considered the novella a masterpiece.[5] Little scholarly criticism has been devoted to The Torrents of Spring, as it is considered less important than Hemingway's subsequent work.[4] American readers would have recognized "a Great Race" in the subtitle as alluding to Madison Grant's The Passing of the Great Race, a eugenic history and argument for the superiority of Nordic blood, influential in the USA and Germany when first published (1916.)
Good movie, tells same story from different perspectives. Funny parts (Jerry Trainor is a treasure) but leaves questions. Doesn't give much explanations and doesn't clear things up but overall good movie with good cast.
If you struggle to fall asleep this might be the remedy for you. Cover Versions is a stupid movie with incredible bad music. It's cringing to hear that, and unfortunately you hear it alot. The acting is exactly how I imagine teenagers would act that have no clue in what they are supposed to do. The concept of the story is not only done before but it's also one of those things I hate to watch. You get the perspective of each character, so you basicaly watch the same thing over and over but through another character's eyes, with some slight modifications to the story. It's boring, it has always been boring, and I don't get why people still make movies this way. The movie couldn't end quick enough for me. I don't think I could have listen to one more of those lazy songs without puking.
Deep Cover is directed by Bill Duke and written by Michael Tolkin and Henry Bean. It stars Larry Fishburne, Jeff Goldblum, Charles Martin Smith, Victoria Dillard and Gregory Sierra. Music is by Michel Colombier and cinematography by Bojan Bazelli.Traumatised as a youngster by the death of his junkie father, Russell Stevens (Fishburne) becomes a police officer. Passing an interview with DEA Agent Gerald Carver (Smith), Stevens goes undercover to bust a major drug gang that has links to high places. But the closer he gets in with the targets, the deeper he gets involved - emotionally and psychologically.A splendid slice of gritty neo-noir, Deep Cover follows a classic film noir theme of a man descending into a world he really shouldn't be part of. This is a shifty and grungy Los Angeles, awash with blood money, single parents prepared to sell their kids, where kids in their early teens mule for the dealers and get killed in the process. A place of dimly lighted bars and pool halls, of dank streets and scrap yards, and of course of violence and misery.The look and tone of the picture is as intense as the characterisations on show. Duke (A Rage in Harlem) knows some tricks to imbue psychological distortion, canted angles, step-print framing, slow angled lensing, jump cuts and sweaty close ups. Bazelli photographs with a deliberate urban feel, making red prominent and black a lurking menace. While the musical accompaniments flit in between hip-hop thunder and jazzy blues lightning.Fishburne provides a narration that works exceptionally well, harking back to classic noirs of yesteryear. As this grim tale unfolds, his distressingly down-beat tone goes hand in hand with the narrative's sharp edges. The screenplay is always smart and cutting, mixing political hog-wash and social commentary with the harsh realities of lives dominated by drugs - the users - the sellers - the cartel, and the cop going deeper underground...Great performances from the leading players seal the deal here (Goldblum is not miscast he's the perfect opposite foil for Fishburne's broody fire), and while some clichés are within the play, the production as mounted, with the narrative devices of identification destruction (hello 2 masks) and that violence begets violence, marks this out as one the neo-noir crowd should note down as a must see. 8/10 2ff7e9595c
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