Author: flyagaric23

  • Shannon’s Mathematical Theory of Communication Applied to DNA Sequencing

    If we could have James Joyce and Robert Anton Wilson in the mix we might get close to something very really close to ‘the tale of the tribe’. With a focus on RAW’s book ‘Coincidance’ in which he defines DNA based information theory through a Joycean measure of the redundancy of information, poetry as information, political speeches as low. love, fly.

     

    Shannon’s Mathematical Theory of Communication Applied to DNA Sequencing

    Nobody knows which sequencing technology is fastest because there has never been a fair way to compare the rate at which they extract information from DNA. Until now.
    kfc 04/02/2012
    • 2 Comments


    One of the great unsung heroes of 20th-century science is Claude Shannon, an engineer at the famous Bell Laboratories during its heyday in the mid-20th century. Shannon’s most enduring contribution to science is information theory, which underpins all digital communication.
    In a famous paper dating from the late 1940s, Shannon set out the fundamental problem of communication: to reproduce, at one point in space, a message that has been created at another. The message is first encoded in some way, transmitted, and then decoded.

    Shannon’s showed that a message can always be reproduced at another point in space with arbitrary precision provided noise is below some threshold level. He went on to work out how much information could be sent in this way, a property known as the capacity of this information channel.

    Shannon’s ideas have been applied widely to all forms of information transmission with much success. One particularly interesting avenue has been the application of information theory to biology–the idea that life itself is the transmission of information from one generation to the next.

    That type of thinking is ongoing, revolutionary, and still in its early stages. There’s much to come.
    Today, we look at an interesting corollary in the area of biological information transmission. Abolfazl Motahari and pals at the University of California, Berkeley, use Shannon’s approach to examine how rapidly information can be extracted from DNA using the process of shotgun sequencing.

    The problem here is to determine the sequence of nucleotides (A, G, C, and T) in a genome. That’s time-consuming because genomes tend to be long–for instance, the human genome consists of some 3 billion nucleotides or base pairs. This would take forever to sequence in series.
    So the shotgun approach involves cutting the genome into random pieces, consisting of between 100 and 1,000 base pairs, and sequencing them in parallel. The information is then glued back together in silico by a so-called reassembly algorithm.

    Of course, there’s no way of knowing how to reassemble the information from a single “read” of the genome. So in the shotgun approach, this process is repeated many times. Because each read divides up the genome in a different way, pieces inevitably overlap with segments from a previous run. These areas of overlap make it possible to reassemble the entire genome, like a jigsaw puzzle.

    That smells like a classic problem of information theory, and indeed various people have thought about in this way. However, Motahari and co go a step further by restating it more or less exactly as an analogue of Shannon’s famous approach.

    They say the problem of genome sequencing is essentially of reproducing a message written in DNA, in a digital electronic format. In this approach, the original message is in DNA, it is encoded for transmission by the process of reading, and then it is decoded by a reassembly algorithm to produce an electronic version.

    What they prove is that there is a channel capacity that defines a maximum rate of information flow during the process of sequencing. “It gives the maximum number of DNA base pairs that can be resolved per read, by any assembly algorithm, without regard to computational limitations,” they say.

    That is a significant result for anybody interested in sequencing genomes. An important question is how quickly any particular sequencing technology can do its job and whether it is faster or slower than other approaches.

    That’s not possible to work out at the moment because many of the algorithms used for assembly are designed for specific technologies and approaches to reading. Motohari and co say there are at least 20 different reassembly algorithms, for example. “This makes it difficult to compare different algorithms,” they say.

    Consequently, nobody really knows which is quickest or even which has the potential to be quickest.

    The new work changes this. For the first time, it should be possible to work how close a given sequencing technology gets to the theoretical limit.

    That could well force a clear-out-dead-wood from this area and stimulate a period of rapid innovation in sequencing technology.

    Ref: arxiv.org/abs/1203.6233: Information Theory of DNA Sequencing

    http://www.technologyreview.com/blog/arxiv/27689/

  • Orson Welles’ fans push for commemorative U.S. stamp in time for centennial celebration

    Orson Welles’ fans push for commemorative U.S. stamp in time for centennial celebration

    Published: Sunday, March 11, 2012, 8:11 PM     Updated: Sunday, March 11, 2012, 8:12 PM
    ORSON_WELLES Orson Welles

    With the approach of the 100th anniversary of the birth of the late Orson Welles, Woodstock, Illinois, where the actor-director spent his formative years is leading the call for a U.S. postage stamp to honor the maverick filmmaker.
    Woodstock Celebrates, is planning events in May 2014, marking the 80th anniversary of the Todd Theatre Festival during which Welles made his directorial debut, and in May 2015 to mark the 100th anniversary of his birth.
    Woodstock Celebrates and Wellesnet, a Welles resource website, are petitioning the U.S. Postal Service to issue a stamp in 2015 honoring the Orson Welles centenary. They argue that Woodstock is the proper locale for the first day issuance.
    Woodstock Celebrates hopes the stamp drive and anniversary celebrations will attract Welles enthusiasts from around the United States and perhaps the globe, according to Kathleen Spaltro of Woodstock Celebrates.
    “We want to reconnect Woodstock with two remarkable people in its history, Orson Welles and Roger Hill, an extraordinary educator at Todd School, who understood how to nourish creativity and foster love of learning,” Spaltro said.
    At the Todd School for Boys, from 1926 to 1931, Welles met Hill, his mentor and lifelong friend. Asked as a middle-aged man who was the most important influence on his creativity, Welles replied, “Roger Hill. I think about him every day.”
    Welles returned to Woodstock throughout the 1930s and 1940s – in particular for the theater festival at the Woodstock Opera House in 1934 that he organized and Hill, then headmaster, funded. There, Welles made his debut as a professional director, and he made his first venture into film in Woodstock with the 16mm short “The Hearts of Age.” In addition, Hill and Welles published the book“Everybody’s Shakespeare” in Woodstock that year.
    Initial plans call for several Welles scholars to talk about his early life and career on the 80th anniversary of the 1934 Todd Theatre Festival (Tentative guests currently scheduled to speak include Joseph McBride, Jonathan Rosenbaum, Michael Dawson and Wellesnet’s Lawrence French).
    In May 2015, Woodstock Celebrates will throw a 100th birthday party for the late actor-director-writer. Related, concurrent events may include library and/or county historical society exhibits, screenings of Welles-related films, sales by vendors of radio and movie memorabilia, and a re-enactment of the historic 1938 radio broadcast of “The War of the Worlds.”
    The issuance of a Welles commemorative postage stamp celebrating the 100th anniversary of his birth would complement Woodstock’s birthday party, organizers said.
    Welles’ image appeared on a U.S. stamp in 1999 in a scene from his landmark film “Citizen Kane.” The 1941 film is regarded as the finest movie produced in Hollywood.
    Stamp proposals must be submitted to the Citizens’ Stamp Advisory Committee in writing. Proposals made by e-mail will not receive a response. Subjects should be submitted at least three years in advance of the proposed date of issue to allow sufficient time for consideration and for design and production.

    Stamp proposals should be submitted  to:
    Citizens’ Stamp Advisory Committee
    c/o Stamp Development
    U.S. Postal Service
    475 L’Enfant Plaza SW, Room 3300
    Washington, DC 20260-3501

  • Orson Welles’s lost Heart of Darkness screenplay performed for the first time

    Orson Welles’s lost Heart of Darkness screenplay performed for the first time

    Orson Welles’s audacious adaptation of Conrad’s ‘Heart of Darkness’ has never been performed – until now.

    A fictional poster for Orson Welles’s Heart of Darkness by Fiona Banner Photo: Fiona Banner and La Boca
    It was the one that got away. Heart of Darkness was meant to have been Orson Welles’s first film: a monumentally ambitious, technically innovative adaptation with which he hoped to shake up the industry.
    Hollywood took one look at it – and baulked. Written in the late Thirties, Welles’s 174-page reimagining of Joseph Conrad’s 1899 novella was considered too expensive, too challenging, and the theme of lust for power made the moguls uneasy. So he abandoned the project and embarked on Plan B, a little film called Citizen Kane.
    Rejected by RKO’s sceptical president, George Schaefer, and bound up in rights issues with the Welles estate since his death, the Heart of Darkness script has never once been performed – until now.
    On Saturday afternoon (31 March), a one-off production is being staged by the Turner Prize nominated artist Fiona Banner and live-streamed around the world from the most apt setting imaginable: a riverboat installation modelled on the Roi des Belges, the vessel Conrad captained on his journey up the Congo in 1890. Scottish actor Brian Cox will play – as Welles intended – both Marlow, the narrator-protagonist, and Captain Kurtz, the despotic ivory trader he seeks.
    Over the entire event hang titanic spectres of hubris and defeat – both Welles’s own and those described in the story. This is what fascinated Banner. “It seemed to embody so much failure to me,” she says. “Or so much disappointment – the disappointment at the heart of Conrad’s story, the hopes and aspirations of all of us, and how they co-exist with impossibility. I think disappointment’s underrated, and such a rich part of life.
    “Also the myth of the hero is so powerful in that tale. If you superimpose the heroic figure of Welles, he and Kurtz, and, in a way, all of the great Conrad characters sort of mingle together into one.”
    Banner’s three-way obsession with Welles, Conrad and Heart of Darkness came out of an earlier project, The Nam, in which she confronted Hollywood’s mythologising of the Vietnam War. Francis Ford Coppola’s Apocalypse Now, the most famous Heart of Darkness adaptation, is a movie with its own parallel set of myths, a grandiose near-failure. Time and again, it seems, the strange power of Conrad’s text – “the dark cloud of genius”, as Banner puts it – has tempted film-makers up river and run them aground.
    “The reasons Welles didn’t get [the film made] are interesting,” adds Banner. “When he started writing it, fascism wasn’t such a big story in Hollywood, but by the time he finished it, in 1939, it must have been something of a hot potato. That was probably the main reason it didn’t get made. The more I’ve looked into it, the more I’ve realised how close he is to the stuff in Europe, and not just in the obvious ways of giving all these company men that Marlow meets German names. It’s central to the tale.”
    The political subtext of Welles’s script can’t have been the only thing that made Schaefer and his underlings quiver with uncertainty. The screenplay begins with an on-camera “screen test” in which he asks the audience to assume the role of a caged canary. There’s another prologue, utterly unrelated to Conrad, that places the viewer in an electric chair. All this is by way of establishing a radically new grammar of film-making, in which the camera’s eye is the same as our own. Welles visualises Marlow’s voyage as an implicating, first-person journey of discovery.
    “I’ve never seen a script that dedicates so much space to camera,” says Banner. “You feel that if this film had been made, Hollywood might have been a different place.”
    There’s no doubt that Welles’s innovations were ahead of their time: eight years after he had the idea, the you-are-the-camera gimmick was used in a Hollywood production – Robert Montgomery’s noir adaptation of Raymond Chandler’s Lady in the Lake (1947). The sense that Welles was pushing at the boundaries of what was possible within the studio system, but still failing to get most of his ideas off the ground, is precisely what makes his career such an endless source of fascination.
    “He didn’t fulfil his potential – he ended up making frozen peas adverts and stuff,” Banner says. “But all through his life he’d go off and make these extraordinary things. He’d fund them himself, and some of them were never shown.”
    The variety of techniques flaunted in the script pose mind-spinning challenges for Banner and her cameraman, Hugo Glendinning, whose images will be beamed down live across the internet. She’s guarding the exact details of how the production will work, practically speaking, but the aims are clear. “It will appear as if Cox is talking to himself, so this idea of duality, of one man’s vision challenging his intellectual condition, will be evident in the performance.
    “Plus, Cox has the aura of a lead guy, but he doesn’t do many leads. So I like the idea of his being a kind of triple lead here – he’s channelling Welles, he’s channelling the allure of Kurtz and the almost moderate Marlow.”
    It could make for a backward-looking exercise, an archaeological game with old-hat material, were it not for the curious relevance of Conrad’s work – and Welles’s – to what Banner calls “systems of control” that have lingered in their wake. “It does feel like a relevant text for today,” says Banner. “It’s about greed and lust for power. If you want to look globally, the tragedy is that the situation in the Congo is really no better now than it was then.”
    Heart of Darkness will be streamed live from 5.30pm tomorrow online at aroomforlondon.co.uk and in the Purcell Room, London SE1
  • THE MULTI STORY BARD BARK (a short multi story)

    A NOTE TO MY FRIENDS AND READERS….

    I promised my friends and myself that I would write a multi-story about the multi-story car park in Stourbridge that is scheduled to be demolished today (April 1st, 2012). So here is a first draft, its pretty RAW will undergo editing at a later date.

    Enoy, and please feel free to feed back as you see fit. (the original idea was a multi authored story, so if anyone wants to pick up a thread, please do). Maybe somebody from Stourbridge will get a hold of this a print it out and give it out to some locals, feel free my friends, Love, steve fly

    Car park demolition day will see more than 100 homes evacuated

    THE MULTI STORY BARD BARK. (first draft)
    by Steven James Pratt, 1st April 2012.

     

    (Any names, events, or places that are similar by name, event or by places–existing in the real universe outside of this story–is purely and totally coincidental. It is, in fact, the wishes of the author to make fiction from the imagination and raw material of experience.)

    The RACE day

    (more…)

  • River Stour Letter Peck

    A collection of like minded individuals from ‘in and around’ the Black Country area of the West Midlands, in the UK, took to the banks and surrounding lands of the River Stour to liiter pick and access the environmental IMPACT required to clean up the stour. Sunday, March 25th, 2012 All video, photo and audio compiled by Fly Agaric 23. Audio: Elixerville 2006.

  • Rage, rage against the dying of the light

    Do not go gentle into that good night–Dylan Thomas. 1951.

    Do not go gentle into that good night,
    Old age should burn and rave at close of day;
    Rage, rage against the dying of the light.
    Though wise men at their end know dark is right,
    Because their words had forked no lightning they
    Do not go gentle into that good night.
    Good men, the last wave by, crying how bright
    Their frail deeds might have danced in a green bay,
    Rage, rage against the dying of the light.
    Wild men who caught and sang the sun in flight,
    And learn, too late, they grieved it on its way,
    Do not go gentle into that good night.
    Grave men, near death, who see with blinding sight
    Blind eyes could blaze like meteors and be gay,
    Rage, rage against the dying of the light.
    And you, my father, there on the sad height,
    Curse, bless me now with your fierce tears, I pray.
    Do not go gentle into that good night.
    Rage, rage against the dying of the light.
     
    http://en.wikipedia.org/wiki/Do_not_go_gentle_into_that_good_night

    Saturday, January 6, 2007

    Do Not Go Gently Into That Good Night

    Various medical authorities swarm in and out of here predicting I have between two days and two months to live. I think they are guessing. I remain cheerful and unimpressed. I look forward without dogmatic optimism but without dread. I love you all and I deeply implore you to keep the lasagna flying.

    Please pardon my levity, I don’t see how to take death seriously. It seems absurd.

    RAW 

    http://robertantonwilson.blogspot.co.uk/2007/01/do-not-go-gently-into-that-good-night.html
  • RAW at the 1986 International Poetry Festival Oslo.

    Robert Anton Wilson dedicates his book “Wilhelm Reich in Hell”,”…to all political prisoners, wherever they may be.”‘ and writes: “I recently had the honor of writing the statement of principles that concluded the 1986 International Poetry Festival in Oslo, Norway, which was signed by all the participating artists and scientists. That statement is printed below, to transmit again a signal of solidarity with all victims of tyranny:

    We, the undersigned participants in the 1986 Oslo International Poetry Festival, hereby deplore all governments which presently hold in prison artists, writers or scientists condemned for no crimes except creative thought. We affirm our solidarity with all these imprisoned sisters and brothers and send them this signal of our concern and love. We call on all governments to grant amnesty to all such persons and we call on all citizens everywhere to join us in protest against the barbarous practise of attempting to cage the mind and strangle the creative spirit.

    http://en.wikipedia.org/wiki/Oslo_International_Poetry_Festival

  • Nature’s God by RAW (feat. Lousy Vikings)

    This is from a reflection in the middle of Nature’s God, a historical novel by Robert Anton Wilson:

    “Historians agree that, when not combing the lice out of his beard or getting drunk, your average Viking preferred to spend his time cracking skulls with axes.
    Incidentally, we know the Vikings spent a lot of time combing lice out of their beards because archaeologists have made careful scientific catalogs of the Danish and Norse artifacts found around Dublin Bay, and lice combs outnumber swords and all other implements of war about a hundred to one. As Sherlock Holmes would tell you, “Observing thousands of lice combs, one deduces the existence of many, many lice.” When the Irish said, “Here come those lousy Vikings again,” they were probably being literal.
    I know the movie people left the lice out of that epic adventure, The Vikings, starring Kirk Douglas and Tony Curtis, but Hollywood has a tendency to glamorize things. “

    Nature’s God
    Volume Three of the Historical Illuminatus Chronicles

    The Wilderness Diary of Sigismundo Celine
    Ohio 1776-78
    A universe without a monacrh or a parliament
    Intellectual passions are more bewitching than love affairs, which is why they last longer. A man can adore a woman until she changes or grows surly, but he can be madly infatuated with a Theory all his life.
    When the Pope sits on the chamber pot to shit, does he believe in his own infallibility? Does not every imposter occasionally recognize his own hairy, homely humanity? Perhaps not; worn long enough, sometimes the Mask of Authority becomes the man. Even looking in a mirror, he will see the sacred Mask and not his own ordinary human face.
    N. B. It is not only the mighty who wear Masks. To be born in Napoli is to form a Neapolitan Mask before age six, I estimate. Similarly, those who grew up in Paris and London never cease to wear the Masks of the Parisian and the Londoner.
    The study of psychology should be a history of the metamorphoses of men and women into their habitual Masks.
    The Catholic wears a Catholic Mask at all times; just look at the Neapolitan whores with crucifixes around their necks. The Protestant also cannot remove the Protestant Mask. Etc. Most comic of all; the Rationalist tries to wear the Mask of Reason even when everybody else can see he is in the grip of a furious passion.
    There is no complete theory of anything. The damnable habit of giving children examinations in which every question has a “true” or “false” answer has conditioned us to think everything in the universe is “true” or “false.” In experience, most things emerge out of Chaos, confuse and muddle us for a while, and vanish into uncertainty again before we know what they were or if they’re coming back. The world is a phalanx of maybes in which a handful of trues and falses can occasionally be found.
    We create our Masks, as God allegedly made the world, out of nothing. In both cases, the nothingness sometimes shows through.
    It is quite easy to make friends with the wolves, contrary to popular lore. Respect their territory, and they will respect yours. It is impossible to negotiate similarly with the fleas: that appears to be a fight to the death.
    Today, suddenly, I encountered a quite large brownish bear in the woods. I was careful not to do anything threatening (I had my rifle, but did not want to be forced to shoot so noble a beast). Some ancient instinct told me not to run away. I pretended to ignore the huge animal, as if I had more important affairs on my mind. Then I saw out of the corner of my eye that the bear was doing exactly the same pantomime: he was using identical body signals – the same body “language,” I might even say – to signify that I was not of any concern to a bear of his royal stature. We moved off, in opposite directions, all the time signaling that we were too busy to be bothered with lesser creatures. I would call this a case of Mask as body language.
    Only later did I realize that I have seen dogs use that body language when they do not wish to fight. The implications of this simple experience are so staggering that I can scarcely formulate my own thoughts clearly. What it seems to suggest is that if dogs, bears, humans, and some other creatures have a common preverbal “language,” then we also have a common ancestor.
    The thought of the unity of life will not leave me. The wolves have a “king,” just like the Neapolitans or French, etc., and His Lupine Majesty wears the Mask of authority in all that he does. I communicate well enough with the wolves that they come around more and more often to beg food. I communicated very eloquently with that bear, and he with me. All those statues I saw in North Africa of men or gods with animal heads suggest that some people have had this insight long before me – the human in the animal, the animal in the human. Buffon toys with this thought in this Natural History, and speaks of the possible evolution of life from a common source, but then he dismisses the idea as improbable. Did his great analytic mind really reject such a stupendous concept so myopically or did he just remember two unscientific facts: (a) the Inquisitors would read his words later and (b) he was not fireproof?
    There is no governor anywhere and we are all relatives. Whenever I smoke the medicine herbs with Miskasquamic I can communicate with trees and that is not “hallucination.” Animal and vegetable are cousins! Take off the Mask of humanity, as St. Francis did, and even rodents and roses talk to you, and you to them, in a language older than words.
    Am I on the edge of a great discovery or am I going cracked from living alone too long? At times like this it is best to forget philosophy for a while and turn my mind back to music. Logic claims to know – it is the bastard son of priestcraft – but art, thank God, only aspires to share an experience.
    Melody, harmony, counterpoint: I do not regret the years I spent learning these disciplines, but they are fundamentally irrelevant. If music ceases to be wonderful nonsense, it will not console the tormented heart.
    The function of law and theology are the same: to keep the poor from taking back by violence what the rich have stolen by cunning.
    The longer one is alone, the easier it is to hear the song of the earth. Yes, yes, yes: I am not going cracked, I am merely leaving human Masks behind. The wilderness is where truth is naked and hypocrisy has not been invented.
  • FLY BY NIGHT WITH STEVE THE FLY 04

    Fly By Night with Steve The Fly 04

    Fly By Night with Steve The Fly 04

    The Fly is finishing up the night at the Café Belgique with music by Art Blakey, Otis Rush, Tribe, Shuggie Otis, Lee Perry & Adrian Sherwood, Slayer, Junior Wells, Otis Rush, Miles Davis, John Sinclair & Ed Moss, Magic Sam, and Brother Jack McDuff.
    The John Sinclair Foundation Presents

    FLY BY NIGHT WITH STEVE THE FLY 04
    Café Belgique, Amsterdam, January 20, 2012 [FA-0004]
    [01] Art Blakey: Oscalypso
    [02] Otis Rush: Working Man
    [03] Tribe: A New Day
    [04] Shuggie Otis: Freedom Flight
    [05] Lee Perry & Adrian Sherwood: Wake Up Call
    [06] Slayer: Reigning Blood
    [07] Junior Wells: Early In The Morning
    [08] Otis Rush: All Your Love
    [09] Miles Davis: Excerpt
    [10] John Sinclair with Ed Moss & the Society Jazz Orchestra: Steps > Spectrum > LUYAH! The Glorious Step
    [12] Magic Sam: Everything Gonna Be Alright
    [13] Closing Music: Brother Jack McDuff: Goodnight, It’s Time To Go
    A JOINT PRODUCTION
    Produced by Steve “Fly” Pratt for Radio Free Amsterdam
    Edited, assembled & annotated by John Sinclair
    Executive Producer: Sidney Daniels
    Sponsored by Ceres Seeds & The Hempshopper, Amsterdam
    © 2012 Steve Pratt & The John Sinclair Foundation

    http://www.radiofreeamsterdam.com/fly-by-night-with-steve-the-fly-04/