Tagscondo marketWashington D.C. The penthouse at 3150 South Street in Washington, D.C. (Photos via Redfin; Homevisit)A penthouse at the Ritz-Carlton Georgetown in Washington, D.C., is hitting the market for $18 million.If it sells near that price, the 5,500-square-foot unit would break a record for the priciest condominium sold in Washington, according to the Wall Street Journal.The three-bedroom is one of five penthouse units at the Ritz-Carlton. It has 1,800 square feet of terrace space. The sale also comes with a small unit on the ground-floor of the building.The seller is the estate of Michelle Smith, the daughter of prominent area developer Robert H. Smith. Michelle Smith, who died last year, worked as a vice president for Charles E. Smith Residential Realty and its successor REIT, Archstone-Smith.She bought the two units for around $6 million in 2005. They were raw spaces that she built out over the ensuing years. Smith had the floors, moldings, and staircase built from limestone, and built out a wood-paneled library, office, bar, family room, and other spaces.ADVERTISEMENTListing agent Matt McCormick of TTR Sotheby’s International Realty estimated she spent $20 million on the purchase and work. Smith also furnished the unit with furniture by French designer Jean-Michel Frank and art by Alberto and Diego Giacometti, and Francois-Xaxier Lalane. Those objects and items, however, will be sold separately.There are no other units available in D.C. anywhere near the $18 million listing, according to prices on Redfin. The next most expensive unit on the market is asking $6 million. [WSJ] — Dennis Lynch Share via Shortlink Share on FacebookShare on TwitterShare on LinkedinShare via Email Share via Shortlink
Sen. Anna Kaplan (Photos via Wikipedia Commons; iStock)The New York state Senate is set to approve a series of bills aimed at tackling the pervasive problem of housing discrimination.The legislative measures include stiffer penalties for violating fair housing laws, more hours of implicit bias training for real estate agents and an undercover testing program, Newsday reported.The move was prompted by Newsday’s three-year investigation, “Long Island Divided,” which found widespread housing discrimination among real estate agents on the island. The publication found that brokers engaged in discriminatory behavior, such as steering non-white home shoppers to certain neighborhoods or requiring minority buyers — but not white ones — to get mortgage pre-approvals to see listings.Read moreLawmakers call for stiff penalties, reform after housing discrimination probeState can now revoke real estate licenses for discriminatory practicesBiden executive order lays foundation for restoring fair-housing rule hamptons-weeklyhousing discriminationHousing Marketlong islandResidential Real Estatetristate-weekly Full Name* Tags Share via Shortlink Share on FacebookShare on TwitterShare on LinkedinShare via Email Share via Shortlink Message* Email Address* The Senate followed with its own probe, which culminated in a 97-page report last month outlining steps the industry should take — including undercover testing, increasing licensing fees for agents and raising penalties for Fair Housing Act violations — to more effectively combat discrimination. The legislation set to pass on Monday incorporates some of those recommendations.There are laws on the books already to address housing discrimination, but those largely rely on self-monitoring. Measures like paired testing — in which people of different ethnic backgrounds and similar financial profiles pose as home shoppers to see if agents are complying with fair housing laws — are intended to hold the real estate industry accountable, according to the bill’s sponsor.“At the hearings, we heard from a lot of brokers and it became obvious some of them were not aware of what they were doing [wrong],” said Sen. Anna Kaplan, a Democrat representing North Hempstead. “This [bill] will allow us to see how we are progressing.”Once approved by the Senate, the bills will be sent to the Assembly for consideration. [Newsday] — Akiko MatsudaContact Akiko Matsuda
Optical methods of studying the atmosphere are one valuable means of investigating atmospheric behaviour at heights ranging from less than 1 km to several hundred km. Some examples are given of results from various optical experiments carried out at Halley, Antarctica (76oS, 27oW;L=4.2), as is a consideration of the results of some complementary experiments. By combining observations made using different techniques, an improved understanding of atmospheric, ionospheric and magnetospheric processes is obtained.
Around the world Albrecht Dürer’s celestial charts are the first known printed maps of the northern and southern celestial hemispheres. Photo courtesy of Staatliche Graphische Sammlung München Man of many trades This etching by Jost Amman depicts Wenzel Jamnitzer, a goldsmith, mathematician, and instrument maker. Department of Digital Imaging and Visual Resources/Harvard Art Museums Instrument of prediction This astrolabe, an instrument used to predict the positions of the sun, moon, stars, and planets, was made by Georg Hartmann. Photo courtesy of Adler Planetarium & Astronomy Museum, Chicago Plant master This portrait by Jacques de Gheyn II was a frontispiece for Clusius’ groundbreaking “history of rare plants,” with 1,120 woodcut illustrations showing plants in various stages of their life cycles. Department of Digital Imaging and Visual Resources/Harvard Art Museums Skeleton by design An engraving of a skeleton by Philip Galle offered an inside look. Photo courtesy of Rijksmuseum, Amsterdam From the top This “field manual for treatment of wounds” depicts instruments for use in cranial surgery. Courtesy of Philadelphia Museum of Art Inside out Heinrich Vogtherr’s anatomical flap prints of a female (shown here) and a male are another compelling example of how the material qualities of paper influenced the use of prints. Photo courtesy of Boston Medical Library in the Francis A. Countway Library of Medicine ‘Pilot Whale Beached at Zandvoort’ A 1594 etching and engraving by an unknown artist. Department of Digital Imaging and Visual Resources/Harvard Art Museums Cosmographic map With its flattened and elongated spherical form encompassing all the known continents in both hemispheres, this universal cosmographic map by Hans Holbein and Sebastian Munster was an innovative depiction of the Earth for its time. Photo © The Trustees of the British Museum ‘Prints and the Pursuit of Knowledge’ Coloring between the lines Albrecht Dürer’s “Rhinoceros,” 1515 (1620 edition). The addition of color to Dürer’s “Rhinoceros” masked a horizontal split in the lower left of the block. More important, it attributed a specific color to a creature about which very little was actually known. Photo © Museum of Fine Arts, Boston Albrecht Dürer (1471-1528), considered the greatest artist of the Northern Renaissance, is admired as much for his versatility and range as for his profound mastery of his materials. Portrait painter, draftsman, watercolorist, and, most famously, printmaker, he is perhaps best known for his treatment of biblical and allegorical themes.But the brilliant, tirelessly inquisitive German artist also altered the world’s vision of the heavens.On the fourth floor of Harvard Art Museums/Arthur M. Sackler Museum hang Dürer’s intricate 1515 woodcut prints depicting the constellations of the northern and southern hemispheres with a combination of scientific scrutiny and artistic flair. Made in collaboration with 16th-century mathematician and astronomer Conrad Heinfogel and cartographer Johannes Stabius, and drawing on his own interest in and knowledge of astronomy, the artist carefully created his celestial charts. Never before had the heavens’ constellations been so vividly, accurately, and widely reproduced. The scholarly work changed the history of astronomy.Dürer’s images represent the type of vibrant exchange that is at the heart of a new exhibition titled “Prints and the Pursuit of Knowledge in Early Modern Europe.” The show, with its collection of prints, books, maps, and instruments like sundials, globes, and astrolabes (a tool used for determining the position of the sun, the moon, and the stars), explores how knowledge was shaped by important collaborations between artists and scholars of the time, using the medium of print.The exhibit, organized by the Harvard Art Museums/Arthur M. Sackler Museum with objects from repositories across Europe and North America, continues through Dec. 10.“With this exhibition, we really wanted to explore the important role artists played in scientific inquiry of the 16th century,” said Susan Dackerman, Carl A. Weyerhaeuser Curator of Prints, who curated the show. “One of the things artists did at that time was help theorists visualize kinds of knowledge, and by helping them visualize it, they actually helped them in many cases conceptualize it as well.” Wide-ranging in its scope, the exhibition covers areas like astronomy, cosmography, cartography, and natural history. It delves into the origins of botany and zoology, the history of medicine, and the development of the study of anatomy.The myriad works in the exhibition reveal how methods of inquiry in the 1500s increasingly relied on direct observation as a way to gather information about the world. Scholars and artists often joined forces to capture accurate images using botanical, human, and animal specimens as their models. Together, and on their own, they created prints of intricate maps, detailed catalogs of plants and animals, complex representations of the human body, and much more.One example is a print by Cornelis Anthonisz. The Dutch artist likely worked closely with a physician familiar with human dissections, said Dackerman, to create the intricate drawings of the arterial system found in a vivid black-and-white print on display in the fourth-floor galleries.“The way that the artist cuts the woodblock is as if the arteries are roadways or pathways,” said Dackerman, calling the work a “map of the human body.”As always, putting your hands on the art remains verboten, but Dackerman and her team wanted visitors to be able to engage with the works, and devised a clever way for visitors to interact with the show. In the 16th century, many of the prints would have been cut up and assembled into scientific instruments or devices for the study of the stars, medicine, or the human anatomy, Dackerman said. Throughout the show are carefully crafted replicas of those instruments. Visitors can handle a globe, a sundial, and an elaborate chart of the human body based on Heinrich Vogtherr’s anatomical prints, with paper flaps that, when lifted, reveal the internal organs of the male and female form.“We have to think of these kinds of objects as comparable to this kind of invention,” said Dackerman, comparing Vogtherr’s original work, carefully preserved in a large glass case, to her iPhone.“Putting an object like [Vogtherr’s] in a case renders it static in a way it never would have been in the 16th century,” she said, adding that the facsimiles allow visitors to “have the same kind of visual and tactile engagement with the object that was originally intended.”Modern technology also plays a part in the exhibition. Located in the gallery are two computers that allow visitors to explore the works through additional text and videos, through the click of a mouse. An iPhone application with Vogtherr’s images is available for download.The show also reveals how emerging knowledge was being widely disseminated, and updated.While previous scholarship relied heavily on the study of ancient texts, significant improvements in printmaking techniques meant that prints could be reproduced hundreds and even thousands of times.They could also be updated.Often, scholars and artists reworked woodblock carvings or the copper plates used in etchings, adding new discoveries, insights, and information as it became available into outdated prints.“In a way it was like Wikipedia, where the work would reflect an ongoing discourse as opposed to a canon of knowledge that was set in stone. It’s very modern,” said Marisa Mandabach, a Ph.D. candidate in Harvard’s Department of History of Art and Architecture, and one of the many graduate students who conducted research for the show.When Dackerman arrived at Harvard in 2005, she began discussing the concept for the show with Katharine Park, the Samuel Zemurray Jr. and Doris Zemurray Stone Radcliffe Professor of the History of Science.Together, they developed an interdisciplinary seminar at Harvard’s Mahindra Humanities Center. During the monthly meetings, students and faculty explored materials from the University’s vast collections and investigated various areas of research. The show and corresponding catalog blossomed from those discussions.“The exhibition really evolved organically,” said Dackerman, “as a result of this conversation between professors and graduate students in wide-ranging fields.”The exhibit is reminiscent of last year’s show in Harvard’s Science Center, titled “Paper Worlds: Printing Knowledge in Early Modern Europe.” The product of a similar graduate student seminar also taught by Dackerman and Park, 10 graduate students and a Harvard paper conservator created the 2010 show.An opening panel discussion and reception will be held Sept. 6 from 5 to 8 p.m. A symposium will be held Dec. 2 from 5 to 8 p.m. (evening program), and Dec. 3 from 8:30 a.m. to 6:30 p.m. (daytime program). For more special programming related to the exhibition, such as tours, talks, concerts, and Family Days, see the “Prints and the Pursuit of Knowledge” section of the museum calendar.
Claire Messud opened a Wednesday night reading from her latest novel, “The Woman Upstairs,” by quoting actress Kristin Scott Thomas, who said in a recent interview that she felt invisible and ignored as a woman who had reached a certain age.“And she’s a movie star!” said Messud.Scott Thomas’ frustration — the realization of having crossed an imperceptible boundary in one’s life and having little recourse — is alive and well in Nora, the fiery protagonist in “The Woman Upstairs,” even at age 37.A respected schoolteacher, Nora is stuck inside the life she never wanted after caring for an ailing parent for four years, and watching those crucial years sail by like balloons that slipped out of her hands. Nora wanted — wants — excitement, to be an artist, to live with vigor and passion in locales that are not, sorry to say, Cambridge.“Midlife hits people at different times,” said Messud, a former Radcliffe Fellow who spoke at the Barker Center as part of Harvard’s Writers at Work series. “That moment you realize life is finite, it has a horizon.”While she appears placid, Nora is fuming on the inside — and Messud’s prose is a first-person maelstrom of Nora’s “rants,” as she calls them — until the captivating Shahid family moves to town and reawakens something inside her. (Interestingly, the husband character, Skandar, is a visiting fellow at Harvard.)“I wanted to write a book about the interior life,” Messud told the crowd. “If you know anything about the book, you know Nora is a little angry. People have said, ‘Did you have trouble accessing that emotion?’ And I said, ‘No, I did not.’ ”Addressing that anger as well as aging and personal expectations, both through Nora and in her own life, Messud threw open the door on the sometimes secret but very present desires of women whose lives are put on hold for years because of family or money or because women are acculturated from an early age “to accommodate,” said Messud.“Yes, things are inevitably better [for women], as anyone in this room can attest. But it feels like there are fundamental situations in our society and our culture that … are somewhat different for men and for women,” she said. “Nora’s experience is where she is at 37 and having taken care of her mom, now looking after her dad who’s on his own now, being a great friend, being a great teacher, and all the kids love her. … That’s a fairly female place to be.”Nora claims she knows she could have been destined for greatness. She had been a keen, socially aware, and artistic youth. And now, well: “Don’t all women feel the same? The only difference is how much we know we feel it, how in touch we are with our fury. We’re all furies, except the ones who are too damned foolish, and my worry now is that we’re brainwashing them from the cradle, and in the end even the ones who are smart will be too damned foolish.”Messud, whose husband James Wood is also a novelist, writer for The New Yorker, and professor of the practice of literary criticism at Harvard, borrowed from singer Marianne Faithfull and writer Anton Chekhov for help in rounding out Nora’s occasional hard edges.“Marianne Faithfull has this song ‘The Ballad of Lucy Jordan’ that goes, ‘At the age of 37, she realized she’d never ride through Paris in a sports car with the warm wind in her hair,’” said Messud.As for Chekhov, Messud referenced his classic short story “The Lady With the Dog,” in which the protagonist, Dmitri Gurov, says he has two lives: “one, open, seen and known by all who cared to know, full of relative truth and of relative falsehood, exactly like the lives of his friends and acquaintances; and another life running its course in secret.”“I’m always aware of that,” she said. “Each of us will leave this room and have a very different impression of what went on here. So much of what’s important in our lives never breaks the surface.”
Animals rely on group behavior to survive, whether it’s fish swimming together to avoid predators or humans sharing knowledge with each other. But despite the importance of such social interactions, scientists do not have a good understanding of the biological processes that guide collective behavior.In a new study published in iScience, researchers at Harvard University and the Max Planck Institute of Animal Behavior developed a new way to study how genes influence collective behavior. Using zebrafish as a model, they set out to establish the connection between genetic mutations and behavior.“We are interested in answering a fundamental biological question: why do animals live in groups?” said Mark Fishman, Harvard professor of stem cell and regenerative biology. “To search for genes that affect collective behavior, we focused on genetic mutations that are associated with psychiatric diseases that have a social behavior component, including autism and schizophrenia.”The team observed that in fish with specific genetic mutations associated with human psychiatric disease, group behavior was altered. The findings pave the way for a new generation of research into neuropsychiatric conditions such as bipolar disorder, autism, and depression.Tracking individual interactionsThe researchers tested 90 different genes to see if they affect zebrafish social behavior, using gene editing to mutate one gene at a time. For each genetic mutation, the researchers put the edited fish together in a large tank to see how they interacted with each other.“We used computer vision to track individual fish and analyze their interactions,” said Fishman. “By documenting how interactions change among the fish — whether they get out of each other’s way, or whether they align with each other — we could see how the overall pattern of group behavior changes.”The researchers found several genetic mutations that had a distinctive effect on fish group behavior. Normally, zebrafish spend much of their time in dynamically moving groups, called “schools” when all moving together in a coordinated fashion, and “shoals” when in less directed groups. Some mutations affected these groups, for example causing the fish to be scattered throughout the tank, or huddling together in one location.,Investigating fundamental questionsThe zebrafish model established in this study opens new avenues to investigating group behavior.“We developed new computational tools for tracking and analyzing behavior among animals, which provide a powerful means to investigate how genetic factors influence collective behaviors,” said Iain Couzin, Director of the Max Planck Institute of Animal Behavior and Chair of Biodiversity and Collective Behaviour at the University of Konstanz. “This is a first step toward developing a mechanistic understanding of the genetic basis of social behavior, and to understand more clearly how specific neural defects impact behavior in the way they do.”“Many questions about group behavior have eluded biologists at a fundamental level: What is the nature of leadership and followership? How do individual personality traits — such as boldness, shyness, and sociability — contribute to overall group behavior? What drives conformity and individuality?” said Fishman. “This study gives us insight into approaches that might help us understand group behavior at the level of the individual.”Beyond tracking swimming patterns, Fishman plans to dive deeper into zebrafish biology, looking at how neuronal activity and gene expression might connect to the behavioral changes.Furthermore, Fishman believes the zebrafish model could be useful in future testing of potential drugs for psychiatric disease. “Perhaps there is a conservation from fish to humans of genes that direct group behavior, albeit playing out in a species-specific manner,” said Fishman. “If so, it is conceivable that zebrafish group behavior will help us better understand psychiatric disease, and even provide a method to discover therapeutics for these currently poorly treated disorders.”Funding provided by research grants from FBRI (F-Prime Capital), Novartis Institutes of Biomedical Research, the Deutsche Forschungsgemeinschaft, the Heidelberg Academy of Science, the National Science Foundation (NSF IOS-1355061), and Office of Naval Research Grants (N00014-09-1-1074 and N00014-14-1-0635).
Verso Tickets are now on sale to see Verso, acclaimed magician Helder Guimarães’ latest act. Performances will begin on September 19 at New World Stages; opening night is set for September 28.Verso, directed by Rodrigo Santos, premiered earlier this year at the Teatro do Bolhão in Porto, Portugal. The show promises to push the limits of magic and challenge just how much audiences are willing to believe what they see.In 2006, a 23-year-old Guimarães became the youngest magician to be awarded the title World Champion of Card Magic. He went on to be named Parlour Magician of the Year in 2011 and 2012 by the Academy of Magical Arts. Guimarães uses his background in theater to develop magic shows, including Nothing to Hide (which he co-created with Derek DelGaudio) and Borrowed Time. Helder Guimarães(Photo courtesy of Boneau/Bryan-Brown) Related Shows View Comments Show Closed This production ended its run on Nov. 27, 2016
The Trial Gardens at the University of Georgia will hold its annual plant sale in a virtual format this year. The sale will be open for online orders from 1 a.m. Wednesday, May 13, through 10 a.m. Friday, May 15, and plant pickup will be on Saturday, May 16, and Monday, May 18.A list of available plants can be found on the Trial Gardens website at ugatrial.hort.uga.edu. Interested buyers can view plants for sale on the Trial Gardens Facebook page at facebook.com/pg/trialgardens.uga/photos in the albums labeled “TG Plant Sale Plants Round 1,” “TG Plant Sale Plants Round 2” and “TG Plant Sale Plants Round 3.”All plants are in 1-gallon pots and are $3 to $5 per plant, said Brandon Coker, Trial Gardens manager and horticulture researcher.The gardens is offering the online plant sale in place of its 2020 Plantapalooza event, which was canceled due to the COVID-19 crisis.“Considering all that is happening, we have decided to make this a day of plenty for all of our wonderful followers,” Coker said. “Do keep in mind that all proceeds go towards paying for student labor and supplies for the continuation of the Trial Gardens, so consider what you spend as more of a donation, with the added benefit of receiving plants as our thank you.”To order plants, visit the Trial Gardens plant sale website at estore.uga.edu/C27063_ustores/web/store_main.jsp?STOREID=348&SINGLESTORE=true, read the ordering instructions, choose the plants you wish to purchase and checkout. Under the “Additional Items” tab, select a time and day to pick up your order, and add it to your cart. Continue to checkout and you will receive a confirmation when payment is complete and the order is received.Pickup for the plant sale this year is at 111 Riverbend Road, Athens, Georgia, not at the Trial Gardens. Plants can be picked up from 8 a.m. until 1 p.m. Saturday, May 16, and from 9 a.m. until 1 p.m. Monday, May 18.To adhere to social distancing guidelines, the pickup procedure is as follows.Go to 111 Riverbend Road in Athens, and follow signs for the Trial Gardens Plant Sale. Park in the designated parking lot, look for volunteers helping direct traffic. A Master Gardener Extension Volunteer will come to your vehicle and get your name, then staff will fulfill the order, bring it to your vehicle and load it for you. Please stay in your vehicle unless you need to get out to assist with opening the door or trunk.If you are unable to make your originally selected pickup time, please email Brandon Coker at [email protected]
2nd Annual Genesis Group Charity Golf Tournament brings out the best. $4000 Raised to Help Families of North Country Kids.The 2nd Annual Genesis Group Charity Golf Tournament to benefit Burlington’s Ronald McDonald House continues a proud tradition. A total of $4000 was raised to help this local charity continue it’s mission of love and support. The RMH is a temporary home away from home for families of sick or injured children who must travel to the Vermont Childrens’ Hospital at Fletcher Allen Health Care in Burlington for medical attention. Since 1984, the house has been home to more than 7000 family members from throughout upstate New York, Vermont and New Hampshire.”We’re thrilled,” says President Joe Colucci, “to help Ronald McDonald House Charities here in Vermont and their enduring mission of hospitality, friendship and support. It’s all about helping children. I can’t think of a better reason to get friends together and spend a day golfing.”
He made the remark at a press conference after meeting with Prime Minister Shinzo Abe and others.”For the most part, there is no change in the trend of decline (in new infection cases),” Nishimura said, despite a slight rise in new cases for Tokyo and Hokkaido over the weekend. Kanagawa and Hokkaido also did not meet the required level for new infections in the past week.The Tokyo metropolitan government said 14 new cases of infections in the capital were confirmed on Sunday. It reported just two new cases in the capital Saturday, the lowest single-day tally since Abe declared the state of emergency last month.But Tokyo has averaged around 7.1 new cases per day for the past week, 10 less than the requirement needed to lift the state of emergency declaration. A Kyodo News tally compiling data in the week through Saturday showed that new infections stood at 0.29, falling below 0.5 per 100,000 people in the past week — one of the criteria for the government and experts on whether to ease the emergency.New infections in Kanagawa Prefecture were the highest of the five at 0.7, while Hokkaido was at 0.57. Saitama and Chiba prefectures stood at 0.2 and 0.1, respectively.Kanagawa and Hokkaido are also on a downward trend despite both failing to meet the criteria, according to Nishimura.”We will make a decision based on the whole picture by analyzing matters such as the percentage of cases with untraceable routes, clusters, and in-hospital infections,” he said.Five new cases were confirmed in Kanagawa on Sunday, while Hokkaido confirmed 15 new cases, reporting double-digits for the first time since May 12.Chiba Prefecture has not reported any new infection cases for three days up to Sunday, while Saitama Prefecture has not reported any since last Tuesday.Earlier in the day, health minister Katsunobu Kato said Japanese medical institutions are seeing a lightening of their coronavirus caseload.”The number of new infections has been falling each day and that is also the case in areas under the state of emergency,” Kato said, in reference to the five areas.”The tight medical situation has become more relaxed,” he said on an NHK program.More than 13,000 people have been discharged from hospitals or have completed treatment for COVID-19, the pneumonia-like disease caused by the coronavirus, and over 2,000 patients are currently hospitalized, according to Kato.”About 15 percent of hospital beds secured (by the government) are being used in the country on average. The rate stands at 20 percent in Tokyo,” said Kato, the minister of health, labor and welfare.With the number of infections seemingly past a peak, Prime Minister Shinzo Abe ended the emergency over the virus in 42 prefectures.The emergency declaration requesting that citizens refrain from nonessential outings and that businesses suspend operations was expanded to cover the entire nation on April 16 and later extended to run until the end of May.Despite the emergency having been lifted in the vast majority of the country, infectious disease experts have been calling on the public to remain alert for a second wave of infections.Topics : Japan plans to fully lift the state of emergency in the Tokyo metropolitan area and Hokkaido on Monday, a minister said Sunday, given a decline in the number of new coronavirus cases and improved medical systems.Tokyo, Kanagawa, Chiba, Saitama and Hokkaido were the last remaining areas under the measure among the country’s 47 prefectures.Economic revitalization minister Yasutoshi Nishimura, who is in charge of the emergency response, said an advisory panel of health experts will meet on Monday morning to discuss the lifting of the measure.