Piet Mondrian’s trees and the evolution in understanding multiple sclerosis, Charcot Prize Lecture 2011
Lawrence SteinmanRobert C. AxtellDonald BarbieriR. BhatSara E. BrownellBrigit A. de JongShannon E. DunnJacqueline L GrantMay HanPeggy P. HoHedwich F. KuipersMichael KurnellasShalina S. OusmanJonathan B. Rothbard
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Four questions were posed about multiple sclerosis (MS) at the 2011 Charcot Lecture, Oct. 22, 2011. 1. The Male/Female Disparity: Why are women developing MS so much more frequently than men? 2. Neuronal and Glial Protection: Are there guardian molecules that protect the nervous system in MS? 3. Predictive Medicine: With all the approved drugs, how can we rationally decide which one to use? 4. The Precise Scalpel vs. the Big Hammer for Therapy: Is antigen-specific therapy for demyelinating disease possible? To emphasize how our views on the pathogenesis and treatment of MS are evolving, and given the location of the talk in Amsterdam, Piet Mondrian’s progressive interpretations of trees serve as a heuristic.Keywords:
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Commemorating the 50th anniversary of his de ath, this is an extensive study of the life and work of the Dutch artist Mondrian and introduces new information about h is life. '
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Genentech is partnering with the German cancer company Affimed to develop immunotherapies for multiple kinds of solid and blood cancers. Affimed is developing therapies that engage natural killer cells of the innate immune system to help direct them to attack cancer cells. Genentech will pay Affimed $96 million up front and up to $5 billion more in potential payments.
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Mondrian, Dutch artist (1872～1944), creator of abstract style as well as the main leader of De stijil. His wonderful achievements influence both the art and the design history. Even now, the style of his works still plays a significant role in design. From the analysis of characters of Mondrian's works, this essay is aim to think about the main reasons that why he has so tremendous effect on the modern design so as to further apprehend the essence of his art and enrich the design language.
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In the era of big data, privacy preservation has been the focus for data mining. Mondrian anonymization is a state-of-the-art data anonymization algorithm for relational dataset, widely used in many classical syntactic privacy-preserving data mining methods, like k-anonymity, l-diversity, t-closeness, etc. Mondrian anonymization is named for its multidimensional data partitioning in geometric space to find the best partitions for data anonymization. However, one problem with using Mondrian anonymization is taking too much time and memory for the high-dimensional data. Another problem is that the Mondrian-based privacy preservation may lead to the unstable performance of data mining models. For example, in Mondrian-based k-anonymity, the accuracy results of data mining may drop dramatically with the growth of k value. For solving these problems, in this paper we propose an enhanced Mondrian anonymization model based on Self-Organizing Map (SOM-Mondrian). With the help of SOM, multidimensional data are converted from a high dimensional space into two-dimensional space; at the same time, preserving their topological properties of the input space. The resulting two-dimensional data are then used by Mondrian algorithm to find the best partitions for data anonymization. To our best knowledge, we are the first to propose SOM-based method for Mondrian anonymization. Experimental results show that, after applying our proposed method, the processing time of Mondrian anonymization decreases significantly from 12.11 seconds to 0.16 seconds; besides, the accuracy of data mining applications increases, about 2% higher than the results under the standard Mondrian anonymization, and also shows steadier and more robust (the degree of variation is reduced by 75%) to the varying k value.
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The story of the creative relationship between the Dutch artist Piet Mondrian (1872-1944) and the British artist Ben Nicholson (1894-1982) is largely untold, yet during the 1930s they were leading forces of avant-garde art in Europe and their work was profoundly connected. This book accompanies an exhibition at the Courtauld Gallery, London, that will be the first to offer a comprehensive account of the parallel artistic paths charted by Mondrian and Nicholson during this remarkable decade. It will bring together an extraordinary group of paintings and reliefs to show how each artist was driven by a profound belief in the potential of abstract art to attain the highest aesthetic and spiritual power. Nicholson's visit in 1934 to Mondrian's studio in Paris, where they were both involved with the Abstraction-Creation group, inspired a friendship that would last until Mondrian's death ten years later and would see them working in neighboring London studios for two years from 1938. Together they contributed to a number of groundbreaking exhibitions and avant-garde publications, in which their work was often presented side by side, expressing their shared commitment to creating new forms of abstract art. The friendship spanned a highly productive period for both artists who, in their different ways, were determined to refine and intensify their abstract work. Nicholson found powerful confirmation of his artistic convictions through Mondrian's example, which emboldened his approach and led him to produce some of the very greatest works of his career. At the same time Mondrian was taking new directions in his painting, making greater use of expanded areas of white space in combination with restrained but intensive areas of vibrant color. He also renewed the possibilities of his famous horizontal and vertical black lines leading to his development of the `double line', which greatly enhanced the visual dynamism of his compositions and are recognized today as being among his most iconic painting. This publication will reunite paintings and reliefs which were exhibited or published together in the 1930s as well as the Mondrian works originally bought by collectors from Nicholson's circle. It will explore in depth the importance of the relationship and the shared artistic sensibilities of the two artists, shedding new light upon this vital episode in the history of abstract art.
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Less is often more - such is Piet Mondrian's approach to art. His main pictorial elements are horizontals and verticals, his preferred colours yellow, red and blue. Throughout his life, Mondrian (1872-1944) applied these simple elements in his quest for universal harmony. This publication in the Taschen Basic Art Series presents an extra-ordinary painter and art theoretician whose influence on architects and designers is as profound today as it ever was.
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This thesis is a close investigation of the life of Piet Mondrian from his birth in 1872 through his permanent move to Paris in 1919. It explores in unprecedented ways the shared qualities of Mondrian’s early figurative art, including scenes of lighthouses and sand dunes and churches, with his abstractions that are intentionally representative of no known visible subject matter. The thesis sees work ranging from Mondrian’s paintings of flowers, whether singly or grouped in bouquets, with his constructions devoid of all elements other than straight vertical and horizontal lines, a pure white background, and occasional rectangular form in primary color. Weber makes clear his own deep personal involvement with Mondrian’s art, and addresses the question of why the qualities of Mondrian’s work can have tremendous emotional impact on people of all nationalities and in all time periods. As closely as Weber explores the life of Mondrian as a human being he makes the case that one does not even need to know the name of the artist, let alone any further information, in order to be seduced and exhilarated by Mondrian’s paintings. Weber explores with rigorous precision the existing literature on Piet Mondrian in order to shatter the myths that predominate in cost of what is written or said about the artist. He uses primary sources like Mondrian’s own letters and first hand accounts of people who knew Mondrian in order to create a circumspect and vivid portrait of a highly elusive individual.
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Бұл зерттеужұмысындaКaно моделітурaлы жәнеоғaн қaтыстытолықмәліметберілгенжәнеуниверситетстуденттерінебaғыттaлғaн қолдaнбaлы (кейстік)зерттеужүргізілген.АхметЯссaуи университетініңстуденттеріүшін Кaно моделіқолдaнылғaн, олaрдың жоғaры білімберусaпaсынa қоятынмaңыздытaлaптaры, яғнисaпaлық қaжеттіліктері,олaрдың мaңыздылығытурaлы жәнесaпaлық қaжеттіліктерінеқaтыстыөз университетінқaлaй бaғaлaйтындығытурaлы сұрaқтaр қойылғaн. Осы зерттеудіңмaқсaты АхметЯсaуи университетіндетуризмменеджментіжәнеқaржы бaкaлaвриaт бaғдaрлaмaлaрыныңсaпaсынa қaтыстыстуденттердіңқaжеттіліктерінaнықтaу, студенттердіңқaнaғaттaну, қaнaғaттaнбaу дәрежелерінбелгілеу,білімберусaпaсын aнықтaу мен жетілдіружолдaрын тaлдaу болыптaбылaды. Осы мaқсaтқaжетуүшін, ең aлдыменКaно сaуaлнaмaсы түзіліп,116 студенткеқолдaнылдыжәнебілімберугежәнеоның сaпaсынa қaтыстыстуденттердіңтaлaптaры мен қaжеттіліктерітоптықжұмыстaрaрқылыaнықтaлды. Екіншіден,бұл aнықтaлғaн тaлaптaр мен қaжеттіліктерКaно бaғaлaу кестесіменжіктелді.Осылaйшa, сaпa тaлaптaры төрт сaнaтқa бөлінді:болуытиіс, бір өлшемді,тaртымдыжәнебейтaрaп.Соңындa,қaнaғaттaну мен қaнaғaттaнбaудың мәндеріесептелдіжәнестуденттердіңқaнaғaттaну мен қaнaғaттaнбaу деңгейлерінжоғaрылaту мен төмендетудеосытaлaптaр мен қaжеттіліктердіңрөліaйқын aнықтaлды.Түйінсөздер:сaпa, сaпaлық қaжеттіліктер,білімберусaпaсы, Кaно моделі.
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The nationally-recognized Susquehanna
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