(Est. 1824) "Thomas Jefferson University is a private health sciences university in Center City, Philadelphia, Pennsylvania in the United States. The university consists of six constituent colleges and schools, Jefferson Medical College, Jefferson College of Graduate Studies, Jefferson School of Health Professions, Jefferson School of Nursing, Jefferson School of Pharmacy, and Jefferson School of Population Health. In 2011, the medical college (JMC) was ranked #42 among the nation's medical schools by U.S. News & World Report." (Source: Wikipedia)
Design by: N/A
Opinion/Notes: They had nailed the Jefferson profile in the previous version; if they had just updated the type, which was fairly good too, it would have been a better move. The silhouette doesn't read very well and the gradient is completely unnecessary. Lastly, that "velocity" pattern thing has nothing to do with anything.
Select Quote: The Jefferson logo is our main brand visual language and should be treated with the utmost care. It's based on our 200-year brand history while infused with modernity to bring the two worlds together in all communications.
Older logos.Logo detail.Color variations."Velocity" pattern.Applications with velocity pattern.Other applications.
The $7.2 billion sale of Nokia to Microsoft is expected to close tomorrow, bringing the phone-making chapter of a remarkably versatile, adaptive and admired company to a close—almost. Nokia will still make phones, under contract, at its manufacturing plant in the southern Indian city of Chennai (formerly Madras) thanks to a long-running tax dispute between Nokia and Indian tax authorities.
“It’s highly unlikely that the plant will transfer, given that the [deal] closing with Microsoft is tomorrow,” a Nokia spokeswoman told Reuters, adding: “If the asset doesn’t get transferred, we are entering into a service agreement with Microsoft.”
Nokia has previously signaled that it might be forced to keep making phones from its India plant if it couldn’t resolve the tax dispute before completing the deal. But it reiterated today that such a deal would only stay in place for one year.
The dispute centers around what the Indian government believes are unpaid taxes on royalties from downloads made on Nokia phones in India. Nokia says a tax treaty between India and Finland exempts it from having to pay. India’s highest court disagreed, and last month ruled that Nokia must deposit 35 billion rupees ($573 million) in an escrow account before it can transfer its factory to Microsoft. Nokia has not agreed to the terms. The state government of Tamil Nadu, where the factory is located, wants Nokia to cough up a further Rs 24 billion for sales tax on phones it says Nokia sold domestically instead of exporting them.
Winding it down
The India plant employs some 6,600 workers (of whom more than half are women, reports the Times of India), and several thousand more on contract. Production at the factory is down to 2 million units a month from a peak of 12 million, a member of the Nokia workers’ union told the paper. Nokia has started offering voluntary retirement packages to its employees. Only 10 permanent employees have so far accepted one, the Economic Times reports.
Apart from the loss of tax revenue, the factory’s impending closure is a blow for India’s image as a manufacturer. The plant, which opened in 2006, was a source of pride for local industry and was seen as a vote of confidence in India’s ability to attract foreign capital. Employees considered it a prestigious place to work and a route to the middle class. But as it winds down, workers are worried about their futures.
NYT bucks newspaper trend and reports higher ad revenue, as well as higher ... Talking New Media The first quarter earnings report must have been very satisfying for new CEO Mark Thompson, as the company was able to report that not only did they increase circulation revenue, but ad revenue grew, as well. NYT-front-042414 “For the first time in several ...
The Linux Foundation has announced a multi-million dollar Core Infrastructure Initiative to fund critical open-source projects. The first project receiving money from this pool is OpenSSL...
The big headline on Publishers Weekly’s site when it published the results of its comics retailer survey last month blared that comics sales were down during the early months of 2014, though retailers seem relatively optimistic about it.
What comes after is a sometimes difficult-to-parse snapshot of the world of comics as it looks now. It’s not necessarily a bleak picture, but it’s very clearly one that portrays an industry may not be able to sustain itself as it is now. Change is occurring, and here are some key items from the report that show how, and what might be changing.
1. The landscape is complicated.
Consider these seemingly contradictory data points: Graphic novel sales are down 15 percent and single-issue sales are flat compared to the early months of 2013, but most of the individual retailers PW surveyed (all but three) are reporting growing, or at least steady, sales. And the stores that said their sales were down blamed particularly harsh winters for their drop-offs. (I can vouch for that, considering that two of the stores were in Chicago, where I live, and which had a terrible, awful winter.)
How can both of those seemingly opposing things be true? PW offers the explanation that the drop in graphic novel sales must be at the distributor level rather than at stores. That’s a possibility. The other option could be that the stores PW included in its very small sample of just about a dozen stores just plain aren’t representative of comic shops in general. Almost all of them are well-known shops in major cities.
With those factors in mind, the big takeaway seems to be that taking the temperature of the comics community is an exercise in trying to read a bunch of thermometers at once, and they’re likely showing different figures, measured on different scales.
2. Marvel and DC appear to be losing ground.
Again, this is a matter of cold, hard number versus perceptions. Marvel and DC still had a healthy share of the comics market in February (34 percent and 29 percent of the retail market share, respectively, according to Diamond, which is just a hair below what each had a year prior), but the retailers PW surveyed said the enthusiasm readers once had for Big Two-published superhero comics (with a few key exceptions) has receded in favor of creator-owned titles such as Saga and Locke & Key. Lower-tier Marvel and DC books seem to have suffered as a result.
Once again, this could be nothing more than the result of a flawed sample. Smaller shops tend to stock only books from the Big Two, and often don’t have the luxury of ordering non-superhero books that may or may not find an audience.
That said, retailers tend to do a pretty good job of sticking a finger in the air and seeing which way the wind is blowing. If they believe that readers are shifting away from Marvel and DC superhero comics in favor of what PW calls “general readers” books, there’s a good chance there’s a trend in that direction, however small.
3. Number-one issue gimmicks aren’t working.
Wayne Wise of Phantom in the Attic in Pittsburgh said, quite simply, that people “aren’t fooled by [the] misdirection” of Marvel slapping a big “#1” on an issue that isn’t actually a number-one issue (something the publisher has been trying with its “.Now” issues and others). And even when an issue is a genuine number one, it’s just not generating all that much enthusiasm in readers.
I’ve written quite extensively about the changing meaning of a number-one issue, and this seems to be the proof that continuing to release number-one issues as a sales tactic is showing diminishing returns, quite literally.
That doesn’t mean it’s time to return to old numbering, though. Amazing Spider-Man #701 isn’t going to sell any better than Amazing Spider-Man #1 will, and going back to the old numbering doesn’t do anything but bring back a whole other set of impenetrability problems that mainstream comics have been dealing with for decades.
It’s a matter of divorcing the idea of a number-one issue from being the start of a series, and therefore, a collector’s item. Number one issues are now the starts of new stories, new creative teams, new seasons of comics. They’re an indicator of “Hey, here’s a place you can start,” not, “Buy this issue because one day it’ll be worth $20,000.” No comic you buy in 2014 will be worth $20,000. Get over that impulse.
Publishers need to get over the impulse of selling number-one issues that way, too. Then perhaps new number ones won’t be viewed as sales tactics or gimmicks, they’ll simply become the way things are.
4. The audience is shifting.
You have to dig for it a bit, but this data point from ComiXology is one of the most important in PW’s report: 20 percent of the digital comics retailer’s new customers in the third quarter of 2013 were women ages 17 to 26.
If you want to ignore that, it’s easy to dismiss. That’s only 1/5 of the new readers. But consider how specific of a demographic that is. Then consider what some other recent market research from Facebook says about the gender breakdown of comics readers (in brief, they’re almost half women).
PW’s retailer interviews delve into some explanations for why those numbers are the way they are, but at the heart of it, the why doesn’t matter. What’s important is that women, particularly women in their late teens and early twenties, are interested in comics and want to read them.
One has to wonder whether the growth ComiXology saw among young women translated into brick-and-mortar shops, which still have a reputation as being havens for misogyny (though quite a few shops, including the ones PW surveyed, are very friendly shops that treat women with the utmost respect).
This is a trend that will almost certainly continue despite the outcry from a few that view the rise of “fangirls” as an encroachment on their special, secret hobby. Those few need to grow up and come to terms with it being OK for two people of different genders to like the same thing.
5. We need more data.
The Matrix
As I have mentioned several times, the PW survey is a helpful snapshot, but it’s anything but a comprehensive report on the state of comics retail in 2014. I’ve done my best to piece together some of the big points here, but perhaps the biggest point that has emerged as I have dug through the report and analyzed it over the past weeks is that what the industry at large could really use right now, during what seems to be a moment of some big shifts in readership and reader preferences, is more information.
Just how many women are becoming comics fans? What are their hesitations about joining the online comics community or attending conventions? Are readers becoming more interested in creator-owned, non-superhero books than Big Two cape comics? Is there a numbering solution we can all agree on? These are all big questions that someone’s going to have to answer. Knowing what the consensus is, if there even is one, could be a big help.
I am a server and a bartender. I perform both tasks at my restaurant because there aren't enough bartending shifts available to make ends meet so I pull a couple serving shifts each week to support myself. I'm really good at both- 10 years experience and a great track record! But do you know what's weird? The way I'm treated by my customers drastically changes depending on which position I am working. I'm the same person whether behind the bar or on the floor. I'm female, average size, friendly, charismatic and I pride myself on my skills. The bartending shifts are always preferable to serving and this is simply because (despite my unwavering consistency in friendliness, efficiency and customer service) my tips as well as the level of kindness and respect I receive from my customers drops dramatically when I am on the floor serving. And what's even more perplexing is that regulars who know me by name and have received great service from me on either side of the bar still tip worse, treat me with less respect and demand more of me when I'm acting as their server as opposed to their bartender. How sad that the moment I step out from behind the bar and start doing more leg work, I become stupider, more accountable for any mistake involving the food preparation ( Yup, I don't cook it myself)....and of course -less deserving of your tips and respect. Think about that the next time you choose to sit at a table, rather than at the bar top.
It’s the end of net neutrality—at least, as we know it today.
The US Federal Communications Commission is proposing new rules on internet access today, after its last effort was thrown out in January in a court challenge from US telecom Verizon. The mooted new rules, which will be opened for public comment and finalized by the end of 2014, are similar to the old ones: They demand transparency from internet service providers (ISPs) and institute a “no blocking” rule to prevent them from discriminating against content—e.g., making traffic flow more slowly from some websites than others. However, in what to many seems like a nit-picking distinction, the new rules will allow ISPs to discriminate in favor of content—i.e., ISPs will be able to charge content providers extra for faster access to their customers.
Net neutrality advocates say that this is really bad news for internet users. And one reason they think that is that the FCC itself said so just a few years ago, in its 2011 open internet order (pdf) (emphasis ours):
[I]f broadband providers can profitably charge edge providers for prioritized access to end users, they will have an incentive to degrade or decline to increase the quality of the service they provide to non-prioritized traffic. This would increase the gap in quality (such as latency in transmission) between prioritized access and non-prioritized access, induce more edge providers to pay for prioritized access, and allow broadband providers to charge higher prices for prioritized access. Even more damaging, broadband providers might withhold or decline to expand capacity in order to ‘‘squeeze’’ non-prioritized traffic, a strategy that would increase the likelihood of network congestion and confront edge providers with a choice between accepting low-quality transmission or paying fees for prioritized access to end users.
If you read our explainer about how the internet works, you can see where this dynamic might lead: Already, big ISPs like Comcast are demanding extra payments from large traffic providers like Netflix to ensure that their data reaches its network as fast as possible. While that relationship has made Netflix faster for viewers who use Comcast, the FCC says it’s still outside the jurisdiction of its open internet order—which governs only the “last mile,” the relationship between consumers and ISPs, not content providers and ISPs. Netflix and open internet advocates think that’s a myopic view.
But codifying this kind of behavior in the “last mile” rather than the more nebulous zone of interconnection between ISPs, content providers and backhaul networks will only give ISPs even more leverage. And, if the Time Warner-Comcast merger goes through, the new company will have nearly 40% of the broadband users in the US. That’s not ideal either for content providers who might need to pay extra to reach those users, or for consumers to whom the content providers may pass on those higher costs.
ISPs say they need rules like these so they can finance investments in improving their networks, and the FCC says that it will monitor these agreements to make sure they are not “commercially unreasonable,” adjudicating complaints on a case-by-case basis. Net neutrality activists are skeptical that the FCC will be able to do this effectively, however. They want broader rules guaranteeing neutrality—or, in some cases, that the FCC simply reclassify the broadband companies as common carriers who must treat everyone the same.
If you have an Adobe Creative Cloud (CC) subscription, you can still get the CS6 versions of most of the apps, including InDesign. Sometimes you need an older version! But Adobe currently doesn’t make it obvious how to find the CS6 apps. So here’s a quick lesson in where they’re hiding. (Note that the Adobe […]
As you can see by the photo there are two different source codes in this picture. The first one up in the right corner is from a file util.c which seems to be written for an old HTTPd web server by NCSA. You can find here the whole soure file. The second one instead, I haven’t yet found the source but it looks like some utility to use fax printers or something like that (I beg your pardon if I’m wrong :3)
Both source codes don’t quite fit the situation for me, you just can’t track down Jason Bourne’s kick ass partner by running a old program which converts plus characters into spaces or manages fax printers :D
Photographer Ami Vitale was allowed exclusive access into the Wolong National Nature Reserve managed by the China Conservation and Research Centre for the Giant Panda as it trains pandas to be released into the wild.
State Department whistleblower Peter Van Buren took an unlikely fall into the minimum-wage world when he lost his job in 2012. Today, he gives us a first-hand look at what it's like to subsist in poverty-wage America.
Steve Coogan and Rob Brydon are back for a second helping of The Trip, the 2011 BBC miniseries-turned-film in which the two comedians play themselves, traveling across England together. The characters are ostensibly on the road to review restaurants, but that flimsy setup is merely an excuse for the actors to bicker, one-up each other, and trade impressions (most notably their dueling Michael Caines).
Now Coogan and Brydon are back, along with director Michael Winterbottom, for The Trip To Italy. As the trailer makes clear, it’s simply more of the same—more food, more bickering, and more impressions—only this time against the backdrop of Italy. Whether that seems like a pointless retread or a delightful second helping is up to you.
'The Colbert Report’s credits on Monday contained a “Hail Hydra” reference, so it’s possible this whole Colbert-Late Show thing may just turn out to be some complex tie-in with the Marvel universe, perhaps setting up the next season of Agents Of S.H.I.E.L.D.'
I would watch SHIELD if Colbert had a recurring role
As we rapidly approach the time when we’ll have but a mere seven months or so left of The Colbert Report, Stephen Colbert is doing all he can to hurriedly put his affairs in order, last-306,803-minutes-style. So last night, as is required of everyone everywhere who quits their job, he stopped by The Daily Show for an exit interview with Jon Stewart—who’s well aware his onetime protégé is moving on, having endorsed and paid tribute to him already. But there is still the formality of hearing it from him directly. It’s all part of the paperwork.
Colbert, setting up a heartwarming tribute to himself, also let Stewart know his official reasons for leaving: He’s “won television,” and has nowhere left to go. (Certainly not to The Late Show, where “some fat guy” will be taking over.) Of course, as someone pointed out recently, The ...
"aggregates newsworthy content shared publicly on Facebook by individuals and organizations across the world for journalists to use in their reporting"
wow. uh, with their permission, maybe? or does that matter
Facebook has partnered with social network content aggregator Storyful to launch FB Newswire, an online resource that draws together photos, video and status updates from frontline reporters. The service, which is available through both Facebook and Twitter, is intended for use by journalists looking for up-to-the-minute reporting.
Powered by Storyful, the leader in social content discovery and verification for newsrooms, FB Newswire aggregates newsworthy content shared publicly on Facebook by individuals and organizations across the world for journalists to use in their reporting. This will include original photos, videos and status updates posted by people on the front lines of major events like protests, elections and sporting events.
Updates posted to FB Newswire will also be embeddable on third-party sites.
This is probably the most egregious of all Chinese-English translation fails:
We saw the identical mistake on a giant banner outside of a cafeteria half-a-dozen years ago: see "Honest but unhelpful".
Here we have the same mistranslation: the Chinese characters are CAN1TING1 餐厅 ("dining hall"; 餐廳 in traditional characters). You'd think that a person would want to be really sure about the translation before investing in a brass plaque upon which to engrave it.
Golan Levin writes, "My lab (in collaboration with Cory Arcangel, the CMU Computer Club, The Andy Warhol Museum, and the Carnegie Museum of Art) has announced a major dead-media discovery. We have recovered previously unknown, pure-digital artworks by Andy Warhol -- extracted from decaying Amiga floppy disks from 1985."
Warhol created the works with Graphicraft, and the disks needed a lot of love and coaxing to get the files off them (to my mind, the story of the technical heroics is a lot more interesting than the pictures, but I'm not much of a Warhol fan). A documentary film about the file recovery called "Trapped" will premiere on May 10 at the Carnegie Library Lecture Hall in Pittsburgh.
Warhol’s Amiga experiments were the products of a commission by Commodore International to demonstrate the graphic arts capabilities of the Amiga 1000 personal computer. Created by Warhol on prototype Amiga hardware in his unmistakable visual style, the recovered images reveal an early exploration of the visual potential of software imaging tools, and show new ways in which the preeminent American artist of the 20th century was years ahead of his time.
Zynga needs some good news, and fast: in its Tuesday quarterly earnings filling, the company reported that its daily active users rose from 27 million in the last quarter of 2013 to 28 million this quarter. But when compared to the first quarter of 2013, Zynga had 53 million daily active users—which means the company has lost about half of its most active players in a year.
Just months after Zynga spent $527 million on NaturalMotion, maker of Clumsy Ninja, the embattled social gaming firm also announced that it ended its first quarter by losing over $61 million. At this time last year, the company had profited $4.1 million during the first three months of 2013.
Still, the company's chief executive tried to play the loss down.
A Portland police lieutenant filed a federal civil rights lawsuit against Chief Mike Reese and North Precinct Captain Chris Davis this afternoon, lobbing harsh claims about retaliation over a misconduct investigation she led against the captain nearly a decade ago—punishment, she says, that included capricious discipline and culminated in an unfairly denied promotion last year.
It's the latest legal headache for a bureau that's seen arguably too many emerge from its command staff over the past year and a half—including a text messaging scandal that snared controversial Nazi Germany history buff Captain Mark Kruger. It also marks another complaint against Reese alleging retaliation. The city settled with Officer Thomas Brennan in 2010 over his banishment to the property warehouse by former Chief Rosie Sizer, after he complained to Reese about Sergeant Kyle Nice.
The lieutenant in this case, Rachel Andrew, is seeking $300,000 in damages for lost pay and emotional distress, according to a copy of the complaint (pdf) obtained by the Mercury. Andrew is represented by attorney Sean Riddell, who's also representing Kruger and another controversial cop, Todd Wyatt. The lawsuit follows a Bureau of Labor and Industries complaint filed last year and obtained by the Mercury in a public records request.
Because the Mercury obtained the legal complaint after business hours, the city attorney's office could not be reached for comment. Reese, however, declined to comment, citing pending litigation.
The BOLI complaint (pdf) made the same claims about retaliation, but also included some more shocking allegations. Among them:
Reese, during a 2012 discipline hearing attended by his assistant chiefs and a representative from Mayor Sam Adams' office, twice asked Andrew to "demonstrate a male masturbation gesture" that had come up in her case. And that Reese's director of services and discipline czar, Mike Kuykendall, had offered Andrew a lighter punishment, 40 hours unpaid instead of 80, if only she'd agree not to press any retaliation claims in court.
But the allegations in the lawsuit, which stretch back to 2008, are far less salacious. They start about a year after Andrew says she recommended disciplining Davis over a complaint that he and a subordinate in the bureau's detectives division improperly used an informant.
She was applying to become a lieutenant on the detectives division that year. And she alleges Reese, then just commander of Central Precinct, had taken "exception with the depth of her investigation" of Reese and his subordinate. "Defendant Reese also informed Plaintiff that if she was selected for promotion that she should decline the promotion," the complaint says.
A few years later, the legal complaint says, Davis had moved to internal affairs and in 2010 began his own investigation into Andrew on a harassment claim and also a claim of untruthfulness—a potentially fireable offense.
The BOLI complaint makes clear that came from a struggle Andrew had with one of her subordinates, Sergeant Doug Justus. She'd accused Justus of yelling at her and sought an investigation of Justus—and Justus' denial that he yelled spun off into Davis' investigation of Andrew.
Both complaints say Ed Brumfield, the retired detectives division commander, wrote a memo clearing Andrew of untruthfulness after reviewing Davis' investigation. They then claim, however, that Davis—"without precedent"—wrote his own memo directly to Kuykendall suggesting the chief's office sustain the untruthfulness charge. The BOLI complaint says Davis never told Kuykendall about his history with Andrew when he took that action.
"Defendant Davis’ decision to investigation or recommendation to discipline Plaintiff in 2010 were motivated by Plaintiff’s 2006 and 2007 investigation and discipline recommendation of Defendant Davis," the legal complaint claims, accusing Davis of" ignoring critical facts that would exonerate" Andrew and "manipulating" his investigation. The BOLI complaint says Davis used a recording of Justus' conversation with Andrew that was missing a minute of footage.
Reese eventually disciplined Andrew, in June 2012. She filed a tort claim several months after and a pair of BOLI complaints in June 2013. She filed her second after a BOLI investigator said she wasn't specific enough in her claims. BOLI, in January 2014, didn't side with her—instead sending a 90-day "right to sue" letter over the claims Andrew had made.
While Andrew's BOLI complaints were being processed, in September 2013, the lawsuit says, she applied for a promotion to captain. The complaint says Andrews scored fifth out of 13 lieutenants—and that Reese passed her over for two officers who'd scored lower than her. One of those lieutenants, she alleges, was Davis.
An estimated 7.5 percent of American children age 6-17 were prescribed drugs to treat behavioral and emotional difficulties in 2011, according to a CDC report published today. That estimate is equivalent to roughly 3.2 million children. Furthermore, the CDC reports that nearly 8 percent of children whose parents are members of the US military and 9.2 percent of children from families with incomes below the poverty line take prescription drugs for these same problems.
"difficulties with emotions, concentration behavior, and being able to get along with others."
Unfortunately, the report does not state what these medications are. "The survey doesn't ask questions on specific types of medications, so we don't know the types that they are using," says LaJeana Howie, a CDC statistician who worked on the report. The survey defined behavioral and emotional difficulties as "difficulties with emotions, concentration behavior, and being able to get along with others," Howie explains. It's therefore likely that drugs that are used to treat ADHD, anxiety, and depression represent a large percentage of these medications.
The study also makes it difficult to determine whether the overall percentage of children on prescription drugs is higher, lower, or equivalent to previous estimates, because the last such report — a 2005 study that estimate that 5 percent of kids were taking prescription drugs for these same problems — also included 4- to 5-year-olds. This change in age brackets, Howie says, means that "we don't have a direct data comparison for previous years."
But Christopher Bellonci, a child psychiatrist at Tufts University who did not participate in the CDC study, argues that "the trend is that the older kids are on more medication, so you would expect that there would be a lower prescribing rate in the 4- to 5-years-olds." Taking these younger children into account might therefore lower the overall percentage. But given that the diagnostic rates for these conditions have been increasing in recent years, Bellonci says, it might not bring the overall percentage down to the previous 5 percent.
military children face increased risk for emotional and behavioral difficulties
The report also raises questions about children of military service members. According to the survey, nearly 8 percent of children on military healthcare, called Tricare, took prescription medications for behavioral difficulties in 2011. "The military insurance — that's a pretty high rate," Bellonci says. "There is growing concern about the impact of two wars, extended deployment, and now trying to incorporate people who were in war zones back into society." These parents carry a significant burden of trauma, Bellonci says, "and this has an impact on their children." Bellonci's claims are backed by numerous studies that have reported that children whose parents are in the military face increased risk for a number of emotional and behavioral difficulties, including those that can lead to suicide.
Parental satisfaction with the medications was included in the survey as well. "We found that over 50 percent of the parents perceived that this medication was helping a lot," Howie said, "I think that's good news." But William Graf, a pediatric neurologist at Yale University who did not participate in the survey, sees things differently. Looking at the results for children below the poverty line, Graf pointed out in an email to The Verge that only 43 percent of parents said they thought the drugs were helping their kids. So, if parents are the best judge of their children, and their satisfaction with the treatment implies that the medication is effective and the diagnosis is accurate, he said, "then these data would suggest over-diagnosis and medication overuse in low income children and adolescents compared to higher income populations."
"medications are being prescribed in lieu of other social interventions."
"It not just overprescribing though, it's also under-treating," explains Bellonci, "because you have kids where medications are being prescribed in lieu of other social interventions" or non-medicinal treatments, he says, such as therapy. When asked about this interpretation of the results, Howie answered that based on the information in the report, she could not "speculate on that."
Despite the numerous questions that this report leaves unanswered, researchers are pleased that the CDC has updated the data on pediatric prescription rates for behavioral and emotional difficulties. "I do a lot of presentations on psychotropic medications, particularly for children in the child welfare system, and I'm still having to quote a study from 2002," Bellonci said. "I was really pleased to see somebody updating the general population prescribing rates." To obtain these results, CDC researchers surveyed close to 17,000 children and their parents. "One of the great things about this study," Howie says, "is that you really can say that this study is nationally representative."
The Matrix
Super Opinionated.
Golan Levin writes, "My lab (in collaboration with Cory Arcangel, the CMU Computer Club, The Andy Warhol Museum, and the Carnegie Museum of Art) has announced a major dead-media discovery. We have recovered previously unknown, pure-digital artworks by Andy Warhol -- extracted from decaying Amiga floppy disks from 1985." 
