A Thousand Threads

‘Thread and fibre have always held me close. Words I may struggle with but any piece of cloth can speak to me. Thread lets me play and explore, it is a material that all people engage with. It is the clothes you wear and the sheets you sleep between. It ties things together. Threads are used in labelling, but words are given precedence. I wrestle with a label that was given me. I read about it, I explore what is said about it in many different ways in our world. It takes over my processes. I fight back, but I I fall into letting it define me again. I am hoping that you will share a label that has been applied to you or a friend. That you will hang a tag on the walls of this box to share that label. I am hoping to use these words in an exploratory activity that will continue. I am beginning to see through this process. A wheelchair is a standard icon for disability. It is usually interpreted as referring to disabilities that are present physically. I started making wheelchairs in my art practice because I do use one. It was a different way to explore the heavily laden subject of my otherness. The longer I have built wheelchairs of varying materials and sizes the more I have come to see my crafted wheelchairs as an exploration of a mind that is labelled 'mentally ill’. Myself, I cannot just push a label aside again

Who Owns My Stuff and How Can I Share it? An Introduction to Rights Statements for the Digital Maine Repository

Librarians at the Maine State Library help viewers navigate the somewhat confusing, but very important world of rights statements. This is not legal advice. PDF files of the slides used in this video as well as full transcript are downloadable below. Helpful Resources: The official website for the organization who developed the Right Statements:rightsstatements.org/en/ The Digital Public Library (DPLA) has a more in depth workshop online, complete with a two-part video, pdf of the slides used and Q&A from the webinar:Click below and look for: RightsStatements.org: Why We Need It, What It Is (and Isn’t) and What Does It Mean for the DPLA Network and Beyond? dp.la/info/get-involved/workshops/ Go here to find 1923-1963 publication renewals:collections.stanford.edu/copyrightrenewals Creator only copyright licenses they can tag to their online creation, not to be confused with rights statements:creativecommons.org/ Liked the handy flowchart you can download your own copy here:law.berkeley.edu/files/FINAL_PublicDomain_Handbook_FINAL(1).pdf The Maine State Library official website:state.me.us/msl/index.shtml Ask a MSL Librarian:state.me.us/msl/services/ask.htm The Digital Maine Repository:digitalmaine.com

Common variants in the ATM, BRCA1, BRCA2, CHEK2 and TP53 cancer susceptibility genes are unlikely to increase breast cancer risk.

INTRODUCTION: Certain rare, familial mutations in the ATM, BRCA1, BRCA2, CHEK2 or TP53 genes increase susceptibility to breast cancer but it has not, until now, been clear whether common polymorphic variants in the same genes also increase risk. METHODS: We have attempted a comprehensive, single nucleotide polymorphism (SNP)- and haplotype-tagging association study on each of these five genes in up to 4,474 breast cancer cases from the British, East Anglian SEARCH study and 4,560 controls from the EPIC-Norfolk study, using a two-stage study design. Nine tag SNPs were genotyped in ATM, together with five in BRCA1, sixteen in BRCA2, ten in CHEK2 and five in TP53, with the aim of tagging all other known, common variants. SNPs generating the common amino acid substitutions were specifically forced into the tagging set for each gene. RESULTS: No significant breast cancer associations were detected with any individual or combination of tag SNPs. CONCLUSION: It is unlikely that there are any other common variants in these genes conferring measurably increased risks of breast cancer in our study population.RIGHTS : This article is licensed under the BioMed Central licence at http://www.biomedcentral.com/about/license which is similar to the 'Creative Commons Attribution Licence'. In brief you may : copy, distribute, and display the work; make derivative works; or make commercial use of the work - under the following conditions: the original author must be given credit; for any reuse or distribution, it must be made clear to others what the license terms of this work are

Letter from John Muir to Mabel Colf, [et al.], 1904 Jul 17.

Martinez, July 17, 1904.Dear scholars four,Mabel Colf, Lilian Sexton, Marie Watron & Harmon O. Parsons, I was far away in Australia beneath the Southern Cross when your kind good letters to me were written, & when I got home I read them. non of the big pile on my desk pleased me more. It was very kind of you to write these letters, & I thank you & your teacher & others for the honors you report, especially the dedication of your Arbor Day Redwood.The Redwood grows taller than any other tree in the world. One that I measured was 340 feet high, & some may be 50 or 60 feet higher, while the tallest Australian Eucalyptus as far as known does not exceed 300 feet in height, though many of the stories about them are much taller.The fine new schoolhouse you so well describe - set on a hill, in sight of the mountains, nearer the sea than any other in the city brings to mind the two I attended when a boy in Scotland. They were one-room buildings, & both stood much nearer the sea than yours, one of them so near that at high tide the waves seemed to be playing tag on our play ground stone wall, running up the sandy shore & perhaps just touching the base of the wall & hurrying back. But sometimes in wild storms the tops of the waves came surging over the wall into the play ground, while the finer spray flying on the roaring gale drenched & washed the school house itself - These great gray roaring booming storms were glorious sights, but we were taught to pity the poor sailors, for many good ships were wrecked & driven ashore by them 3From the high side of our play ground we saw the ships sailing past & amused ourselves guessing whence they came, whither bound, & what they carried etc.In Scotland children are sent to school at a very early age. I was so young my first days of school life are beyond recall. We had to study hard & were thrashed hard. Our teachers said that thrashing & irritating the skin excited the memory; & I suppose it did, for by the time we were ten or eleven years old we had committed whole books to memory -, English, French, & Latin grammars, the New Testament etc. & besides had learned like Indian boys to endure pain with fortitude & take our sorest memory-lessons in silence without flinching or making faces. But in spite of a\u27 that & a\u27 that we were wildly happy & healthy, enjoyed the scenery of the sea & the Lammermoor Hills, had many fine merry games, & on Saturdays often ran 20 or 30 miles without stopping or getting out of breath. 4I wish I could tell you stories of my long trip, but a big book would not hold half of them - the parks & gardens & picture galleries of Europe; the towns & fields, forests & rivers of Russia - the beautiful shores of the Black Sea-, the great mountains & glaciers & forests of the Caucasus,- the broad billowy densely forested ridges & spurs of the Ural Mountains-, the vast fertile plains & rivers of Siberia,- the charming hills & dales forested mountains & broad rich plains of beautiful Manchuria- picturesque Japan,- the mountainous island-dotted coast of China . The snowy Himalaya loftiest of earth\u27s mountains, with their glaciers great rivers & Deodar forest-, wonderful old Egypt with its life giving river, green fields & tawny deserts & innumerable sublime monuments of auld lang syne of humanity.- Balmy palmy Ceylon - The endless wonders & beauties of Australia & New Zealand - The strangest people, the strangest animals, the strangest plants. The Philippine Islands too & etc This I fear you will find hard reading but what can a body do with such a job at the end of a letter? Anyhow I am Sincerely your friend John Muir

Including music and the temporal arts in language documentation

This chapter is intended for linguistic researchers preparing to undertake fieldwork, probably documenting one of the world’s many small or endangered languages. Recognising that linguists have their own priorities and methodologies in language documentation and description, I will advance reasons for including in your corpus the song and/or instrumental music that you are almost certain to encounter in the course of your fieldwork. I start by providing an overview of current thinking about the nature and significance of human musical capacities and the commonly encountered types, context and significance of music, especially in relation to language. Since research funding usually precludes having a musicologist tag along in the original fieldwork, I will suggest some topics for discussion that would be of interest to musicologists, and make some suggestions for what is needed on a practical level to make your recordings useful to musicologists at a later date. I comment on the technical and practical requirements for a good musical documentation and how these might differ from language documentation, and also provide some suggestions on a workflow for field production of musical recordings for community use. Examples taken from my own fieldwork are intended to provide food for thought, and not to imply that music and dance traditions in other societies are necessarily structured in comparable ways.Australian Research Counci