Patterns of Oral Microbiota Diversity in Adults and Children: A Crowdsourced Population Study.

Oral microbiome dysbiosis has been associated with various local and systemic human diseases such as dental caries, periodontal disease, obesity, and cardiovascular disease. Bacterial composition may be affected by age, oral health, diet, and geography, although information about the natural variation found in the general public is still lacking. In this study, citizen-scientists used a crowdsourcing model to obtain oral bacterial composition data from guests at the Denver Museum of Nature & Science to determine if previously suspected oral microbiome associations with an individual's demographics, lifestyle, and/or genetics are robust and generalizable enough to be detected within a general population. Consistent with past research, we found bacterial composition to be more diverse in youth microbiomes when compared to adults. Adult oral microbiomes were predominantly impacted by oral health habits, while youth microbiomes were impacted by biological sex and weight status. The oral pathogen Treponema was detected more commonly in adults without recent dentist visits and in obese youth. Additionally, oral microbiomes from participants of the same family were more similar to each other than to oral microbiomes from non-related individuals. These results suggest that previously reported oral microbiome associations are observable in a human population containing the natural variation commonly found in the general public. Furthermore, these results support the use of crowdsourced data as a valid methodology to obtain community-based microbiome data

Two doses of SARS-CoV-2 vaccination induce robust immune responses to emerging SARS-CoV-2 variants of concern

The extent to which immune responses to natural infection with severe acute respiratory syndrome coronavirus 2 (SARS-CoV-2) and immunization with vaccines protect against variants of concern (VOC) is of increasing importance. Accordingly, here we analyse antibodies and T cells of a recently vaccinated, UK cohort, alongside those recovering from natural infection in early 2020. We show that neutralization of the VOC compared to a reference isolate of the original circulating lineage, B, is reduced: more profoundly against B.1.351 than for B.1.1.7, and in responses to infection or a single dose of vaccine than to a second dose of vaccine. Importantly, high magnitude T cell responses are generated after two vaccine doses, with the majority of the T cell response directed against epitopes that are conserved between the prototype isolate B and the VOC. Vaccination is required to generate high potency immune responses to protect against these and other emergent variants

A review of fatal accidents involving agricultural vehicles or other commercial vehicles not classified as a goods vehicle, 1993-1995

Prepared for Commercial Vehicle Safety, DETRAvailable from British Library Document Supply Centre-DSC:9050.78239(498) / BLDSC - British Library Document Supply CentreSIGLEGBUnited Kingdo

An Architect\u27s Toolkit for Color Theory

This graduate project (M-ARCH 23) investigates the discipline\u27s relationship and valuation of the use of color to bring awareness to both implicit and explicit cultural biases within the architectural practice. It’s important to address that many of these notions have come from the student’s experiences living in the US, working with American Architects, and attending three different American schools of architecture. From her limited experience on the professional side, Knight has observed how paint colors and material finishes are put at the very end of the process and left to interior designers. In the actual design process, architects are all taught to start with modeling white boxes, taking after modernist pedagogy and giving preference to minimalist aesthetics. In American architectural education, color theory is not a required aspect of design curriculum. These Eurocentric biases towards color were coined “chromophobia” by David Batchelor in his book of the same name. The erasure of color from Greco-Roman architecture is an early example of chromophobia. Hellenistic architecture was vibrantly painted, but when studied centuries later European scholars disregarded the evidence of color; the Greeks were considered genius while bright colors were associated with the aesthetics of “savage nations,” (Wolfgang von Goethe’s Theory of Colors). The false whiteness of antiquity then became idolized in Neo-Classical Architecture, further associating white with purity and supremacy, only to be later reinforced by modernists.https://digitalcommons.risd.edu/colorlab_exhibitions_anarchitectstoolkitforcolortheory/1011/thumbnail.jp

An Architect\u27s Toolkit for Color Theory

This graduate project (M-ARCH 23) investigates the discipline\u27s relationship and valuation of the use of color to bring awareness to both implicit and explicit cultural biases within the architectural practice. It’s important to address that many of these notions have come from the student’s experiences living in the US, working with American Architects, and attending three different American schools of architecture. From her limited experience on the professional side, Knight has observed how paint colors and material finishes are put at the very end of the process and left to interior designers. In the actual design process, architects are all taught to start with modeling white boxes, taking after modernist pedagogy and giving preference to minimalist aesthetics. In American architectural education, color theory is not a required aspect of design curriculum. These Eurocentric biases towards color were coined “chromophobia” by David Batchelor in his book of the same name. The erasure of color from Greco-Roman architecture is an early example of chromophobia. Hellenistic architecture was vibrantly painted, but when studied centuries later European scholars disregarded the evidence of color; the Greeks were considered genius while bright colors were associated with the aesthetics of “savage nations,” (Wolfgang von Goethe’s Theory of Colors). The false whiteness of antiquity then became idolized in Neo-Classical Architecture, further associating white with purity and supremacy, only to be later reinforced by modernists.https://digitalcommons.risd.edu/colorlab_exhibitions_anarchitectstoolkitforcolortheory/1015/thumbnail.jp

An Architect\u27s Toolkit for Color Theory

This graduate project (M-ARCH 23) investigates the discipline\u27s relationship and valuation of the use of color to bring awareness to both implicit and explicit cultural biases within the architectural practice. It’s important to address that many of these notions have come from the student’s experiences living in the US, working with American Architects, and attending three different American schools of architecture. From her limited experience on the professional side, Knight has observed how paint colors and material finishes are put at the very end of the process and left to interior designers. In the actual design process, architects are all taught to start with modeling white boxes, taking after modernist pedagogy and giving preference to minimalist aesthetics. In American architectural education, color theory is not a required aspect of design curriculum. These Eurocentric biases towards color were coined “chromophobia” by David Batchelor in his book of the same name. The erasure of color from Greco-Roman architecture is an early example of chromophobia. Hellenistic architecture was vibrantly painted, but when studied centuries later European scholars disregarded the evidence of color; the Greeks were considered genius while bright colors were associated with the aesthetics of “savage nations,” (Wolfgang von Goethe’s Theory of Colors). The false whiteness of antiquity then became idolized in Neo-Classical Architecture, further associating white with purity and supremacy, only to be later reinforced by modernists.https://digitalcommons.risd.edu/colorlab_exhibitions_anarchitectstoolkitforcolortheory/1019/thumbnail.jp

An Architect\u27s Toolkit for Color Theory

This graduate project (M-ARCH 23) investigates the discipline\u27s relationship and valuation of the use of color to bring awareness to both implicit and explicit cultural biases within the architectural practice. It’s important to address that many of these notions have come from the student’s experiences living in the US, working with American Architects, and attending three different American schools of architecture. From her limited experience on the professional side, Knight has observed how paint colors and material finishes are put at the very end of the process and left to interior designers. In the actual design process, architects are all taught to start with modeling white boxes, taking after modernist pedagogy and giving preference to minimalist aesthetics. In American architectural education, color theory is not a required aspect of design curriculum. These Eurocentric biases towards color were coined “chromophobia” by David Batchelor in his book of the same name. The erasure of color from Greco-Roman architecture is an early example of chromophobia. Hellenistic architecture was vibrantly painted, but when studied centuries later European scholars disregarded the evidence of color; the Greeks were considered genius while bright colors were associated with the aesthetics of “savage nations,” (Wolfgang von Goethe’s Theory of Colors). The false whiteness of antiquity then became idolized in Neo-Classical Architecture, further associating white with purity and supremacy, only to be later reinforced by modernists.https://digitalcommons.risd.edu/colorlab_exhibitions_anarchitectstoolkitforcolortheory/1024/thumbnail.jp

An Architect\u27s Toolkit for Color Theory

This graduate project (M-ARCH 23) investigates the discipline\u27s relationship and valuation of the use of color to bring awareness to both implicit and explicit cultural biases within the architectural practice. It’s important to address that many of these notions have come from the student’s experiences living in the US, working with American Architects, and attending three different American schools of architecture. From her limited experience on the professional side, Knight has observed how paint colors and material finishes are put at the very end of the process and left to interior designers. In the actual design process, architects are all taught to start with modeling white boxes, taking after modernist pedagogy and giving preference to minimalist aesthetics. In American architectural education, color theory is not a required aspect of design curriculum. These Eurocentric biases towards color were coined “chromophobia” by David Batchelor in his book of the same name. The erasure of color from Greco-Roman architecture is an early example of chromophobia. Hellenistic architecture was vibrantly painted, but when studied centuries later European scholars disregarded the evidence of color; the Greeks were considered genius while bright colors were associated with the aesthetics of “savage nations,” (Wolfgang von Goethe’s Theory of Colors). The false whiteness of antiquity then became idolized in Neo-Classical Architecture, further associating white with purity and supremacy, only to be later reinforced by modernists.https://digitalcommons.risd.edu/colorlab_exhibitions_anarchitectstoolkitforcolortheory/1002/thumbnail.jp

An Architect\u27s Toolkit for Color Theory

This graduate project (M-ARCH 23) investigates the discipline\u27s relationship and valuation of the use of color to bring awareness to both implicit and explicit cultural biases within the architectural practice. It’s important to address that many of these notions have come from the student’s experiences living in the US, working with American Architects, and attending three different American schools of architecture. From her limited experience on the professional side, Knight has observed how paint colors and material finishes are put at the very end of the process and left to interior designers. In the actual design process, architects are all taught to start with modeling white boxes, taking after modernist pedagogy and giving preference to minimalist aesthetics. In American architectural education, color theory is not a required aspect of design curriculum. These Eurocentric biases towards color were coined “chromophobia” by David Batchelor in his book of the same name. The erasure of color from Greco-Roman architecture is an early example of chromophobia. Hellenistic architecture was vibrantly painted, but when studied centuries later European scholars disregarded the evidence of color; the Greeks were considered genius while bright colors were associated with the aesthetics of “savage nations,” (Wolfgang von Goethe’s Theory of Colors). The false whiteness of antiquity then became idolized in Neo-Classical Architecture, further associating white with purity and supremacy, only to be later reinforced by modernists.https://digitalcommons.risd.edu/colorlab_exhibitions_anarchitectstoolkitforcolortheory/1001/thumbnail.jp

An Architect\u27s Toolkit for Color Theory

This graduate project (M-ARCH 23) investigates the discipline\u27s relationship and valuation of the use of color to bring awareness to both implicit and explicit cultural biases within the architectural practice. It’s important to address that many of these notions have come from the student’s experiences living in the US, working with American Architects, and attending three different American schools of architecture. From her limited experience on the professional side, Knight has observed how paint colors and material finishes are put at the very end of the process and left to interior designers. In the actual design process, architects are all taught to start with modeling white boxes, taking after modernist pedagogy and giving preference to minimalist aesthetics. In American architectural education, color theory is not a required aspect of design curriculum. These Eurocentric biases towards color were coined “chromophobia” by David Batchelor in his book of the same name. The erasure of color from Greco-Roman architecture is an early example of chromophobia. Hellenistic architecture was vibrantly painted, but when studied centuries later European scholars disregarded the evidence of color; the Greeks were considered genius while bright colors were associated with the aesthetics of “savage nations,” (Wolfgang von Goethe’s Theory of Colors). The false whiteness of antiquity then became idolized in Neo-Classical Architecture, further associating white with purity and supremacy, only to be later reinforced by modernists.https://digitalcommons.risd.edu/colorlab_exhibitions_anarchitectstoolkitforcolortheory/1004/thumbnail.jp