Monday, September 28, 2015

A worm,a fly and a mouse and OUR Brain & Environment: THE SMELLS

                                                        drawing by marguerita

But is a simple worm really an appropriate model for studying the human brain?
Most of what we know about the human nervous system, we have learned from simpler animals. The most famous animal in neuroscience is the squid because it has these huge nerves that enabled people to understand the basis of the electrical transmission of information.
In fact, one of the biggest surprises in modern biology is that the genes are not that different between the different animals. Almost every gene we are interested in with humans is recognizable in a mouse. Most are recognizable in a worm or in a fly.
So what have you learned from your worm?
In 1993, we did an experiment showing that worms could smell. This wasn’t known before. Our next experiment, I think the most important my lab did, is that we made a worm neuron smell an odor it had never smelled before, and we made the animal completely change its opinion of that odor by doing that.
We had an animal that loves an odor that smells like a certain food it likes. Usually, the worm runs right toward the odor. We took the gene that is a sensor for the food from where it was normally supposed to be. We put it into a different neuron that senses things the worm finds 
Then, we “asked” the worm what it thought of this smell it usually loves. It ran away from the smell, as if it were dangerous.This said that the odor-sensing nerve cells form an innate map where each one knows whether something is good or bad about the environment. There’s a completely unlearned internal set of preferences, a set of instincts about what’s good and bad. The goal is to develop and apply new ways of studying networks of neurons involved in thought, emotion, perception and action.


Monday, June 29, 2015


                                  drawing/watercolor by marguerita bornstein

On Sunday, the Greek debt crisis entered a new and dangerous phase. In recent months, the European Central Bank has made emergency loans available to Greece’s ailing banks, increasing the size of the support as depositors have taken euros out of the banks. Despite signs of large withdrawals over the weekend, the E.C.B. did not announce that is was approving a further increase, but instead said that it was maintaining the loans at their current total, which is thought to be around €85 billion.
Precedents for such a transformation may not exist. Economists say they cannot think of a time when a developed country with an open economy dropped out of a shared currency and set up its own new moneyPolls show that the Greek people favor staying in the euro, and Greece’s leaders have said they do not want to leave the common currency. Indeed, fears of the consequences of leaving the euro could help persuade Greece’s leftist government to soften its stance and, at the last minute, forge a deal with its creditors.Continue reading the main story;postID=3896083347370383100

Monday, February 16, 2015

Shitao a point of reference

Returning Home, Qing dynasty (1644–1911), ca. 1695
Shitao (Zhu Ruoji) (Chinese, 1642–1707)
Album of twelve paintings; ink and color on paper

Each painting leaf: 6 1/2 x 4 1/8 in. (16.5 x 10.5 cm); Each album leaf: 8 5/16 x 5 5/16 in. (21.1 x 13.5 cm); W. of double page: 10 5/8 in. (27 cm)
Facing pages inscribed by the artist
From the P. Y. and Kinmay W. Tang Family Collection
Gift of Wen and Constance Fong, in honor of Mr. and Mrs. Douglas Dillon, 1976 (1976.280)
Leaf 1
Returning Home
Landscapes alternate with flowers in this album of twenty-four small leaves of paintings and poetic comments that is designed to be perused slowly, one pair of leaves at a time. Each painting and its accompanying poem were conceived as a single expressive image in a superb harmony of painting, poetry, and calligraphy. The paintings are "written" with the same type of brushstrokes as the calligraphy, while in the "painterly" calligraphy, individual characters and brushstrokes in varying sizes and ink tones frequently imitate such pictorial motifs as orchid petals and leaves and misty and wavy landscape elements. Even the painter's seals are integrated into the design. Shitao ("Stone Wave"), a scion of the Ming imperial family, became a monk and a painter after the Manchu conquest of 1644. After many years of wandering from place to place in the south and spending nearly three years in Beijing, he "returned home" to Yangzhou toward the end of 1692.
Leaf 1
Returning Home
As falling leaves descend
  with the wind,
I return by the water
  through a thinning mist;
I see a tiny hut clinging
  to the bank of a green stream,
How soft and fat the white
  clouds look in the cold air.
The phrase from which Shitao develops his first line is luo ye gui gen, "fallen leaves returning to the tree root," expressing a person's yearning to return home in his old age. The painter perhaps also feels that his life is like can yan, in line 2, literally "shredded" or "worn-out" mist. (This album was painted late in 1695, when Shitao was on his way back to Yangzhou from a visit to Hunan and Anhui provinces.)
The quality that Shitao wanted to capture in this painting is fei, the "fat" of bai yun fei (literally, "white clouds look fat") in line 4 of the poem. Here he appears to reflect the ideas of Gong Xian (ca. 1618–1689): "In painting a clouded mountain, the cloud must appear thick [hou].. For thirty years I failed to achieve this until I met a master who told me, "If the mountain is thick, the cloud will look thick … This is the painting of no-painting." Shitao's misty and wonderfully translucent landscape is composed of two types of brushstrokes: those forming the pine needles, and the softly rubbed texture strokes forming the mountain. The "fat" white clouds are merely blank spaces: the illusion of "fatness" is created by the misty forms around them. Shitao has transformed this earlier "blank-outline" technique into layers of softly rubbed, transparent brushstrokes. The deep and "fat" quality of the painting results from a subtle intermixing of brushwork and inkwash: different shades of dark and light strokes and textures, solid and void areas interpenetrate one another.
The calligraphy, rendered in Zhong You's (151–230) "regular" script, is also smooth and "fat." The round and three-dimensional individual strokes seem to move and twist gently in space, like the falling leaves of the poem. The mood is serenely reflective.

collage by marguerita
Shitao probably cut his own seals. The poem is signed "Shitao" ("Stone Wave") and is followed by a square intaglio seal, Shi Yuanji yin ("[disciple of] Shakyamuni Yuanji's seal"). The small rectangular intaglio seals on the painting read Shitao and Yuanji.

Sunday, January 4, 2015

2015: Fly Oba,Fly!!!!!!

                                                       drawing by marguerita
As we all know, human beings often don’t think before they act.
We don’t condemn President Obama for acting on instinct. When the
media began contacting us in droves for a statement, we obliged,
simply by saying that the president isn’t the Buddha and shouldn’t be
expected to do everything right—if not for that, we would not have
brought it up. It’s the media who are making a big deal about the fly
swat—not PETA.
 However, we took the opportunity, when asked, to point out that we do offer lots of ways in which to control insects of all kinds without
harming them, including the humane bug catcher we sent President
Obama. There is even a chapter in PETA President Ingrid E. Newkirk’s
book The PETA Practical Guide to Animal Rights about how to rid your home of “uninvited guests
Because we’ve heard from so many people who want to know more about
PETA’s position on “Flygate,” we’ve decided to explore the question of

“to bee or not to bee” in a bit more depth.

offer lots of ways in which to control insects of all kinds without
harming them, including the humane bug catcher we sent President
Obama. There is even a chapter in PETA President Ingrid E. Newkirk’s
book The PETA Practical Guide to Animal Rights about how to rid your
home of “uninvited guests

Because we’ve heard from so many people who want to know more about
PETA’s position on “Flygate,” we’ve decided to explore the question of

“to bee or not to bee” in a bit more depth.

Tuesday, October 7, 2014

SIGNUM TEMPORIS: Satisfaction Guaranteed 2025

                                     drawing by marguerita

robot is an automatic mechanical device often resembling a                                               human or animal. 
Modern robots are usually an electro-mechanical machine guided by a computer program or electronic circuitry.  I try  to put a focus on the expression of  inner feelings and emotions through art rather than displaying how realistically I can paint an image or object.
 But as time goes by,technology seems to take over .

Saturday, September 27, 2014

WORDS are OBSOLETE : Satisfaction Guaranteed YES,WE NEED BREAD,not VIOLENCE

                                   drawing by marguerita

Thursday, September 18, 2014

BLOOD & Satisfaction Guaranteed

                                                       drawing by marguerita
                       You think Heaven is safe?
                       We have a population of demi-gods,
                        Satyrs,nymphs,fauns, the playful
                        Spirits of wild places,
                        Astral entities who loiter about.
                        When we denied these the freedom of heaven
                        We compensated them
                         With their grottoes and crags,their woods and their
                        Their dells and knolls.In all these sanctuaries
                        We should protect them.
                         Imagine their fears
                         Since the uncontrollable Lycaon
                         Plotted against me, and attempted
                         To do away with me- Jove,King of Heaven,
                         Whose right hand
                         Rests among thunderheads and whose left
                         Sways the assemblies of heaven!

                         The gods roared their outrage.
                         Mankind recoiled stunned
                         As the world's ending and
                        The very air hallucinated horrors.
                        The corruption of mankind
                         Rose to my nostrils,here in heaven,
                         As a stench of putrid flesh.
                         Seeking better news of the species
                         I left Olympus, and in the shape of a man
                         Walked the earth.
                          If I were to recount, in every detail,
                          How man has distorted himself
                          With his greed,his lies,his indifference,
                           The end of time,I think,
                            Would overtake the reckoning.

                           from Tales from OVID



Tuesday, September 16, 2014


                                                               drawing by marguerita

Monday, August 25, 2014

Ovid in Bed Stuy: Satisfaction Guaranteed

                                       drawing by marguerita

 Ovid was interested in passion.Or rather, in what passion feels like
to the possessed by it. Not just ordinary passion either.But human passion in extremis-  passion where it combusts,or levitates, or mutates into an experience of the super natural.
This is the current he divines and follows in each of his tales- the current of human passion.He adapts each myth to this theme.Where details or complexities of the traditional story encumber or diffuse his theme,he simply omits them.He must have known the full myth of Venus and Adonis,in which the Goddess of Love and her opposite in the underworld,the Goddess of Death, quarrel for possession of the baby Adonis, and in which the Boar has multiple identities, and where the whole sequence of events completes the annual cycle of the sacrificed god.
But all Ovid wants is the story of hope-lessly besotted and doomed love in the most intense form imaginable-  as suffered by the love-goddess herself.from Tales from Ovid.