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November, 2009
Sections include: Summit structure; From classrom to lab, and lab to classroom; Implications for policy and practice: A view from science, education, and the arts; Summit outcomes
On May 6, 2009, the Neuro-Education Initiative of The Johns Hopkins University School of Education, with support from The Dana Foundation, hosted its inaugural national Learning, Arts, and the Brain Summit to explore the intersection of cognitive neuroscience, the arts, and learning. More than 300 educators, scientists, school administrators, and policy makers shared their perspectives on advancing the science of learning through the lens of arts training and its effects on cognition.
The emerging field of neuroeducation explores how children learn and what practices promote and sustain the learning process. Neuroeducation is an interdisciplinary field that combines neuroscience, psychology, and education to help create improved teaching methods and curricula.
Summit presentations expanded on the results of studies included in the Dana Arts and Cognition Consortium report, released in March 2008. The report, based on multiple three-year studies from seven universities, examined whether early arts training can cause changes in the brain that enhance other aspects of cognition. Consortium researchers found "tight correlations" between arts training and improvements in cognition, attention, and learning.
Through this summit, the research and education communities came together to discuss what neuroscience research has demonstrated to date concerning the effects of arts training on cognition and to explore future research priorities and opportunities. The summit's purpose was not to debate whether children need the arts, but rather to explore how studying and practicing the arts might enhance creativity, cognition, and learning.
Three questions guided the proceedings: (1) What do we know from cognitive-neuroscience research concerning the effects of arts training on the brain that could and should be accessible to teachers? (2) What new research is relevant and possibly related to how studying an art form helps students learn better? and (3) How does the process of learning with and through the arts improve academic performance?
Hosted at the American Visionary Art Museum in Baltimore, the summit provided a full day of proceedings that began with introductory remarks by the summit hosts and university officials.
As articulated by summit hosts Mariale Hardiman, Ed.D., and Susan Magsamen, both of The Johns Hopkins University School of Education, the agenda for the Learning, Arts, and the Brain Summit was organized around a premise and an invitation:
The premise
The empirical classroom experience of arts integration subjectively suggests that carefully structured arts-based pedagogy can improve students' learning and academic experiences, resulting in demonstrably positive outcomes that include deeper engagement in subject matter and better retention of content; greater emotional involvement in the learning process and deeper social awareness; and the ability to apply principles across disciplines.
Arts integration is also important from a national, macroeconomic perspective: graduates are entering the workforce without critical skills that arts-based learning is known to promote—collaboration, creative problem-solving, and the ability to apply learning across different disciplines. Further, exposure to the arts as a participant or observer has the potential to have profound effects on learning and memory, context, and comprehensive creative thinking.
The invitation
Unite the domains of education and neuroscience to identify and design classroom strategies that research suggests may promote the desired outcomes; test whether outcomes improved; and refine the strategies accordingly. What are the mechanisms at work between arts-based learning and improved cognition?
To open the day-long program, neuroscientists Guy McKhann, M.D., The Johns Hopkins University, and Kenneth Kosik, M.D., University of California, Santa Barbara, provided insights into the emerging field of neuroeducation. Ellen Galinsky, president of the Family and Work Institute, made opening remarks and introduced a short video from Michael Gazzaniga, Ph.D., University of California, Santa Barbara. Dr. Gazzaniga provided an overview and summary of the findings from the Dana consortium report (see section three).
McKhann called for research that tracks one test group over time. When one introduces arts-integrated methodologies into the classroom and observes the resulting learning, he asked, which outcomes are attributable to the new methodologies and which might be ascribed to the intrinsic capabilities of the participating students?
Kosik, a founder of the Learning and the Brain Conference, now in its 12th year, reported some of the lessons learned about marrying the domains of neuroscience and education: "Educators are seriously interested in research; they are hungry for information. Neuroscientists are typically less interested in education; they haven't gotten into the trenches with educators. Conference participants want to know what they can do when they get back to their classrooms." He noted that the scientific community now is beginning to have answers, and is prepared to begin addressing teachers' needs and questions.
Galinsky commented on her research into what happens when students are not engaged and not learning the skills they need. Her studies began with "not learning," that is, when students reported that they were just learning "stuff" to get a job, go to college, and do better in life. In contrast, when students said they were truly learning, they described the experience as "feeling bigger than usual, finding a sense of purpose, and knowing who they were."
Galinsky also noted that the Dana Foundation research suggests arts training can be a jump-starter for students. For example, students who have
theater training in high school often score higher in social aptitude. How then does the larger community make this belief in the arts more credible in teachers' minds? If educators see a substantive body of work affirming the benefits of arts training, they'll be more likely to include and integrate the arts into schools and classrooms, she said.
Scientific presentations were then offered by a panel of researchers. The panel, moderated by William Safire, chairman of the Dana Foundation, was asked to present recent findings on the influence of the arts on learning and to provide direction for future research. The presenters were: Michael Posner, Ph.D., University of Oregon; Elizabeth Spelke, Ph.D., Harvard University; Brian Wandell, Ph.D., Stanford University; Ellen Winner, Ph.D., Boston University; and Gottfried Schlaug, M.D., Ph.D., Harvard University (see section three for edited excerpts of the panel discussion).
There were significant findings to report. Winner and Schlaug discussed recent results from the first 15 months of a four-year study of children who received regular music instruction compared to those who did not. The controlled study was designed to determine whether music training affected near-transfer domains—those skills closely related to the training, such as fine motor control. They also tested for far transfer, that is, transfer to learning in other domains. Analysis of data based on 15 months of training showed that students who were given music instruction performed better in near-transfer domains. Equally important, imaging showed that changes occurred in certain brain structures compared to the non-trained students. This is the first study to show brain plasticity in young children as a function of musical instruction. At this 15-month period, they found no differences between the music and non-music groups in far transfer; the final determination awaits analysis of data from the full four years of the study.
Posner presented research that focuses on the executive attention network, which is involved in self-control. He explained that each art form engages a neural network. In children who are open to, interested in, and motivated to practice a specific art form, training focuses their attention and strengthens the executive attention network.
Posner found that controlled training on attention-related tasks in young children increased the efficiency of the executive attention network and also improved other learning domains. When children were given training specifically designed to improve attention, not only did attention improve, but the generalized parts of intelligence related to fluid intelligence increased as well. "Years of neuroimaging have now given us a plausible mechanism by which arts training could now influence cognition and IQ," he said. Posner is also studying candidate genes that may explain individual differences in interest in the arts, and he is researching the interactions between genes and environment involved in strengthening the efficiencies of attention networks.
Spelke, whose earlier research showed a strong correlation between intense music practice and geometrical representation skills, described her latest research with infants, which explores the possible brain basis of this correlation. She was able to create sounds in different timbres, which were paired with objects of different heights. In some trials, a baby would hear a rising sequence of notes, in others, a falling sequence. But, in both cases the height of the object related to the pitch of the note. (When the notes fell so did the object.) With a second set of infants, the same sounds and objects were shown, but the pairing was reversed. The results showed that the infants learned the pairing of tone and object height when it was congruent, but not when it was incongruent. Spelke said that as early as four months, babies seem to be "sensitive to relationships between the two key properties of a melody and positions in space."
Wandell spoke of his research demonstrating that music training is tightly correlated with phonological awareness—the ability to differentiate and manipulate speech sounds—which is the major predictor of reading fluency. He described how diffusion tensor imaging shows how specific nerve fibers pass through the corpus callosum and connect the two hemispheres. He explained that determining brain connections by seeing how water diffuses in and around those fibers is quite predictive of how well children or young adults learn to read. Properties of these specific nerve fibers are highly correlated with phonological awareness and therefore with reading capabilities. He and colleagues are now looking at research related to correlations between visual arts and math. Wandell made a point of encouraging educators to explore research questions that would be useful to them.
The afternoon session began with a keynote address by Jerome Kagan, Ph.D., Harvard University, who spoke on the topic "Why the Arts Matter: Six Good Reasons for Advocating the Importance of Arts in School." Kagan outlined the need for children to develop personal agency and tools to acquire, store, and communicate knowledge. He said, "In sum, arts and music have an important role to play in American schools. I suspect that if American teachers devoted one hour each day to art or music, or even one hour two days a week, the proportion of youth who dropped out of high school might be reduced. Moreover, the child's products would provide parents of failing children with an opportunity to praise children rather than criticize them for laziness." (Section four is a full transcript.)
A panel of educators and arts advocates focused on the implications of the research for policy and practice. Moderated by Dick Deasy, former director of the Arts Education Partnership, the panel included Sarah Cunningham, Ph.D., director of arts education at the National Endowment for the Arts; Janet Eilber, director of arts education at the Dana Foundation; Mariale Hardiman, Ed.D., assistant dean and department chair at The Johns Hopkins
University School of Education and a former principal; Mary Ann Mears, artist and founder of Arts Education in Maryland Schools; and Betty Morgan, Ph.D., superintendent of schools of Washington County, Maryland.
Deasy discussed the morning science presentations as well as a current movement in education, "action research," through which teachers develop questions and pursue them within the contexts of their lives. The publication, Critical Links, edited by Deasy, was referenced throughout the summit as a guidepost for educators and arts organizations throughout the country.
In response to Deasy's queries, Mears noted the work of James Catterall as having significant influence on her way of thinking about arts and education. Catterall's analysis of data from NELS [National Educational Longitudinal Study] addresses the issue of equity by drawing a relationship between correlations, indicating that children from low socioeconomic backgrounds benefit significantly from the arts. "Equity is where the rubber meets the road in this work" Mears said.
Commenting on another Catterall study, Mears explained that the researchers gave two groups of children a prompt about Ancient Egypt. One group drew and then wrote in response to the prompt; the other group just wrote. The students who drew and then wrote had better organized and more detailed written responses. This was particularly true of students with limited English proficiency.
Morgan discussed how important research has been in helping her and others bolster arts in the community. Morgan noted that "the research has strengthened arts-education programs not only in Maryland, but everywhere." She added that she was grateful to those engaged in research because it is critical for "those of us on the front lines … to justify the arts in our programs and the expenditures arts incur."
Cunningham discussed the importance of the research in terms of policy issues, saying that research makes a difference to a funder when you have organizations "that are aware of what in detail is happening to the children." She added that "this conversation with the scientific community demonstrates the richness of the moment. We have an opportunity as a federal agency to take this conversation to the press, the White House … This conversation on the arts expands beyond artistic practice out into our moral effectiveness."
Eilber spoke about how the arts can engage students by providing a different context for learning. She noted a study, "The Power of Art," that looked at the elements of after-school programs that bring art to California youth. Eilber said that the most striking and revelatory point about the study was what these particular after-school programs in the arts offered that other programs, such as sports, did not. "It came down to one thing: responsibility for self expression," she said.
Hardiman described her experience as a school principal: for 11 of her 12 years at one school, she witnessed consistent improvements in students' reading and math scores. But she began to realize that "we were so focused on accountability and scores that there was something that was not as holistic as it should have been." Hardiman developed the Brain-Targeted Teaching Model, which relies heavily on arts integration. "We started to look at how to get children to master key concepts and do repetition through arts-integration so that they didn't think that they were repeating and repeating content, but manipulating it in different ways through the arts," Hardiman explained.
The core of the summit was the roundtable discussion groups. Each roundtable included ten participants who represented the research community, classroom teachers, educational leaders, teacher educators, and policy makers. A facilitator helped shape the discussions and a recorder captured the dialogue. Discussions focused on what teachers want to know about the influence of arts integration on learning and development. They were charged with generating research questions and determining the best methods for high-quality neuroeducation research. Discussions also focused on how potential findings could shape educational policy and practice. (See section six for roundtable discussion summaries.)
Among the more salient issues that emerged from the discussions were:
In this section, the authors look to the future and assess how best the fields of neuroscience, education, and the arts can collaborate to bring change to education policy and practice.
In his essay, McKhann states that the relationship between neuroscience and education historically has been edgy. But this relationship is beginning to change, thanks to interdisciplinary approaches by several groups bringing educators and neuroscientists together, including the summit. From these discussions and the arts and cognition research, several concepts have emerged, including the need for educators to have a central place where they can ask questions. These questions, in turn, may stimulate further studies. McKhann points to research that suggests that there may be genetic factors that influence a child's reception to a particular type of art—music, dance, etc. He also emphasizes the work being done in enhancing attention mechanisms. He states that there is much yet to be learned.
In her piece on the education community, Hardiman says that the purpose of collaboration between the neuroscience and education communities is not to justify having arts in the schools. Educators who have already seen that the arts make students more creative learners do not need research explaining why. But neuroscience does add a level of confirmation. Scientific evidence on the influence of arts-based learning will add new dimensions to educational practices and policies.
Understanding what makes students better learners, said Hardiman, may remain disconnected from substantive changes in educational policy. Educators will make incremental improvements in curricula, but real policy change has to do with repairing the disconnect between what children can do and our expectations of them, along with the disconnect between official accountability and the clamor for more creative skills. Hardiman offers readers a Neuro-Education Interdisciplinary Research Model that she and Susan Magsamen developed in order to begin answering these questions.
In her commentary, Eilber says that arts-education advocates have always believed intuitively that the arts are a highly effective vehicle for improved learning; scientists support this intuition through a growing body of serious research. The field is deeply involved in translating research findings into teaching practice. Eilber emphasizes that arts education offers a network of partners, working with school systems and building a reputation for alternative learning processes. A growing body of arts-based curricula is accountable to states' learning standards, supported by findings emerging from neuroscience, which can provide models for new brain-based pedagogy.
Several key outcomes emerged from the summit. Educators are largely unaware of new scientific research; scientists typically do not conduct research with educators in mind as end users; and advocates are convinced of the efficacy of arts integration but need hard evidence to promote it. Communication among these constituencies is almost nonexistent; when information is shared it often is synthesized into headlines or neuro-myths. Ongoing discussion and collaboration has yet to evolve.
And yet, the sense was that education, the arts, and brain sciences might give impetus to the new field of neuroeducation, bringing together diverse thinking, invigorating pedagogical practice, and promoting research with relevant applications.
The cautionary message was that one should not confuse the artifacts of brain research (e.g., imaging) with its larger, not-yet developed potential, which is to create a guide for improving teaching strategies based on research about how children think and learn.
The benefits of harnessing these domains are to:
What did we learn at this summit?
Four points clearly emerged from the panels and the roundtable discussions:
1. Educators and researchers must communicate and collaborate.
Meaningful collaboration will require educators and brain researchers to understand one another's language, processes, and outcomes.
Educators want cognitive and brain scientists to work with them to create and conduct research that sheds light on how children learn in forms that can be applied to the classroom.
Researchers need to understand how teachers teach and which measurements are most useful. Teachers need to understand what research can deliver and how to frame the demands they make on it. Arts educators and proponents of arts-based instruction need to codify the meaning of arts learning so that teachers in other disciplines can understand how it benefits students, making them more prepared and willing to integrate the arts. Universities that train new teachers and provide professional development for experienced ones need to promote research and integrate findings into revised curricula.
Underlying all these conditions is a need for broader communication to engage parents, families, school boards, community-service providers, legislators, and other constituents who determine educational policy.
2. Translation of research must occur in different forms. At a basic level, translation should involve researchers working hand-in-hand with educators in the classroom to understand and address specific needs and questions. As methodologies emerge and are tested, effective strategies should be published in the form of tool kits for dissemination to teachers. For broader availability and consumption, tool kits and other resources should be posted in central Web-based repositories for interested professionals to consult. Educators should provide this information to parents as much as possible in order to allow parents to be strong educational partners with schools on behalf of their children.
3. Lab schools should be cultivated as authentic settings for research and the development of integrated pedagogical models.
Schools can become laboratories that cultivate relationships between the research and educational communities, with researchers and teachers working side by side in classroom settings. The schools may be organized within a university that trains teachers or may operate with less formal arrangements between higher-education institutions and local schools.
However they are organized, lab schools should bring together scientists and educators in a joint effort to design, perform, and test applications of translational research in the classroom. The involvement of teachers from many different disciplines is critical, as is a focus on topics and problems rather than specific subjects. Of note, The International Mind, Brain, and Education Society (IMBES) has begun to develop standards for the creation of lab schools. This process should continue to build integrated research in academic settings at all age levels.
4. Arts learning must be better understood before we can successfully integrate the arts across the curriculum.
Teachers of music, theater, dance, creative writing, and the fine arts—with the support of researchers— must define what they do in terms of improving students' cognitive development. Educators experienced in successful arts integration should contribute to the development of tool kits.
It is not enough to say that the arts enrich the school experience; individual art forms should be analyzed separately with a view toward the particular outcomes they best support. Which outcomes are measurable, and how are they measured? Do the arts demonstrably improve scores on standardized achievement tests? Can we keep separate the effects of the arts-learning process from the evaluation of the finished product? How much time is required for arts learning and arts integration to show an effect, and does this effect last?
In the end, the summit clearly illustrated the need to bring educators, researchers, and key policymakers together to talk to one another about the importance of the arts in education. The summit brought to light key issues, from simple terminology disconnects to larger policy and implementation challenges. It also demonstrated that when you bring passionate, diverse thinkers together to solve essential learning and social problems, they do so with insight and thoughtfulness, resulting in new directions and potentially transformative outcomes.
Throughout this report there are examples of many new directions and ideas for future research that need further elaboration. Our hope is that the summit, its participants, and ongoing conversation about critical concepts will continue to be revisited, leading to new knowledge, practices, and success for our children.
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Noted English playwright Tom Stoppard has derived the framework or inspiration for most of his plays from specific literary genres or from the works of such writers as William Shakespeare (Rosencrantz and Guildenstern are Dead, first performed in 1966) or Oscar Wilde (Travesties, 1974.) Stoppard uses these existing frameworks to present his own absurd satirical viewpoint. However, these frameworks also allow Stoppard, often through his protagonists, to comment on the ways in which we approach literature and the theatre, and their conventions. One of the best examples of this is the hilarious yet somewhat perplexing The Real Inspector Hound (1968), which uses the country house thriller, particularly Agatha Christie's The Mousetrap, as its framework. The interjections and later involvement of a pair of pretentious yet self-absorbed theatre critics serve to raise questions about approaches to literature and theatre.
Satire and social commentary are used in most of Stoppard's plays, and in The Real Inspector Hound, the principal targets are the mystery genre, dramatic critics, and to some extent, the theatrical nature of theatre, and by extension, life.
The Real Inspector Hound is presented as a play within a play, a favorite theme of Stoppard's, used also in Rosencrantz and Guildenstern are Dead and, in a different manner, in Travesties. The major shift occurs when the play and its observers collide, and the absurdities and conventions of both are amplified (Brassell, 95-98.)
The play happens to be, as critic Birdboot puts it, "a sort of a thriller," a "whodunnit." The plot of this mystery play centers around a small group trapped by adverse weather conditions in a typical English country house, Muldoon Manor. This group includes such stock figures as Major Magnus, the invalid relative; Mrs. Drudge, the simpleminded charwoman; the charming Lady Cynthia Mulddon; Felicity, her jealous old friend; and Simon Gascoyne, the stereotypical cad, as well as a stranger with a murky past. All of these characters are stock figures in mystery fiction, and there are references to mystery works or authors. Moon makes a passing reference to Dorothy L. Sayers (alongside the likes of Dante, Samuel Beckett, and Jean-Paul Sartre, amongst others. Allusions to The Hound of the Baskervilles, first indicated by the title, are highlighted in the following exchange:
Felicity: It sounds like the cry of a gigantic hound.
Birdboot: Rings a bell.
 More importantly, The Real Inspector Hound's structure is built around the mystery play, which is also the object of the satire (Gabbard, 61.) Though many of the characters and cliched actions can be found in most English mystery novels or plays from that period, the most specific target is the type perpetuated by Agatha Christie. The clear target was probably Christie's long-running play The Mousetrap and also contains similarities to another Christie stage play, The Unexpected Guest, as the solutions to both turn on a sudden change in identity. During his own stint as a second-string critic, Stoppard acerbically commented on thrillers in general and The Mousetrap in particular through a 1963 article entitled "Who Killed Peter Saunders," which was presented as a playlet and may indeed be considered to be the seed of The Real Inspector Hound. In that article, Stoppard, through another fictional critic called Slum, refers to The Mousetrap (1952) as existing in a sort of perpetual motion, relying on cardboard characters and cliches (shortly thereafter, the critic finds himself interrogated by literally cardboard policemen.) (Sammels, 24-25.) The Real Inspector Hound borrows the isolated setting, the idea of revenge for past wrongs in one's youth, and the unmasking of characters from The Mousetrap. However, perhaps the most inconsequential and yet the sharpest stab at the play may be Inspector Hound's arrival in swamp boots and carrying a foghorn, parodying Sergeant Trottter's arrival on skis in Christie's play. Unlike Christie or most mystery novelists, however, Stoppard avoids a pat ending, and the denouement serves to open up new questions, and may still leave the audience uncertain as to who was the real Inspector Hound.
In response to this stagy thriller, the pompous critics Moon and Birdboot refer to it in a way which could just as effectively be applied to Stoppard's play:
Moon: Derivative of course.
Birdboot: But quite sound (Stoppard, 16).
The way in which these critics perceive this play and deliver such pithy pronouncements forms the basis for the next level of satire. Stoppard himself asserts that originally the play was not meant to be about critics. He merely wanted to show two members of the audience becoming swept up in the action, and critics happened to be distinct, recognizable types (Londre, 118). Intentional or not, much of the effectiveness of The Real Inspector Hound derives from the presence of the critics. The pair's discourses on their personal lives and the way in which their eventual involvement in the play overlaps or parallels their own lives provide the impetus for moving the plots of both the play and the play within the play forward. However, their public pronouncements of opinion on the play are of equal interest, as they provide insight into the field of literary criticism, and the differences of perception.
Birdboot approaches the play in a straightforward manner, noticing the superficial details and elements. Having noticed the body on stage, Birdboot naturally assumes they are watching a thriller. He approaches the play as such, and when not distracted by the physical charms of the female leads, keeps an eye on various suspects and musing over possible motives, without so much as considering a serious subtext. This approach contrasts sharply with the attempts of the brooding Moon to dig deeper into the work, but ultimately, Birdboot proves to be correct.
The insightful, introverted Moon is reluctant to judge the play by what appears to be present on the outside. He insists on seeing what is "underneath," to know "where the play is going." He attempts to interpret the play on a metaphorical level. He makes various lofty pronouncements during the course of the play, making grand assumptions as to the play's purpose and significance. This attitude is highlighted by the following critical pronouncement, delivered shortly after Simon's introduction, which also serves to contrast Moon's approach to that of Birdboot:
Moon: Already in the opening stages we note the classic impact of the catalystic figure - the outsider - plunging through to the center of an ordered world and setting up the disruptions - the shock waves - which unless I am much mistaken, will strip these comfortable people - these crustaceans in the rock pool of society - strip them of their shells and leave them exposed as the trembling raw meat which, at heart, is all of us. But there is more to it than that --
Birdboot: I agree -- keep your eye on Magnus (Stoppard, 21).
While Moon searches for potential meaning, Birdboot continues to watch the potential suspects. At one point, Moon decides that the play is concerned with "the nature of indentity," and further concludes that the central question which the critic is "entitled to ask" in regard to the play is "Where is God?" The more literal minded Birdboot responds by dubiously looking for God's name in his program (Stoppard, 32). Moon's earnestness seems laughable in the face of the subject matter. This attitude also suggests that one can often try too hard to "get at" the inner meaning in literature. While applied specifically to a play, the approaches of both critics cast a skeptical light on criticism and literary study. While those engaged in literary study seek to find the purpose and significance of a text, and to determine the author's intentions, one must also approach a text according to its own merits. A thriller with cliched situations, stock figures, and overly stagy dialogue hardly merits such minute analysis, and any attempts to extract spiritual significance from such a work are ultimately meaningless and distracting.
However, the blunt approach, examining only the external elements of a work, can be equally misleading. While this approach is usually ideal for certain genres, such as detective stories or thrillers, if Birdboot were to apply it to the works of Charles Dickens or James Joyce in such a way, or most of the Romantic poets, this approach would also serve to distract rather than enlighten. The ideal critical approach, then, depends to a significant extent on the nature and merits of the work itself.
The pair's personal musings also reflect their differing critical approaches. The earthy Birdboot becomes infatuated in turn with both of the lead actresses in the play, and constructs elaborate romantic fantasies, beyond the safety of his "homely wife," Myrtle. When Birdboot finds himself caught up within the play, after answering a phone call from the suspicious Myrtle, he lives out his own fantasies, while at the same point playing the role of the philandering Simon Gascoyne. The characters within the play essentially repeat the same dialogue in response to Birdboot as they used with Simon. Also like Simon, Birdboot meets a tragic end, the result of his own follies and his eagerness to accept the apparent fulfillment of his own fantasies.
The more introspective and somewhat neurotic Moon's musings follow a different path. Moon keenly resents his position as a second-string critic, and feels that Higgs, the first-string critic, is standing in his limelight. He muses on the relationship of himself to Higgs, and how each seems to define the others. Slowly these musings become darker as Moon imagines Higgs' death, and at one point even seems to contemplate murdering his successor. The third-string critic, Puckeridge, also figures into Moon's musings at times. These musings seem to delve into, as Moon says in regard to the play, "the question of identity." This question again arises when Moon too is swept up into the play. Birdboot is shot shortly after discovering that the corpse on stage is actually Higgs, the first-string critic, thus fulfilling Moon's dreams. Moon finds himself playing the cliched Inspector Hound; however, to further complicate matters, it appears that Moon's role is not that of the real Inspector. In rapid succession, the crippled Magnus is revealed to be first the real Hound, then the third-string critic Puckeridge, and finally and most fantastically, the long lost Lord Albert Muldoon. With such rapid unmaskings, Moon appears to have been astute in suggesting that the play deals with the question of identity, a question which in many ways remains unresolved at the play's end.
It is significant to point out Tom Stoppard's own experience and opinions with critics and criticism. From 1962 through 1963, Stoppard was employed as a critic by the London magazine Scene. Tom Stoppard refers to the work of critics as "a sort of second-rate journalism that presents the journalist more than the subject" (Sammels, 16). This view is clearly presented in The Real Inspector Hound. The musings of Birdboot and Moon, even when focused on the play, reveal more about the pair's lives, thoughts, fears, and dreams than about the play. This opinion of the profession may have led to Birdboot's jocular greeting: "Me and the lads have had a meeting in the bar and decided it's first-class family entertainment but if it goes on beyond half-past ten it's self-indulgent - pass it on

subset: commoncrawl


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Latest media releases
UBS Expands Continental European Real Estate Business; Hires Senior Lend Lease Team
UBS today announced that its UBS Global Asset Management business group, one of the world's leading global asset managers, has significantly expanded its Continental European real estate business. This growth provides clients with an increasing range of investment opportunities in this important asset class. UBS Global Asset Management has hired a senior management team previously with Lend Lease Real Estate Investments Europe to serve as key executives in the new venture.
UBS today announced an expansion of its UBS Global Asset Management business group's Continental European Real Estate business.
This expansion will combine the existing European real estate resources of UBS Global Asset Management and a senior real estate management team previously with Lend Lease Real Estate Investments Europe into an integrated, full-service Continental European real estate business to serve institutional and wholesale clients. With existing personnel based in Switzerland and the new team to be based in London, the business will manage real estate assets of the UBS group and establish an open-ended euro real estate fund. It also plans to launch a number of closed-end investment vehicles targeted primarily at the European institutional market. The UK team, which runs the award winning Triton fund, will be unaffected by this new initiative.
The expanded Continental European team joins the strong existing real estate businesses in the USA, UK and Japan. The team of senior managers, previously with Lend Lease, that has now joined UBS Global Asset Management comprises:
Charles Foster Taylor, formerly chief executive officer of Lend Lease Real Estate Investments Europe, will lead the group's Acquisition and Disposition function.
Simon Foxley, formerly managing director of Lend Lease's European Value Enhanced Fund, will serve as a senior Portfolio Manager.
Mark Chamieh, previously managing director, Marketing, will become head of Institutional Marketing and Business Development.
Reto Ketterer, a 22 year UBS veteran, is the head of the Continental European real estate business for UBS Global Asset Management.
The European real estate market has seen increasing asset flows as investors seek diversification. There is currently in excess of 2.2 trillion euros of European commercial real estate. UBS Global Asset Management is fully committed to leveraging its existing expertise in the UK and Switzerland to building a leading business in Continental Europe, providing a range of investment opportunities for clients globally.
"This expansion of our Continental European real estate business underlines UBS's commitment to delivering best in class real estate investment opportunities to the full spectrum of UBS clients," said John Fraser, Chairman and Chief executive officer of UBS Global Asset Management. "We are delighted that Charles Foster Taylor and his team have decided to join UBS. They will be a key part of our drive to expand our real estate business.
"Continental European real estate is an increasingly important sector of the real estate asset class," said Jim O'Keefe, Head of Global Real Estate at UBS Global Asset Management. "We constantly seek to provide our clients with innovative investment opportunities and this initiative further expands our capabilities and client reach."
UBS Global Asset Management has a phenomenal brand and distribution network in Europe, said Charles Foster Taylor. We are very excited by the opportunity to leverage these and to build a market-leading real estate investment management business in Continental Europe"
UBS Global Asset Management has more than CHF 20 billion in commercial, multifamily and agricultural real estate assets under management around the globe. UBS Global Asset Management has real estate asset management capabilities in the United States, United Kingdom, Switzerland and Japan.
Notes to Editors
UBS is one of the world's leading financial firms, combining financial strength with a reputation for innovation and a global culture that embraces change.
UBS Global Asset Management, with £243 billion / CHF540billion of assets under management, seeks to deliver superior investment performance to institutional investors, financial intermediaries and private investors worldwide.
London/Zurich/Basel, 21 July 2003


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|Biosequences .. Software .. Molbio soft .. Network News .. FTP
Hi, I need some help In my experiments I add different ß-Amyloid peptides (10-20; 1-28; 1-40) at concentrations 100µM to the media (plain DME) of cells in culture. Usually I don't have any problems and the peptides remain in solution in DME. However, when I do the same experiments using cells that have been metabolically labeled with 35S-Meth the peptide ß-Amyloid 1-40 precipitates even when the metabolically labeled cells have been extensively washed with DME. Do you know what may be affecting the solubility of ß-Amyloid 1-40?. I do not have any problems with ß-Amyloid 10-20 o 1-28 under the same conditions. Any suggestions? THANKS


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The actress Elizabeth Banks will make her feature directorial debut with "Pitch Perfect 2," a sequel to the hit 2012 musical comedy about an all-girls a cappella singing group, a Universal Pictures spokesperson confirmed Monday.
Banks, who produced the original and had a supporting role as an inappropriately frank color commentator, will reprise those duties in the sequel as well, according to the Hollywood Reporter. Stars Anna Kendrick and Rebel Wilson are also expected to return. Kay Cannon, who wrote "Pitch Perfect," will pen the sequel.
"Pitch Perfect" followed a college freshman and aspiring music producer (Kendrick) who reluctantly joined a female singing group and helped shake up its stuffy approach to performing. The film became a surprise hit, grossing $65 million domestically and more than $115 million worldwide on a modest $17-million budget. It was also one of the top-performing DVD and VOD titles in 2013 and scored a top 10 Billboard single with "Cups" nearly a year after the film opened in theaters.
The film was also directed by a first-timer, veteran theater helmer Jason Moore. Moore is next set to direct a live-action "Archie" movie.
Universal originally announced "Pitch Perfect 2" in April at Cinemacon. The film is expected in 2015.
Banks, best known for her work in front of the camera, will next contribute her voice to the upcoming "Lego Movie" and reprise her role as Effie Trinket in "The Hunger Games: Mockingjay Part 1" in November.
Her directorial resume is sparser, with a couple of short films and a segment of the anthology comedy "Movie 43" to her credit. That last film will no doubt give "Pitch Perfect" fans pause, since it was a critical and box office dud.
According to Sheri Linden's review of "Movie 43" for The Times, however, Banks "happens to have directed one of the better segments, featuring Chloe Grace Moretz and using the occasion of a seventh-grader's first period as a showcase for male hysteria."
Now we'll see if Banks can hit the right note with a full feature.


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BIRT Cross Tab Support
This project aims to support a new crosstab report item where the data set values are displayed along the rows and columns.
- Planned for 2.2
Specification Lead
Rima Kanguri, Wenbin He
A cross tabulation report item (often abbreviated as a Cross tab report item) displays the relation between two variables in a matrix format.
Capability List
- Define and view a cross tab report item
- The number of rows or column could be fixed or variable
- Supports subtotal and grand-total
- Supports sort and filter
- Applying styles on row,column and detail area.
- Supports page breaks
Specification Document(s)
Related Bugzilla Entries


text:
GM Volt to deliver three-figure fuel economy
Officially, 230 miles on a US gallon of fuel
Leccy Tech A rather curious advert featuring the number 23 and a smiling power socket has appeared in North America over the past few weeks. Until today, nobody knew what it meant.
GM's Volt: first three-digit fuel economy rating?
During a webcast today, General Motors' President, Fritz Henderson, explained that 230 is the official miles-per-gallon urban fuel economy rating for the upcoming range-extended hybrid Chevrolet Volt. That's 276mpg in Imperial units, by the way.
Either way, it's the first time a car has gain a three-digit fuel economy rating.
The figure – apparently a first of its kind for a vehicle of this type – comes courtesy of the US Environmental Protection Agency's (EPA) newly developed testing methodology for such cars.
Plug-in hybrids will go for a certain distance – 40 miles in the case of the Volt - on battery power before a small internal combustion engine fires up to drive a generator that, in turn, recharges the battery pack and powers the electric drive motors.
The EPA urban scheme assumes low-range driving - school runs and the like - ensuring plenty of opportunities to top up the battery off the mains overnight or while the owner's at work.
GM didn't say what the Volt's highway or combined fuel economy figures are but Henderson did say he expects the latter to stretch to three digits, so that's 100 miles per US gallon at the very least. ®


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If you're looking for smart ways to save this holiday season, look no further than your computer screen.
According to Extrabux.com's product comparison expert, Jeff Nobbs, now might be the best time to shop online.
"A lot of the deals and prices that stem up arise from consumer demand," says Nobbs. "Online retailers tend to discount their prices the most. So for those still hungry to shop, this is a great time to look for deals."
To make the most of your gift-giving expenditures, Nobbs offers the following tips:
Stock up on toys in mid-December
"This is when toys are the cheapest," says Nobbs. "Stores will aggressively discount these as it gets closer to Christmas," however, if timing isn't an issue—and your family is cool with delayed gratification—you can put off shopping until January. The only issue with waiting, Nobbs notes, is that you run the risk of watching your toy selling out.
Buy electronics on December 21 or 22
"This is when retailers will be desperate (to move units)" says Nobbs. "The most popular items might be sold out, and you might have to do two-day or overnight shipping, which will cost more, but it may be worth it."
According to a recent post on the Extrabux.com blog, the best day of the week to shop for these items is Monday. The timing of manufacturer discounts has something to do with this phenomenon, as does the fact that this is the day when retailers tend to get their inventory in-store for much less than they do on other days of the week.
Likewise if you're in the market for a new TV, make your purchase on a Monday, Tuesday or Wednesday, says the Extrabux blog. Buying a TV on a Friday will cost exponentially more, whereas on a Monday it will be at its cheapest.
Cameras, meanwhile, are at their lowest price on Monday. As these items tend to get upgraded faster by manufacturers, retailers use them as a lead-in to drive site traffic on Mondays, when "consumers are back in front of their computers and more susceptible to onine promotions," says the blog.
Purchase e-cards on Christmas morning or Christmas Eve Don't make the rookie mistake of purchasing your e-cards well in advance. In this case, it actually pays to buy them late when retailers are antsy to ring in sales.
"Digital gift cards tend to get discounted last-minute," says Nobbs, "especially for procrastinators."
So the next time someone accuses of you of being lazy, you can just tell them it's all part of your strategy.


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Staff writer
Marion County Clerk Carol Maggard and her staff scrambled to fix a mistake on ballots for the Nov. 6 election.
About 400 early voters had filled out incomplete ballots because Marion County's ballots did not include questions about retaining two Eighth Judicial District Judges — Michael F. Powers and Maritza Segarra. It was Powers — not one of the voters — who brought the error to Maggard's attention on Oct. 24. At first, Powers did not realize he had not been mailed information candidates receive when they appear on a ballot.
Judge retentions offer people the choice of whether to vote yes or no to bring back a judge. Most people who vote overwhelmingly choose yes. Maggard said many people choose not to vote because they do not know the judge.
About 300 people received short paper ballots with judge retentions by Thursday. The clerk's office was working on the short ballots for walk-in voters, about 100 people, on Thursday. She said those would be delivered on Friday. Maggard had all the ballots reprinted and, with overnight mail, they should have arrived at the Marion County Courthouse on Saturday.
"I'm feeling good about what we have done to correct it," Maggard said. "At least I can make it right."
In Maggard's 27-year career as County Clerk, there had never been a mistake on an election ballot.
"I take full responsibility," she said.
Maggard was visibly embarrassed about the mistake. Part of that feeling is because of the cost of reprinting ballots. She was not sure how much the printing and mailing would cost because she had yet to receive a bill for the first run of ballots. She said the reprinting cost will come out of the Clerk's budget.
Although the problem has been corrected, Maggard shuddered at the possible ramifications if no one had seen that the judges had been left off the ballot until after the election. She was not sure what the consequence would have been and she did not want to find out.
The clerk's office can take solace in one fact. Maggard had to speak with a representative in Secretary of State's office to modify the ballots. The person told Maggard she was not the only county clerk to call with the same problem.


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Every now and then I see a "should be a wiki" comment in a question... even in the superuser private beta.
Why is that?
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Every now and then I see a "should be a wiki" comment in a question... even in the superuser private beta.
Why is that?
The real benefit to CW is not supposed to be to shield people from down votes (like many people try to use it), it is supposed to lower the rep threshold for editing so that other people can help and add to your post.
Some people like to think that CW means that 'anything goes' which is obviously not true. Community Wiki was meant for common sense situations where common sense would tell you that you really should not be earning rep, nor should the answerers.
This involves things like "Hidden features of C#". Not "What is your favorite dog as a programmer?".
It tends to be used for polls, subjective questions or ones where the OP is asking for lists of things.
While the original intention may have been for CW to be editable content, I don't think it's worked out that way; community wiki is instead an indication that either: a discussion without pursuit of a definitive answer is taking place ("why should I..."); the views contributed are by definition subjective or opinionated ("what is your favourite..."); the topic is trivial or fun and therefore higher traffic, so shouldn't lead to rep accumulation ("do you love Jon Skeet?").
I am starting to think the use of the word 'wiki' is problematic, while 'community' is helpful. Suggestions?
If there's not a foreseeable end to the questions, it's likely best as Community Wiki. You shouldn't benefit from asking a question than can never really be objectively answered. If you could, we'd all be asking "What's your favorite color?"
If something is more of a discussion type, feelings are that it should be flagged as community wiki. All content the can be edited by more people (+750 rep and up). No reputation can be earned, as content is publicly owned and there is no right or wrong answers. Upvoting becomes a way of agreeing, down voting of disagreeing. Badges can be achieved though by the original owner of the question or answer.
If a question is wiki, all answers are too. But one can mark an answer as wiki. Both marking answers and questions is done using a checkbox near the edit box when asking or answering. The checkbox cannot be unchecked once submitted.
Recommendations are somewhat of a borderline case. Obviously, somebody recommending something has put work into building up his experience and opinion about the thing he recommends. Therefore he deserves reputation, one would say. But if the thing is highly subjective, I would also tend to see it as a discussion more then a recommendation.


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In the spring of 1963, the educational landscape in Okaloosa and Walton counties changed forever.
In the spring of 1963, the educational landscape in Okaloosa and Walton counties changed forever.
For the first time, people interested in exploring higher education didn�t have to journey an hour east or west. They simply had to wait a year for the newly approved two-year college to open in their backyard.
Half a century and more than 350,160 students later, the educational outlook for the school created by the Florida Legislature couldn�t be brighter.
View photos over the decades �
Present-day Northwest Florida State College has grown from a makeshift campus inside abandoned buildings to seven campuses and centers as varied as the communities they serve. The school has awarded 35,440 degrees and certificates, and that number is only slated to grow as the college starts its sixth bachelor�s degree program in the fall and has a seventh waiting in the wings.
The evolution from junior college to community college to state college has been marked by a series of fits and stops as politics, the economy and even the unexpected termination of a president took their toll. But in all those years, and midst all the changes, the college never faltered in its primary mission to meet the educational needs of the community it serves.
View a timeline of the college's history �
The birth of a college
On Aug. 24, 1964, the first students arrived at Okaloosa-Walton Junior College to earn an Associate of Arts or an Associate of Science degree.
That first year, 767 students attended classes in the remnants of Valparaiso�s old business district. No one seemed to mind that they took classes alongside old bank vaults or often heard music from a small church nearby.
�It had a lot of community spirit,� said Robert Larson, who was hired to teach at the college in 1965. � � We all felt like we were part of something.�
It was common for students to bring guitars and play for classmates. At the time, cultural entertainment was non-existent for people not affiliated with Choctawhatchee High School, Larson said.
�When I was hired, I felt like a pioneer,� he said.
Like most professors, Larson, then a recent graduate of the University of Florida, taught several subjects, including art history, humanities and philosophy.
About two years after it opened, the college identified a permanent home on 263 acres of land on Eglin Air Force Base�s reservation. It was a difficult decision, as cities across Okaloosa and Walton counties vied to have the campus built in their area, but the location in Niceville was selected as a neutral site.
Once the location was chosen, professors such as Larson were given ample opportunity to provide input on the design of the campus and the architectural style.
For his part, Larson said he preferred to model it after the ancient Athens model that kept everything open and friendly.
�I didn�t want to have buildings that dwarfed students,� he said. �I wanted them to feel like they were at home.�
Three years later, the main campus in Niceville opened and has never stopped growing.
Read more about the early years �
Growing pains
About the time students moved onto the Niceville campus, school officials were busy opening the first campus in Walton County.
The Chautauqua Neighborhood Center, as it was known then, was built using federal Housing and Urban Development (HUD) funds that dictated how the college could use the facility, according to former college vice president David Goetsch.
�It was built less as a college campus and more as a HUD center where we could have classes,� said Goetsch, who oversaw campus development for the school from 1988 until his retirement in 2011.
In fact, for 20 years the center was the social services hub for Walton County. It housed everything from the Health Department to senior services and the Boy Scouts.
When it opened the center, OWJC offered non-credit courses designed to meet the educational needs of people in the area, according to current Director Barbara Jones.
The first three classes were all about home-making, including sewing and child care. Each class was free and transportation on a bus was provided by the director of the center, she said.
�It just reminds me how much the world in general has changed,� Jones said.
By the time she arrived in 1992, the center had opened to the general public and offered college credit courses.
Enrollment grew consistently over the years, and a second building was completed by the mid-1990s.
DeFuniak Springs wasn�t the only town yearning for a campus of its own in those years. A decade after opening the Chautauqua Center, OWJC teamed up with the University of West Florida to open a campus in Fort Walton Beach.
Beginning in 1983, the colleges agreed to lease the old Oakland Heights Elementary School on Mary Esther Cut-Off from the Okaloosa County School District as a temporary campus.
The site now houses The Home Depot and Walgreen�s.
The colleges would stay there until the Florida Legislature designated funding for them to build an independent campus.
By the time the money arrived, land in Fort Walton Beach was scarce. But as luck would have it, Hurlburt Field was ready to deed 156 acres it didn�t need to the Florida Forest Service.
The college couldn�t buy the land outright, and a lengthy and highly bureaucratic process ensued.
�It literally took an act of Congress to get the Fort Walton Beach campus,� Goetsch said.
When all was said and done, the state and federal governments brokered a deal for the property by exchanging ownership of new land created on Okaloosa Island each time sand dredged from the East Pass was deposited on the shore, Goetsch said.
House Bill 5291 was signed by President Ronald Reagan in 1988, and classes at now Okaloosa-Walton Community College�s Fort Walton Beach campus began by August 1992.
Two years later, the college grew again.
Learn more about the history of the college �
Recent development
In November 1993, Gail Kaltz arrived at the Robert L.F. Sikes Education Center with a telephone and his desk loaded into the back of a pickup truck.
�We didn�t have signage, we didn�t have anything,� the center�s longtime director said. �We just came up and started.�
The building, which also housed Crestview�s library, had one classroom when students arrived in 1994, Kaltz said.
�We were a one-room schoolhouse,� he said with a laugh.
The college added a wing of classrooms within six months, and it took no time to fill them up. Five more rooms were added after the library was moved to a new building.
�The community response has just been wonderful,� Kaltz said. �We�ve had continuous growth since we opened. We�ve just kind of plateaued now because we ran out of room.�
While plans exist to expand the center, Kaltz said he worries about how to handle more vehicles. Currently, the security guard directs students where to park on the grass every night. But Kaltz said they�re learning to deal with the issue by adding classes during the day.
Unexpected growth is a familiar issue for the director of the college�s newest center. Since it opened its doors in January 2010, officials at the South Walton center in Santa Rosa Beach have had to use creative scheduling to ensure the building�s five classrooms don�t hinder educational opportunities.
�From day one, we exceeded the expectations,� said Julie Terrell, who has overseen the center since it opened.
In addition to the college credit courses, the center has specialized in offering about an equal number of non-credit courses to meet the needs of an already educated but still interested population.
�They�re retired and they�re wanting to just learn how to do a lot of different things,� Terrell said.
To maximize the use of space during the day, Terrell is speaking with officials at Seaside Neighborhood School about opening a collegiate high school in four of the classrooms. The college typically uses the rooms for late afternoon and evening classes.
If NWF State�s board of trustees approves the partnership, Terrell said she hopes it will enable the college to move forward with expansion plans that already exist for the 30-acre campus.
�We can change with the needs of the community,� Terrell said. � � (And) I see growth in all areas.�
Looking to the future
For the next year, NWF State will look back at its storied past and hopes the community that helped it grow will take part.
A 50th anniversary committee has planned many events that will begin Wednesday and conclude Aug. 30, 2014.
�It�s just such an exciting time,� President Ty Handy said. �A milestone like this means you�re fully established as a college; you�re not going anywhere except hopefully getting better and better and better.�
The college isn�t planning any major construction projects in the near future, but it is looking at renovating existing buildings and adding classrooms where necessary, Handy said.
The college now is wrapping up some classroom renovations in Building C on the main campus in Niceville. The focus is to improve in-class technology, and similar plans are in the works for other buildings, Handy said.
�We look forward to continuing to invest in our campuses and making them nicer,� he said.
The primary focus, though, will remain on education and expanding the programs to meet the needs of the community, Handy added.
Right now, that means a new bachelor�s degree program in early childhood education. NWF State also is working on a bachelor�s degree in management and supervision and a mobile welding program.
�We�ve become over 50 years, I think, just part and parcel with this community,� Handy said. �So we want to celebrate that and lay the groundwork for the next 50 years.�
Contact Daily News Staff Writer Katie Tammen at 850-315-4440 or email@example.com. Follow her on Twitter @KatieTnwfdn.


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|Associated Press of Pakistan
|Jawaid Tariq Khan, a senior banker and Chairman Highnoon Group of Companies, has offered to electrify a village with solar energy.
Details in this regard are being worked out between the Prime Minister's Secretariat and Highnoon Solar, said a press release issued here.Mr. Khan said that the easiest and fastest way to overcome the energy shortage is electrification based on solar energy of which there is abundance in Pakistan. In addition to electrification of villages, single homes, water heaters, tube wells and street, traffic and parking lights could be lit by solar energy, he added.
Many developed countries including USA, Spain, Germany and even the UAE were building entire cities energized on solar energy simply because it is the cheapest source of energy in the long run.
Small generation systems could be arranged within six months and so as many as many thousands of systems in the same period of time.
Public/Private partnership in this cheapest and everlasting source of energy should be encouraged, Mr. Khan added.
Leave a Reply to Faisal Cancel reply
143 thoughts on "LAHORE: Free solar energy for village offered"
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Asalam O Alekum, its really encouraging that finally some one is addressing issue of Alternate energy sources.
I belong to Bhalwal near Sargodha. With scarcity of electricity & ever raising Diesel price Farming is becoming un affordable. Kindly suggest if there is any funding available for installation of a Tube well capable of irrigating 40-50 Acres??
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thanks for informing us
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m waseem
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Something, something, silver lining.
Truth be told, I prefer opinion pieces over write-your-heart-out ones. Just like I prefer people singing on talent shows over their "I cut my finger when I was 3 and have been singing about it ever since" backstories. (Yes, X-Factor, this one's for you!)
Nonetheless, the day of my diagnosis is one of my happiest memories, so it shouldn't be too depressing a story!
Flashback. December 2009. I have the flu. Or so I thought. I was surprised at first, confused: I had never had the flu. As I was stuck in bed for days, I just hoped it would get better before Christmas.
I was stupid, too; driving back home, a good few hundred miles in the snow, tired like never before. I just didn't know any better. I wasn't really the type to get sick and definitely not the type to moan about it. I carried on with my business.
Fast-forward to June 2010. It was at the beginning of the month. I'm pretty sure it was a Thursday. *Opens calendar*. So ... that would make it Thursday, 3rd June 2010. Maybe I should make a note, but then again, what for? I won't be buying a cake on that day or commemorating in any way.
The day my life changed, forever?
Dramatic drums! Well, it did change, but I wouldn't say it got worse. It just became different.
I had been dating since January and, as I was in town for the afternoon, I just decided to go and get checked. I didn't think I would have anything. I was just there, had nothing else to do, and hadn't been tested since the previous summer.
Blood was taken. I felt, as usual, a familiar mix of 99% "Nothing to declare" vs. 1% "What if?"
They came back a few minutes later: "You tested positive to the quick test for HIV." I didn't react at first. Surely, it couldn't be. They must have been joking, trying to shock me maybe. "From our conversation, we weren't expecting it."
Thinking back, a strange thing to say. But, indeed, how? When? Who? The questions started to pop up randomly. They took another sample "to make sure." It could have been a false positive.
It wasn't.
They needed more blood to run more thorough tests. I still felt fine at that stage, until I was told to "Breathe normally, please" whilst more blood was being drawn. That's when I realised that whilst my brain had frozen, my body was in shock.
I'm not sure anymore what happened exactly in the few minutes afterwards. I think I was told to come back another day to meet a doctor.
Too late for me, but what about him?
As soon as I went out, I called my then boyfriend. It was in the middle of the afternoon, he was at work and I've never been big on phone calls. He immediately knew there was something wrong.
"I went for a checkup ... and it wasn't good news."
He told me later that he turned a whiter shade of pale. We met in a park and my legs gave up on me as soon as he arrived. I fell in his arms, fell on the grass and started sobbing. I wasn't too concerned with my health. I was worried he was infected too. He tried to comfort me, but I could sense the same thought was going through his mind.
Not the "couple checkup" I had in mind.
We went back to the clinic. He went in. I waited outside, nervous. We had always used condoms for anal sex, but never for oral sex; cum had been involved at times. Boys will be boys.
Have I passed it on to him? How would he feel? What if, maybe, he had it first and passed it on to me? How would that make me feel?
I called four friends whilst I was waiting, to tell them about my diagnosis. It was something to do whilst he was in to get tested. Whether male or female, gay or straight, they all were supportive despite the initial shock and surprise.
He came out of the clinic. Negative. Relieved. He would need to come back in a few weeks, to confirm, but it was a good sign.
After the storm ...
We made our way back to mine. There was an awkwardness, a silence to let what had just happened sink in. It was fine and it was going to be fine. I felt no different. I wasn't sick. I didn't need treatment. I wasn't sad. I was just unsure about what the future would hold for me, for our relationship, for our sex life.
I did not know then what I know now: It wasn't going to change anything. We would carry on dating for another 6 months, having as much sex as ever (albeit being more conscious of what to do and not to do); we would still be the same, able to care for one another, living a normal life.
... comes a rainbow.
He kept asking me how I was, as you do when you are worried and can't get your mind off it.
"I don't want you to hate me," I said.
"I don't hate you. If anything, it's quite the opposite, I think I love you."
"I love you too."
It hadn't been voiced before. I hadn't even realised it was there, but in that instant, it felt right, it felt true.
No matter how cheesy it sounds now, what was said or what I feel recalling it: Love was to be stronger than HIV. Both were in my blood, but only one could make it boil with passion.
No matter how tough life can get, no matter how the virus affects me, love made the day of my diagnosis a happy memory.
It always will be.
From Tom: I'm a Londoner in my late 20s and I'm gay. I was diagnosed in 2010 and started blogging about it in 2013. I hoped to show, like many others on the Web, that it's not all doom and gloom living with HIV.
Find Tom on the Web and on Twitter @LivingHIV.
Want to share your own "Day One With HIV" story of finding out your diagnosis? Write out your story (1,000 words or fewer, please!), or film a YouTube video, and email it to email@example.com. In the coming months, we'll be posting readers' "Day One" stories here in our HIV/AIDS Resource Center for the Newly Diagnosed. Read other stories in this series.


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Dry Mouth during Cancer Treatment
I have such dry mouth. What can you recommend to help me with this? Sometimes it is so hard just to chew my food and get it down.
Patricia Dooley, Associate Director of the Division of Speech Language Pathology at Penn Medicine, responds:
There are many different things that you can do to relieve dry mouth. One way is by using over the counter artificial saliva replacements such as Biotene Oral Balance or spray, mouthwash and toothpaste, Stoppers 4 Dry Mouth, or MouthKote. Drinking water or/ using a spray bottle with water can also be helpful. To assist with chewing, eating a moist wet diet is helpful. I would also recommend drinking a liquid between bites to help wash food down.
This question and answer was part of the OncoLink Brown Bag Chat Series. View the entire Head and Neck Cancer Q&A Webchat transcript.


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Play online flash game Kings Island 3 for free. Do not forget to rate this game Kings Island 3 and share this game with your best friends.
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Thanksgiving Breakfast Ideas Recipes
Pumpkin French Toast (Pain Perdu Recipe)
It's that time of the year again! Halloween is over and Thanksgiving is only a few weeks away. The time for fall flavors has definitely arrived. Pumpkin is one of the most versatile ingredients of the season, and today I used it to put a twist on French toast. I prepared a simple custard batter flavored with pumpkin purée and saffron and soaked day-old stale bread. I paired it with a saffron-sweetened heavy whipping cream. The dish is fragrant and flavorful without being overly sweet. It's definitely a departure from your average pain perdu (literally "stolen bread").
This would be a wonderful treat for Sunday brunch, or for the day after Thanksgiving. I'm making it today for Lulu as a reward for volunteering to take the girls trick-or-treating last night. The girls' feet started hurting, so he cut the outing short and took them to the supermarket to buy bags of chocolates and candies. That still counts though, right?
Full Recipe...