Viewing entries in
Web/Tech

Comment

The Code of the City

CITY JOURNAL

Winter 2015

The Code of the City

by James Panero

The New York Genome Center’s project to map Gotham’s diverse genetics

Ever since James Watson, Francis Crick, and their colleagues discovered the double-helix molecular structure of DNA in 1953, scientists have dreamed of unlocking the secrets of our genetic code. Tightly folded strings of just four molecular letters, DNA contains the equivalent of a gigabyte and a half’s worth of data about our identities, ancestry, and the illnesses to which we might be prone. As Peter W. Huber explains in The Cure in the Code, understanding and harnessing the data in our genetic fingerprint “will eclipse everything that the information age has delivered so far.”

No one knows when that will happen, but geneticist Nathan Pearson thinks that he knows where the breakthrough will come—at the New York Genome Center in downtown Manhattan, which is attracting world-class geneticists to the city. A young prophet of genomic science with a soft-spoken, wide-eyed intensity, Pearson is the center’s senior director of scientific engagement and public outreach. “Here, in just a few blocks, you have this incredible diversity of humanity,” says Pearson of New York. He isn’t just referring to the broad-ranging ideas that a city can promulgate, though that helps explain why ten major medical and academic institutions came together to found the consortium behind the Genome Center in 2011. He also means genomic diversity—the variations of DNA in the city’s multiethnic population that form his source data. If the New York Genome Center had a bank of data from “a thousand Yemeni New Yorkers, a thousand Maltese New Yorkers, a thousand New Yorkers from diverse backgrounds that are still understudied in terms of genomic diversity,” Pearson says of the center’s aims, it would have a unique understanding of genetic variations in the world’s population. So when health issues with a genomic basis arise in any area of the globe, the center could check specific variants against these known ethnic differences. “We have data here that could be immediately useful,” he says.

Tapping a wide network of public-private partnerships, the Genome Center looks to advance a civic mission to improve public health while becoming a distinctive New York institution alongside the Metropolitan Museum of Art, Carnegie Hall, and the New York Public Library. “There’s this great pride of place here in institutions,” says Pearson. “There’s the sense that if you want to find the finest version of a civic institution, you will find it here. I see a chance for the Genome Center to anchor itself as a cornerstone scientific and cultural institution, where New Yorkers have a place to entrust the data in us in ways that we know will help propel health care forward.” The Genome Center hopes that, by decoding and understanding the city’s diverse genetics, it can help diagnose and cure illnesses the world over.

Until recently, New York lacked a significant biotech industry. A Center for an Urban Future study found that the city’s biotech firms employed only 563 people in 1996, compared with 22,200 industry jobs then spread among 59 public companies in the San Francisco Bay Area. Gotham’s share of the burgeoning biotech industry further declined between 1996 and 1999 because of the high cost of New York City real estate (especially in creating and zoning city buildings for laboratory work), the often adversarial relationship among the city’s health-care institutions, and Albany’s apparent lack of interest in creating an attractive climate for biotech investors.

In 1998, recognizing that New York’s biotech industry was underdeveloped, Mayor Rudolph Giuliani promoted a biotech incubator at Columbia University and created the Task Force on Biomedical Research and Development. “Since 1981, New York has fallen behind California and Massachusetts in total funding from the National Institutes of Health,” Giuliani said. “Unfortunately, the multiplicity of medical schools and health care institutions that once made New York the dominant player in medical research have frequently acted as a hindrance to growth because these institutions have traditionally competed with one another for money, talent, and prestige.”

Still, Gotham’s biotech sector continued to lag. Mayor Michael Bloomberg’s push to create a biotech center on Governors Island fell short, and the city missed out on the “genomic decade” in the years following 2003, when the first representative sequence of a human genome was published. In the 1990s and early 2000s, biotech required large, expensive machines and specialized workers, putting New York at a disadvantage compared with regions that could offer tech firms massive academic laboratories and office-park build-outs. Today, most established institutions for gene sequencing are located elsewhere: the Broad Institute of MIT and Harvard; the Wellcome Trust Sanger Institute outside Cambridge, England; and the Genome Center of Washington University in St. Louis. Each has a focus. Washington University, for example, specializes in tumors.

The hope is that New York’s late arrival to biotech will mirror its history with tech in general. While the city was not an early leader in the tech industry, it recently surpassed Boston to become the nation’s second-largest (and fastest-growing) tech center. The reasons are similar. In both computers and biotech, the early years were dominated by expensive machines and specialized workers who benefited from academic settings and office-park build-outs. Today, the cost of whole-gene sequencing has plummeted. In 1990, an estimated $3 billion was allocated for the decade-long project of sequencing the first human genome; today, the cost has fallen to just $1,500 for thoroughly reading one human sequence. With the big-data challenges of DNA partially overcome, biotech is increasingly turning to analyzing and applying genetic data to solve real-world problems. And that requires the diverse social capital that only cities can offer.

Despite the city’s slow start, the Genome Center has put down fast roots in New York. In 2010, “we were operating with a cell phone and a Hotmail account,” said Nancy Kelley, the center’s founding executive director. Kelley then brought the idea for a genome center to molecular biologists Tom Maniatis of Columbia University and Tom Kelly of Sloan Kettering. A year later, they had raised $120 million and built out an institutional consortium. By September 2013, the center was ready to open its state-of-the-art headquarters at 101 Sixth Avenue, just north of Canal Street. The building was already zoned for a wet laboratory along with office space—the Service Employees International Union had previously used it as a clinic—meaning that research could start right away. “Innovation seems to be in our DNA,” then-mayor Michael Bloomberg said at the ribbon-cutting. Last summer, the center hired its 100th employee. Its eventual goal is 500.

The Genome Center’s diverse consortium of partner institutions has helped it overcome the problem of the competing local health-care interests that Giuliani identified. Nancy Kelley’s successor, physician Robert Darnell, has assembled an all-star team of scientists from laboratories, hospitals, and medical colleges around the tristate area. Much of the center’s funding has come from individuals and private foundations, as well as through support from its member institutions. In April 2014, Governor Andrew Cuomo announced that the state legislature had approved an additional $105 million in funding to support a partnership between SUNY Buffalo and the Genome Center to advance medical science in New York. As part of this initiative, the Genome Center will receive $55.75 million from the state and has committed to match it dollar for dollar with funds raised separately.

The New York Genome Center’s offices are divided among four mid-rise floors. One level is dedicated to laboratory space, with glass walls, reinforced floors, and positive air pressure—that is, to prevent outside air and contaminants from leaking in—pumped through the rooms. One way the center hopes to fulfill its civic mission is through urgent diagnostic sequencing—the use of genomic analysis to diagnose sick patients by examining, say, the irregular DNA from someone’s tumorous tissue to optimize treatment. Currently, says Pearson, “if a child has a really puzzling syndrome, the family may spend years and thousands of dollars . . . to try to figure out what’s wrong. People call that a ‘diagnostic odyssey.’ Full genome sequencing can help some people get an answer faster and cheaper.” Eventually, the center plans to make available its entire facility for this use while also supporting prognostic screenings: “In the long run, the dream is that everybody will have lifelong, birth-to-old-age prognostics, managing their health at every stage from pediatrics to geriatrics. ‘Should I get braces’ will eventually be partly a genomic question.” Laboratory rooms are already built out and set aside; the center now awaits regulatory approval to begin this work.

Next door to these rooms, sequestered behind glass walls, are the center’s active sequencing laboratories, where the genomic research database is being built. Here the process of reading DNA and RNA is getting faster, cheaper, and more efficient. The research now typically begins with a blind blood sample provided by one of the partner institutions. In building its database, the center acquires both healthy and sick samples from the population, as well as ancient DNA and DNA sequences from the full spectrum of life—including, when I visited, from African starlings, courtesy of the American Museum of Natural History. Another focus is “microbiomes”—the bacteria in the gut, on the skin, or in the eye.

When observed through the glass walls of the Genome Center’s laboratory, the process of reading our genetic code can seem almost routine. First, white blood cells, which contain the DNA, are separated from red blood cells in a centrifuge. Chemicals then cause these cells to burst open, spilling the DNA. Filters remove other materials so that only a solution of DNA and water remains. The strands are then chopped into short pieces and copied. Dyes are added to distinguish the chemicals in the sequence, and the samples are fed into a bank of machines, which read the chunks in 100-letter snippets. The countertop machines that conduct these readings are among the most sophisticated in the world. The Illumina HiSeq X retails for $1 million and is sold only in groups of ten. Finally, a computer takes the samples, compares them with others, and assembles the snippets back into a full genetic picture. The whole process takes a few weeks. Now that all the machines are up and running, the center is able to analyze 50 genomes a day.

But the readings are just the beginning. Directly above, in an open-floor plan with standing desks, collaborative work spaces, and the latest in office ergonomics, are the programmers, doctors, physicists, and mathematicians working to make sense of the biology that the machines pick up downstairs. The open, contemporary feel of this part of the office is deliberate and necessary, says Pearson—to compete for the country’s best talent, who might otherwise choose to work in financial services, big pharma, or the latest tech start-up. The center relies on mathematicians, computer scientists, and physicists to partner with the doctors and biologists in developing algorithms to sort the data out, while much of the data storage and processing occurs in computer centers off-site. The center sits over a data pipe that leads directly to its offsite data-storage and processing facilities.

Among its current clinical trials and projects, the center’s scientists are researching glioblastoma (GBM), a brain tumor for which the median survival rate is a mere 14 months. Harnessing the computing power of IBM’s Watson, the center has partnered with 27 doctors and scientists in hopes of improving patients’ chances through a better understanding of the genomic basis of the illness. In addition, the center’s autoimmune disease project is investigating why rheumatoid arthritis flares up in patients with debilitating autoimmune diseases, by sequencing RNA before, during, and after a symptomatic episode. The Sohn Conference Foundation has approved a two-year grant to study the causes of pediatric neuroblastoma and leukemia; the center will act as the grant coordinator among partner institutions. The center has also won a federal grant that would help it develop infrastructure to become a data hub—safely storing and communicating the genetic information of 6 million patients.

While New York City and State have encouraged the center’s growth, current health-care regulations remain a hindrance to genomic innovation. Today’s standards still largely rely on population-wide studies that ignore an individual’s data. “A drug might not work on the population scale,” says Pearson. “But it can actually work for a subset of people” with the right genomic makeup.

Restricted access to genomic information and privacy laws that “lock down” patient information are additional obstacles in New York. “It’s much easier for you, as a citizen, to see your genomic data in other states than it is here,” says Pearson. “It’s your data. It’s in you and belongs to nobody else on the planet. But the state has been paternalistically concerned about what you might do with it.” Studies show that anxiety levels decline in patients who become aware of their genomic predispositions. Nevertheless, “right now, it would be very hard for you to get sequenced in New York State, and get your sequenced data back,” Pearson says.

Zoning regulations and the city’s tight real-estate economy also inhibit biotech’s urban growth potential. The Genome Center would not have been able to get off the ground as quickly as it did if 101 Sixth Avenue had not been zoned for laboratory use. Unlike the broader tech industry—which needed only ample broadband to move into the loft buildings around Union Square and Madison Square Park—biotech needs lab space and room to grow. If the city wants biotech to flourish, it must fast-track zoning and regulatory approvals and create incentives for landlords to convert real estate for laboratory use. Without such policy changes, the center, and the city’s biotech industry in general, will have a harder time fulfilling the mission “to make people’s genomes a more useful part of life in New York.”

In the Genome Center’s “innovation lab,” a smartphone-size device, plugged into a computer’s USB port, can read DNA at the flick of a switch and without expensive dyes. While less accurate than the million-dollar machines and currently unable to sequence whole human genomes, such handheld devices will soon retail in the several-thousand-dollar range and could expand the public-health potential of genomic research by inexpensively testing, for example, the genomic indicators in our air quality. “You could have sensors like this that are helping maintain public health in restaurants, potentially avoiding contamination,” says Pearson. One day soon, we may even use devices that check our bedroom dandruff each morning for the first signs of cancer, or that can monitor air quality for infectious diseases, including Ebola. “We have thought of trying to develop quick ways of sequencing microbes like Ebola on site in West Africa,” says Pearson. “Or in the air in a plane that might have trace amounts of Ebola. We haven’t done anything yet, but we have been thinking about it and talking with authorities.”

So what does genomic science mean for the future of medicine? “I’m speaking personally right now,” Pearson says. “I really can’t speak for the center because views vary a lot about this, even in our field. But doctors will have to adjust, and the staff within our health-care system will have to adjust, to patients who are more informed and empowered about their own care.” If Pearson is right, the New York Genome Center will be a big reason why.

Comment

Comment

Translations in Livestream

In the spirit of the transnational exhibition "Exchange Rates Bushwick," the artist/translator/organizer Paul D'Agostino hosted "Renderings: Encounters & Translations" last Sunday at Livestream Public in Brooklyn. Now, thanks to Livestream, we can watch the full "series of readings and presentations of translations rendered, translations encountered, translations variably treasured."

Dara reads Kafka at 25:45 & Valery at 1:07:55. She is joined on stage by Paul, Matthew Rossi, Alice Lynn McMichael, Andrea Monti, Todd Portnowitz, and Cecco the Turtle. 

One of Paul's assignments was to compare translations. Dara picked "Les Pas" by Paul Valéry. Here is the original:
Les Pas
 
Tes pas, enfants de mon silence, 
Saintement, lentement placés,
Vers le lit de ma vigilance
Procèdent muets et glacés.
 
Personne pure, ombre divine,
Qu'ils sont doux, tes pas retenus!
Dieux!... tous les dons que je devine
Viennent à moi sur ces pieds nus!
 
Si, de tes lèvres avancées,
Tu prépares pour l'apaiser,
A l'habitant de mes pensées
La nourriture d'un baiser,
 
Ne hâte pas cet acte tendre,
Douceur d'être et de n'être pas,
Car j'ai vécu de vous attendre,
Et mon coeur n'était que vos pas.

Here is Dara's translation of "The Steps"

The Steps

Your steps, children of my silence,
Sacred, slowly placed,
Proceed icy and silent
To the bed where I wake.

Body pure, spirit divine,
How sweet, your discreet steps!
God! Every gift I find
Appears on naked feet! 

If, with your advancing lips
You prepare to appease me,
Consuming my thoughts
With the food of your kiss,

Do not hasten this tender act,
So sweet to anticipate,
Because I lived waiting for you,
And my heart was the steps you take. 

 And here is Paul D'Agostino's translation of the same poem, which he calls "Footsteps"

Footsteps
 
Saintly, slowly placed
Are your footsteps, those quiet kids,
Unto the bed where I lie awake,
They approach with muted skids.
 
Holy shade, person so pure,
Your paces so soft and sweet!
Dear god, the gifts I conjure
Coming to me on those bare feet.
 
And if, upon your lips
You pucker at their tips
The nourishment of your kiss
To sate my mind's hungered fits,
 
Let it be not an act of swiftness,
Sweetness of being and being not,
For I have lived to await your footsteps
That give form and beat to my heart.

For  commentary, here is James's coverage of the event in 140 characters or less

Comment

Comment

Video Games

Screen Shot 2014-10-21 at 1.12.47 PM

BAKU
Fall 2014

Video Games
by James Panero

Loren Munk is New York's guerrilla film-maker supreme.

One day, when art historians take stock of the 2008 Whitney Biennial, the first artist to come to mind won’t be someone who appeared in the exhibition. It will be the artist who was thrown out of the exhibition for recording it with a tiny digital camera and posting it on YouTube. “The ironic part is they can film you with their security cameras, and you don’t give them permission for that, but God forbid you are there getting pictures of the art,” reflects this social media provocateur.

Working under the pseudonym James Kalm, since 2006 Loren Munk has made more than 1,000 videos just like 2008 Whitney Biennial Busted. They all start the same way: a shaky glimpse of a bike locked on a New York street, a pan to a gallery or museum door and a heavy-breathing voice-over announcing, “This is James Kalm, the guy on the bike, welcoming you to another half-assed production.” Then with a cut, or maybe not, we watch in point-of-view style as the camera takes us in, glances around and moves in closer to look at individual works on display. All the while, a wry voice leads us through, giving us first impressions, striking up conversations and sometimes striking out with gallery security. “People told me this is the stupidest thing they’d ever heard of,” Munk says of when he first explained his video project to friends. “I heard that, and I said, ‘Man, I’ve hit a gold mine!’”

The reason art historians of the 2008 Whitney Biennial will one day think of Munk is that, frankly, there is no better record of the exhibition than his half- hour-plus video walkthrough. Munk posts everything he films free on YouTube, either as the ‘James Kalm Report’ or ‘James Kalm Rough Cut’, and if you can’t remember what appeared to the right of the lift on the fifth floor, just tune in. Beyond that, his 2008 reportage has become something of a turning-point for a form of radical art documentation. “If you are showing exciting art that has cultural significance, by discriminating against all those people who can’t see it in person, you are holding back society,” says Munk.

Back in 2008 the Whitney thought otherwise. “Excuse me, sir,” says a guard fve minutes into the clip. “They are telling me right now that you are using that camera. Sir, if you don’t stop now, they are going to come over here and take you out of the building. OK?”

“They are going to take me out of the building?” Munk asks.

“Turn it off, please. The camera. Last time I ask you.”

Next thing we see is Munk’s feet being escorted down the stairs, as he explains to the viewer how he was just threatened with a lawsuit and copyright infringement. “This is James Kalm getting kicked out of the 2008 Whitney Biennial,” he concludes, offering his trademark sign-off: “Thanks, Kate,” a nod to his wife. He later returns to film four more segments, vowing to leave his camera on while declaring it a performance piece called The Camera is Off.

“That ended up being one of the biggest videos up to that point,” Munk says. Far from landing him in court, the Whitney linked to it and soon started posting their own YouTube videos. Today, the Whitney invites Munk to all its press previews and director Adam Weinberg comes over and shakes his hand. “It has gone from something they were throwing me out for six years ago, to something they now view as valid.”

Compared to the polished look of TV news, Munk’s videos take a bit of getting used to, but the art world is coming round to the 62-year-old performance documentarian. His appearance at a gallery opening has become a sign of critical arrival, and gallerists now know who to look for: a tall, paint- splattered balding man wearing an old bike helmet, the only person in the room whispering into a camera.

His videos are equally distinctive. Without ever showing the host’s face, they are less like classic documentary and more like going to an art opening inside the head of a knowledgeable friend. “I want it to be closer to the way someone really experiences the art scene, grabbing the artist, swinging back, zooming in, with their buddy and a couple of beers.”

As part of his practice, rain or shine, Munk bikes nearly everywhere from his 353sq m loft in Red Hook, Brooklyn. The audible breathing, the shakiness, are there because he’s just pedaled miles through busy streets, over the Brooklyn Bridge, and doesn’t wait to catch his breath, always filming in one take. “The immediacy is important,” he says. “It is changing the way people look at video. But people still say, ‘Your shaking is making me nauseous and your commentary is idiotic’.” But as we have grown used to the look of video in the smartphone era, Munk’s work now seems ahead of its time.

As the internet has leveled the field of arts journalism and newspapers have cut back on coverage, a freelancer with an online following can also hold increasing sway. By the last count, more than three million viewers have logged on to see Munk’s YouTube videos. His audience is growing internationally, too. “I’ve got people keeping up with me in the UAE, in Morocco, in China,” says Munk. “I get these letters from artists in Algeria saying, ‘I love your videos, will you look at my website?’” Even a school of Papulankutja aboriginal people in the outback of Australia tunes in. “We are 500 miles from the next big town,” their teacher emailed Munk, “but my kids can feel like they are part of the Williamsburg art scene” – referring to one of the alternative Brooklyn neighborhoods, like Bushwick, that Munk documents as often as he does Chelsea.

25KALM1_SPAN-articleLarge

Loren Munk in his studio (Todd Heisler/The New York Times)

Today Munk covers every corner of the New York art scene with tireless energy but never for any financial gain (he turns down offers of online advertising). “Munk’s obsession with art, art history and the New York art world is evidently more than one person can handle. So he created James Kalm,” Roberta Smith, the chief critic of The New York Times, wrote in 2011. She went on to praise him for giving “dizzying visual expression to some of what lures the art-driven to the city: the sense of possibility in the air and of history beneath our feet.”

Anyone can film a gallery opening but Munk’s films are different in that they have attracted a particular community and this has led him to find new artists, curators, critics, collectors and gallerists who have been excited by his work. 

“A key difference for Loren is the community that has formed around his video works,” says Hrag Vartanian, the editor of the Brooklyn-based arts magazine Hyperallergic, who as a curator included Munk in an exhibition of social-media art in 2010. “His generosity in his video work is clear, he doesn't have to be doing this but he does. Though, I do think doing the videos did help him reestablish himself on the art scene. All artists go through ebbs and flows in their career, and while some artists may complain when their careers dip, Loren found new ways to think about art and share his passion through video.”

If there’s a context for Munk’s films, it’s that they share something with the handheld clips coming out of war zones, and something with our culture’s obsessive digital documentation. Other artists have used YouTube but little else matches the breadth of Munk’s work.

So where will his videos end up? Probably not as something sold in a gallery, unlike an earlier generation of video art. “The old model is the opposite,” says Munk of video from the pre-internet age. “They were doing something in response to television, using technology in a hermetic, esoteric way, and you can access it only if you jump through the hoops to see it in a gallery.”

The videos have also reinvigorated Munk’s first passion for painting and have already paid off for him through his paintings, which consist of complex diagrams, maps and flowcharts of the art world. “He’s really synthesized a lot of things in his practice,” says Nick Lawrence, gallerist at Chelsea’s Freight and Volume, who began representing Munk two years ago. “There’s something unjaded and pure about it, and it shows up in his paintings. There’s a certain against-the- grain, countercultural approach in what he covers, how he covers it, in his technique. And his paintings are painted with an obsessive quality. The lines that connect in his paintings are exactly how he zigzags around the room at an opening. They are very spontaneous, very provisional.”

Munk agrees: “Often that’s the best way. I just walk through the doors and say, ‘This is pretty cool,’ and I just turn on the video and let it go.”

expanded from the print edition

Comment