Journal articles on alternative medicine journal,treat cold kitten,homeopathic remedies bph,hpv leep cure - Review

admin 12.10.2014

In 1955, Isaac Asimov published a short story titled "Franchise", about a system that decides who should be elected president (in 2008) by picking a single voter to represent the whole population. If a single voter is regularly selected at random then, over time, a larger, more representative sample of the population will build up. Distributed systems say "after a certain amount of time, enough votes will have been cast to be sure enough of a consensus". Each voter must be selected at random, but if this selection is performed by a central machine, that machine must be trusted. The system will, generally, consume energy up to the value of the reward for casting each vote.
To save energy, votes can instead be given to those who have purchased the most shares (stake) in the system (i.e. Another alternative, valid for small populations, is to collect the sample in a single poll: invite all members to participate, and generate the consensus after a certain amount of time has passed.
I didn’t know Aaron, personally, but I’d been reading his blog as he wrote it for 10 years. Philip Greenspun, founder of ArsDigita, had written extensively about the school system, and Aaron felt similarly, documenting his frustrations with school, leaving formal education and teaching himself. In 2000, Aaron entered the competition for the ArsDigita Prize and won, with his entry The Info Network — a public-editable database of information about topics. Aaron’s friends and family added information on their specialist subjects to the wiki, but Aaron knew that a centralised resource could lead to censorship (he created zpedia, for alternative views that would not survive on Wikipedia). In order to pull information in from other people’s databases, you needed a standard way of subscribing to a source, and a standard way of representing information. RSS feeds (with Aaron’s help) became a standard for subscribing to information, and RDF (with Aaron’s help) became a standard for describing objects. I find — and have noticed others saying the same — that to thoroughly understand a topic requires access to the whole range of items that can be part of that topic — to see their commonalities, variances and range.
He found that it was difficult to make political change when politicians were highly funded by interested parties, so he tried to do something about that. To return to information, though: having a single page for every resource allows you to make statements about those resources, referring to each resource by its URL. Aaron had read Tim Berners-Lee’s Weaving The Web, and said that Tim was the only other person who understood that, by themselves, the nodes and edges of a “semantic web” had no meaning. To be able to understand this information, a reader would need to know which information was correct and reliable (using a trust network?). He wanted people to be able to understand scientific research, and to base their decisions on reliable information, so he founded Science That Matters to report on scientific findings.
He had the same motivations as many LessWrong participants: a) trying to do as little harm as possible, and b) ensuring that information is available, correct, and in the right hands, for the sake of a “good AI”. As Alan Turing said (even though Aaron spotted that the “Turing test” is a red herring), machines can think, and machines will think based on the information they’re given. As much as individual, composable objects are interesting, the real understanding comes when a collection of items is analysed as a whole (or a part, if filtered).
There’s more to a collection of items than is immediately obvious - it’s not just a [1, 2, 3] list, with "array" methods for filtering and iteration: the Collection itself is an object with its own set of observable properties - many of which are summaries, in some way, of the properties in the items in the collection. These summaries describe some aggregate quality of the collection, and - ideally - an indication of the variance, or confidence intervals, for that value within the collection. If you look around, you’ll see trees with different coloured leaves, depending on their genotype and phenotype.
So: observed properties of a collection can vary over time, or over space, depending on the conditions in which they’re found and the conditions of observation. The observed colour of a tree - or a collection of trees - is a function with many inputs and one output: the wavelength(s) of light that leave the tree and enter your eye (or some other detector).
For any collection of items, a function can be written that describes one of their properties under certain conditions.
For example, the value(s) that this function outputs might be the mean (average) and standard deviation of a series of measurements over time, or it may group those values into buckets (the sort of data that might be displayed as a bar chart). If you’re working with JSON or HTML (which is probably the case), these interface names make no sense. As is apparently the way with all DOM APIs, XMLHttpRequest wasn’t designed to be used directly.
When an action (get, put, delete) is performed on a Resource, a Request is made to the URL of the resource. Instead of sending hundreds of requests to the same domain at once, send them one at a time: each Request is added to a per-domain Queue.
Google Plus was formed around one observation: most of the people on the web don't have URLs.
For example, to show you which restaurants people you trust* have recommended in an area you’re visiting, a recommendation system needs to have a latitude + longitude for the area, a URL for each restaurant (solved by Google Places) and a URL for each person (solved, ostensibly, by Google Plus).
People might be leaving reviews in TripAdvisor, or Yelp, and there’s no obvious way to tie all those people together into any kind of coherent social graph. Google Plus has an extremely clever way of linking together all those accounts, which involves starting with one trusted URL (Google Plus account), linking to another URL (GitHub, say), then linking back from that URL to your Google Plus account to prove that you own the GitHub account and can write to it.
The problem is (and the question “why” is an interesting one), even after people had their Google Plus account, they didn’t use it to post reviews.
When Google tried to connect YouTube accounts to Google Plus accounts, and failed, it was because people felt that those personas were distinct, and wanted the freedom to do certain things on YouTube without having it show up on their “personal record” in Google Plus. This also perhaps explains why people are wary of using Google Plus authentication to sign in to an untrusted site - they’re not so much worried about Google knowing where their accounts are, but also that the untrusted site might create a public profile for them without asking, and link it to their Google Plus profile. Anyway, Google Plus is going away as a social network, and maybe even as a public profile, but the data’s still going to be connected together behind the scenes - perhaps using fuzzier, less explicit connections as a basis for recommendations and decision-making. You might notice that the published property is represented as a String, when it would be easier to use as a Date object. From this definition, you can see that the publishedDate property has a dependency on the published property: any computed properties should be updated when any of its dependencies are updated.
This is fine when the dependencies are all stored locally, but it’s also possible to imagine data that’s stored elsewhere. The Resource object used above is a Web Resource, part of a library I built to make it easier to fetch and parse remote resources. In either of those cases, the data is being fetched asynchronously, and a Promise is returned. I talked about this kind of thing at XTech in 2008, illustrating the object as a Katamari Damacy-style of “ball of stuff”, being passed around various different services and accumulating properties as it goes. Talis’ data platform had a similar feature, where results from a SPARQL query could be augmented by passing each result through another data store, matching on identifiers and adding selected properties each time. The SERVICE feature of Wikidata’s SPARQL endpoint is also similar: it takes an object in each result and passes it to a specific service, assigning the resulting data to a specified property. In OpenRefine, remote data can be fetched from web services and added to each item in the background. The web is no longer a desktop publishing platform, it’s most often a networked medium for machine-machine communication. All the old “features” that came part and parcel with printed documents are relics of an age where information was fixed in stone (well, wood pulp). Emscripten comes with its own SDK, which bundles the specific versions of clang and node that it needs.
I’ve made a fork of xml.js which a) allows all the command-line arguments to be specified, so can be used for validating against a DTD rather than an XML schema, and b) allows a list of files to be specified, which are imported into the pseudo-filespace so that xmllint can access them. For third-party libraries, you can either download production-ready code manually to a lib folder and include them, or install with Bower to a bower_components folder and include them directly from there.
The benefit of this approach is that you can edit the source files through GitHub’s web interface, and the site will update without needing to do any local building or deployment. Keep the config files in the root folder, but move the app’s source files into an app folder. Use Gulp to build the Bower-managed third-party libraries alongside the app’s own styles and scripts. While keeping the source files in the master branch, use Gulp to deploy the built app in a separate gh-pages branch. The actual app source files (index.html, app styles, app-specific elements) are in the app folder.
Earlier this week I attended a “Big Data Investigation Workshop” run by British Library Labs as part of the International Digital Curation Conference. The workshop was an introduction to working with tools for cleaning, analysing and visualising collections of data: OpenRefine (which is great but showing its age), Tableau (which is ridiculously impressive) and Gephi (which has fast graph layout but lacks usability). As the workshop was co-organised by the Internation Crime Fiction Research Group, the theme of the data was “Crime Fiction”.
Although the news story didn’t link to any source data, it almost certainly came from the Electoral Commision’s register of donations to political parties. Running a basic search of the Electoral Commision’s register, with no filters, produced a CSV file containing all registered donations since 2001, which we then loaded into Tableau Public (Tableau’s limited, free desktop application for data visualisation). The first visualisation was a simple bar chart of the total donations to each party, including only “political party” recipients, coloured according to the type of donation. The next visualisation was a summary of the donations from the individuals named in the news story. Getting Tableau to recognise UK postcodes is a bit tricky, as it doesn’t recognise the full postcode - we had to write a function to separate out only the first part of the postcode. I’d been making graphs of Spotify’s “Related Artists” network, but was finding that pieces of the graph often remained disconnected.
To connect these disparate parts of the network, I queried last.fm for the top tags that had been attached to each artist, and added those to the graph. This brought the network together nicely, so I applied it to a larger data set: all the unique artists that had ever been played on a particular BBC 6 Music radio show. The full graph of artists and their tags was interesting, but to get a clearer overview of the show’s musical themes, the artist nodes were hidden after the graph had been laid out (using Gephi's "Force Layout 2" algorithm).
This left just the tags, laid out in two dimensions, where the most similar tags are closest together and the most frequently used are largest. As some of the labels were overlapping, I used Gephi’s "Label Adjust" layout algorithm to shift their positions enough that most of the overlapping was avoided. One problem was that when several artists shared the same name, irrelevant tags would be attached to an artist. In a sense, the artists are the “dark matter” of the graph: they pull the tags together and organise their macroscopic structure, but remain invisible in the final, visible map. It may be that a highly-concentrated cluster of artists (as well as one or two very loosely-connected artists) pushed some tags further apart than they deserved to be.
Process those two CSV files into a list of pairs of connected identifiers suitable for import into Gephi.
Switch to the Preview window and adjust the colour and opacity of the edges and labels appropriately. It would probably be possible to automate this whole sequence - perhaps in a Jupyter Notebook. Among CartoDB’s many useful features is the ability to merge tables together, via an interface which lets you choose which column from each to use as the shared key, and which columns to import to the final merged table. CartoDB can also merge tables using location columns, counting items from one table (with latitude and longitude, or addresses) that are positioned within the areas defined in another table (with polygons).
I've found that UK parliamentary constituencies are useful for visualising data, as they have a similar population number in each constituency and they have at least two identifiers in published ontologies which can be used to merge data from other sources*.
Once the parliamentary constituency shapefile has been imported to a base table, any CSV table that contains either of those identifiers can easily be merged with the base table to create a new, merged table and associated visualisation. So, the task is to find other data sets that contain either the OS “unit id” or the ONS “GSS code”.
Given an index of CSV files, like those in CKAN-based stores such as data.gov.uk, how can we identify those which contain either unit IDs or GSS codes?
As Thomas Levine's commasearch project demonstrated at csvconf last year, if you have a list of all (or even just some) of the known members of a collection of typed entities (e.g. In a General Election, the residents of each UK parliamentary constituency elect one Member of Parliament to represent them in the House of Commons. Each party can nominate a maximum of one candidate per constituency, often chosen from a shortlist of potential candidates in a selection contest.
Candidates who wish to stand for election must submit their nomination papers within one week after the notice of election has been published (i.e. However, candidates usually start their campaigning several months earlier, and their intention to stand for election will often be announced in a local newspaper. AndyJS’ spreadsheet and a derived list of candidates by constituency, via the Vote UK Forum. Dods People, a commercial monitoring service, used as the data source for the MHP General Election Campaign Outlook (GECO). As well as prospective parliamentary candidates, some MPs will be contesting their seats again, and some will be standing down. Every 5 years, the Boundary Commissions for England, Scotland, Wales and Northern Ireland review the UK parliamentary constituency boundaries.
The last completed Boundary Review recommended 650 constituencies, and took effect at the General Election in 2010. The Office for National Statistics (ONS) has produced a guide to parliamentary constituencies and a map of the current constituencies.
The Office for National Statistics publishes a CSV file listing the names and codes for each parliamentary constituency (650 in total), under the Open Government License. The parliamentary constituencies of England are named in The Parliamentary Constituencies (England) Order 2007.
The Ordnance Survey produces the Boundary-Line data, which includes an ESRI Shapefile for the boundary of each parliamentary constituency. The Ordnance Survey’s administrative geography and civil voting area ontology includes a “hasUnitID” property, which provides a unique ID for each region, and a “GSS” property that is the ONS’ code for each region. The Boundary-Line Shapefile includes the Unit ID (OS) and GSS (ONS) code for each constituency, so they can easily be used to merge the boundary polygons with other data sources in CartoDB. If using CartoDB’s free plan, it is necessary to use a version of the Boundary-Line Shapefile with simplified polygons, to reduce the size of the data. Following the next Boundary Review, the number of constituencies will be reduced from 650 to 600 by the Parliamentary Voting System and Constituencies Act, introduced by the current coalition government.
Via Nautilus’ excellent Three Sentence Science, I was interested to read Nature’s list of “10 scientists who mattered this year”.
One of them, Sjors Scheres, has written software - RELION - that creates three-dimensional images of protein structures from cryo-electron microscopy images. I was interested in finding out more about this software: how it had been created, and how the developer(s) had been able to make such a significant improvement in protein imaging.
I was hoping for a link to GitHub, but at least the source code is available (though the “for free” is worrying, signifying that the default is “not for free”).
On the RELION Wiki, the introduction states that RELION “is developed in the group of Sjors Scheres” (slightly problematic, as this implies that outsiders are excluded, and that development of the software is not an open process).
The file is downloaded over HTTP, with no hash provided that would allow verification of the authenticity or correctness of the downloaded file.
There’s an AUTHORS file, but it doesn’t really list the contributors in a way that would be useful for citation.
Original disclaimers in the code of these external packages have been maintained as much as possible. The source code for RELION should be in a public version control system such as GitHub, with tagged releases.
The CHANGELOG should be maintained, so that users can see what has changed between releases.
There should be a CITATION file that includes full details of the authors who contributed to (and should be credited for) development of the software, the name and current version of the software, and any other appropriate citation details. Each public release of the software should be archived in a repository such as figshare, and assigned a DOI.
There should be a way for users to submit visible reports of any issues that are found with the software.
The parts of the software derived from third-party code should be clearly identified, and removed if their license is not compatible with the GPL.
For more discussion of what is needed to publish citable, re-usable scientific software, see the issues list of Mozilla Science Lab's "Code as a Research Object" project. I used a PHP client to connect to Twitter’s streaming API as I was interested in seeing how it handled the connection (the client needs to watch the connection and reconnect if no data is received in a certain time frame). The streaming API uses OAuth 1.0 for authentication, so you have to register a Twitter application to get an OAuth consumer key and secret, then generate another access token and secret for your account.
The dat server that was started earlier with dat listen is listening on port 6461 for clients, and is able to emit each incoming tweet as a Server-Sent Event, which can then be consumed in JavaScript using the EventSource API. Big companies (Google, IBM, Wolfram) are positioning themselves to be the repository where sensors store their data.


Other companies are building platforms for applications to make use of that data in real-time.
There’s a piece missing: it should be possible to query those data stores to build up a snapshot of information, then document and publish the collection of data (and the harvesting process) for others to read and explore.
Firstly, seed-harvester imports an initial collection of items (which may be as simple as a list of identifiers or URLs) from CSV, JSON, or a JavaScript function that fetches the initial data set. Secondly, leaf-builder provides an interface for adding leaves (properties; computed or otherwise) to each item of the data set. Thirdly, vege-table itself extends HTML tables to present the collection of items, generating a row for each item and a column for each leaf.
Once all the leaves have been added, the data collection can be published by exporting the table description and data files, placing them in the same folder as the main index.html file, and switching off the database. In one day, two separate authors demonstrated that they’ve solved the problem of “how to publish your research on the web”.
Dominic Tarr analysed the performance of different JavaScript cryptographic libraries, and Jure Triglav collected tweets mentioning sunny weather and correlated them to actual weather reports.
The reports are online for anyone to read, and the code and data are in version-controlled repositories, with instructions for anyone to reproduce them. The README file describes the purpose of the project, the dependencies, what was tested, how to reproduce the experiments, and what license the project is released under.
The process for generating the data (a Bash script that calls node commands) is present, and its usage is documented in the human-readable README. All the machine-readable metadata needed for the project, including the list of dependencies, is present in package.json. The results are written up as a paper in Markdown (including figure images directly from the output folder). The data is continuously updated in the background, and the figures and text are updated in real time. Note that neither of the reports have “references” sections at the end, for the simple reason that they don’t need to: if they need to refer to anything, they just need to link to it in the (hyper)text.
The Microdata DOM API allows JavaScript programs to read and write data embedded in HTML as Microdata. As specified by the W3C Working Group, document.getItems(itemtype) returns a collection of all the elements with an itemscope attribute in the current document that have the given itemtype attribute. Each itemscope element has a properties object that provides access to all of the element's itemprop descendants (either contained directly or referenced elsewhere in the document using the itemref attribute). These methods and properties allow the program to access all the Microdata nodes and values in the document. The HTML is very simple: a single container for the whole card, with two sections inside - one for the front and one for the back. If you can't tell why a technology would be useful to you, it's not for people, it's for the robots. Google Glass provides machines with vision and access to a network of institutional knowledge. Bitcoin allows machine-machine transactions to be processed without needing any evaluation of trust.
Stephanie Haustein and colleagues recently described the lack of correlation between tweets about an article (using Altmetric data from July 2011 - December 2012) and formal citations of the article. I decided to look at the data for smaller sets of articles, published in specific journals. Import a CSV file, with columns "doi" and "citations", to a new project named "citations_scopus". When I checked the links in the "Sketchers on the Web" section of the Sketching Forum I was amazed at how many photos of Moleskines I saw. A Moleskine (pronounced mo-leh-skeen'-eh) is a small pocket size blank book with a black textured oilcloth cover which resembles leather, a permanently attached ribbon bookmark, a pocket on the inside back cover and elastic band to hold the cover closed when not in use. Well, that was the definition of a Moleskine back when they first appeared on the market in the late 1990's.
I'm going to ignore that newer, expanded definition; as far as I'm concerned a Moleskine is still a small black notebook, and that is what this article is about. One reason for the Moleskine's surge in popularity is the "art journal" boom which was helped by people such as Danny Gregory who has written several books including Everyday Matters. This article is written for "pocket sketchers" who like to carry a small sketchbook in the back pocket, ready to sketch at a moment's notice. My preferred sketching media are pretty much limited to ink and watercolor and sometimes pencil, and I'm very picky about my sketchbook, and I write from that perspective.
The Moleskine notebook is based on a style of blank book which was originally produced by several manufacturers. These blank books were known in France as les carnets moleskines which is translated moleskine notebooks in English. The word moleskine means imitation leather in French, so no moles were skinned to make the notebooks.
In France, these notebooks are known as carnets moleskines: 'moleskine', in this case, being its black oilcloth binding. Some months before I left for Australia, the owner of the papeterie said that the vrai moleskine was getting harder and harder to get. The last Moleskine manufacturer did indeed cease operations in the mid 1980s and Les carnets moleskines became extinct. They had been gone for about ten years when Italian manufacturer Modo & Modo brought them back to life and registered the name Moleskine as a trademark in 1996.
The current Moleskine notebooks are based on the original les carnets moleskines, and the cover is made of black oilcloth like the original. These feel classy and are less conspicuous than a big spiral bound sketchbook when sketching around people since they will most likely assume you are just reading a book or making journal or calendar entries.
Of course, sketchbooks in real book form, even black ones, have been around for a long time. A spiral bound pocket notebook will also fit nicely into the back pocket, but with a Moleskine there are no wires to catch on your pants every time you bring it out, and no danger of pages falling out. Now you can carry a classy sketchook with you everywhere, which means unplanned sketching may happen in your daily life more often. Most importantly, the Moleskine pages really do lie flat when open, which I think is their biggest selling point.
The Moleskine line was expanded to include a variety of formats including notebooks, sketchbooks, address books, weekly planners, musical notation books, and story board books. Of course, every increase in size is also a step away from that slim pocket size format that made the original carnets moleskines so attractive as traveling companions in the first place.
There's also an accordion style Japanese Album notebook which is based on those long horizontal scrolls that can be seen in Japanese museums. If you sketch with pencil or ballpoint pen or even a pigment pen such as the popular Microns, then you will have no problem with any of the three Moleskines I describe here.
I'm sure there are many brands of ink that work well, but you will have to experiment a little to find them (I reserve the last page or so in my notebooks for ink tests). I've filled several Moleskine notebooks with written notes using fountain pens and have had no problems at all. The paper in the regular Moleskine notebooks is fairly thin and ink drawings can be seen on the other side, so you may want to just draw on the right hand pages when using ink. The notebook also comes in slim versions called Volant and Cahier, which fit in the pocket without bulging. So many artists complained about this watercolor unfriendly paper that the manufacturer came out with a new Moleskine specifically for watercolor.
When I first wrote this article, these were called "Watercolour Notebooks" but apparently a few people questioned the odd name (I know I did) so they changed the name to "Moleskine Art Plus Watercolor Album" and gave it a new fancy paper band to replace the original plain pink band. There was great excitement and anticipation when this new addition to the lineup was first announced. I had to wait a bit longer than many of my artist friends, since these products usually don't show up in Japan until several months after their debut in the west. Like all Moleskines, the pages in the Watercolor Album lie flat when you spread them out, which as I have said is their best feature.
The Watercolor Album also takes fountain pen ink very well as one would expect since it is intended for wet media.
One big issue which generated a lot of complaints in the various art forums was the perforated pages which made this version less "Moleskine-like" than its predecessors since the pages could now be easily torn out.
It appears that the company was listening, and the version with detachable pages was quickly retired, and replaced by the current non-perforated version. You can tell by looking at the side of the paper even in the shrink wrap whether it is an older perforated version or the newer non-perforated version, although I think the perforated version has vanished from the market by now. Another big issue with the Watercolor Album was the format; they made it in a horizontal "landscape" format (binding along the short side). Some people loved this, while others were disappointed that the maker didn't stick with the traditional vertical book format. Most of my sketching has been done on location, standing or sitting on a stool while I hold the sketchbook in my left hand. I have tried holding the book vertically like a reporter's notepad, but that's not any better as the unused part flips up and down, back and forth, throwing its weight around. I contacted the Moleskine company more than once and begged them to consider making this watercolor sketchbook in a friendly vertical (portrait) format.
From the various art discussion groups, I could see that many other artists had also contacted the company with the same complaint or request, but apparently the Moleskine company was no longer listening.
But one positive aspect of this extreme horizontal format was that it changed the way I sketched -- now I was thinking detailed panoramas, and there are a lot of great panorama subjects which I had not considered in the past. I bought this notebook in central Tokyo, and proceeded to try it out at the imperial palace grounds, the former castle of the shoguns, because I recalled there were some wide scenes around there that would suit this format well. I have sketched this scene several times in the past, but this was the first time I was able to get the turret on the right, the gate in the background and the tower in the distance all on one page. I could see how this larger sketchbook would be great for traveling and capturing more scenery in a single sketch.
However, since this larger version is heavier and even more unbalanced and awkward than the pocket version, my hand was pretty sore after holding it for two and a half hours. Then I clipped it to the back of the Watercolor Album with most of the board behind the lighter half of the notebook, and only enough board to accommodate a clip under the heavy half. Since this was a new notebook, the right side was heavy and most of the board was under the left side.
I tried it out on my next sketch, and it actually worked, and the heavy side was no longer flopping around trying to persuade the notebook to do a somersault.
Granted, the whole thing is still long and unwieldy, and my hand does get sore after sketching for a while when I'm standing, but at least I have a fighting chance now. In the photos below, I'm holding the Moleskine on the lighter half with no major problem (except for a tired left hand).
After I struggled for many months with this awkward horizontal format, I finally stopped using the Moleskine Watercolor Album for on-the-spot ink sketches. But I could still draw in this sketchbook -- at my desk where I don't have to balance it in my hands. And I began to draw horizontal rows of people in this sketchbook because this format gives this type of subject greater impact than a vertical format. As I mentioned above, the original blank books were called les carnets moleskines and they were produced by several manufacturers until the last one went out of business in the mid 1980s. Well, the good old days are back, and many manufacturers are once again making this type of pocket sized blank book, and the number continues to grow.
As I mentioned above, the stationery shop owner told Bruce Chatwin in the 1980's, Le vrai moleskine n'est plus (The true moleskine is no more), which implies that there were authentic Moleskines as well as imitations at the time. Some Moleskine imitations are not worth considering because they are not stitch bound and do not lie flat when open. There are several brands out there but I will only comment on ones I have personally tried.
I bought a few blank books called Paperblanks which take the concept of "artsy notebook" to a new level.
They come in an amazing variety of designs including references to famous artists and musicians. Unfortunately the paper does not like most fountain pen inks, and feathers and bleeds terribly, much to my disappointment since I had bought three. The good news is that two of my Paperblanks accepted Noodlers black ink in a fountain pen very well (that Noodlers is a miracle ink, and is sometimes the only ink that works on some papers -- it's also waterproof when dry). The Paperblank's paper is similar to a Moleskine regular notebook but it is no replacement for a Moleskine Sketchbook or Watercolor Album. Note: Several years after I wrote this, I heard that the Paperblanks Book Company eventually started using better paper in all of their notebooks which would accomodate fountain pen ink. The label says hand book journal co., and a web search for this or Hand Book Artist Journals will turn up several internet vendors.
It is similar in appearance to a Moleskine sketchbook, and comes in two sizes like the Moleskine -- and three formats, landscape, portrait and square.
It's thicker than a Moleskine Watercolor Album (2 cm compared to 1.5 cm) so it won't easily fit into the back pocket -- which may kill spontaneous opportunities for the pocket sketcher. It has heavy sketchbook paper, which is very nice, but it is not watercolor paper, which means you can use watercolor in it, but ambitious watercolor tricks might not come out as expected.
The surface can start to break up as it gets wet, leaving tiny specks of color in your washes. The paper is heavy but can still buckle a little, but since it is in a book, it gets ironed out flat when it is closed. In the sketches of subway passengers above, I used my standard sketching tool, a brush pen and fountain pen filled with Platinum carbon ink, and watercolors, either Winsor & Newton or Holbein.
But by the time I reached the middle of the sketchbook, the paper quality was different, as you can see in the photo above and in the close-up on the right.
There was serious ink feathering on these pages to the extent I could no longer sketch in ink and had to switch to pencil. Pigment ink pens such as Microns also work well in this book, since they make a fairly dry line. I don't know if they used different paper halfway through the sketchbook, or if the passage of time somewhow degraded the quality. On the positive side, the paper is thick enough that you can barely see the image on the other side if at all, which means you can sketch double page spreads. So if you sketch mainly in pencil or Microns with light watercolor washes and want a really fat economical sketchbook with lots of thick pages, then you will love these books and save lots of money.
I had read some good reviews on the web about the Derwent Journal and it seemed to be exactly what I was looking for, a slim pocket sized sketchbook in vertical format that has good paper suitable for ink and watercolor sketches. I searched many art supply and stationery shops in Tokyo but could not find the Derwent Journal anywhere -- although Moleskines were prominently displayed in practically every shop I visited.
So I ordered the Derwent online and anticipated the revolutionary change it would bring to my sketching life. When it arrived, I could see how similar it was to an Moleskine at least in general appearance. I ordered mine from a vendor in Japan and was surprised to see it had a black elastic band which I had not seen in the photos on the web. The "faux suede" cover acted as sort of a non-slip surface, which made it difficult to slide in and out of my pocket.
But then again, I have never tried any sketch paper which doesn't at least accept pencil marks. When I tried to make ink lines with Platinum carbon ink in a brush pen and also a fountain pen, the ink feathered a bit. The image to the right is a close up of the girl's hand holding a phone on the right hand page above.
The feathering was not as extreme and spidery as the Handbook, but still enough to be distracting, and possibly ruin an otherwise nice ink sketch. It certainly did not measure up to the Moleskine Watercolor Album which had no feathering at all.
When I tried watercolor in this journal, the paper quickly absorbed the water and prevented me from blending color, which should be possible as long as the underlying wash is still moist. In the sketch of the man on the left hand page, I had expected the darker blue strokes in the shirt to blend in to the lighter blue which I had just painted. Also, after just the first pass of the brush the paper surface started to break up, leaving dark color-saturated flecks. Again, the problem is not as pronounced as in the Handbook Artist Journal, and you might be able to tolerate it, but it isn't as nice as the paper in the Moleskine Watercolor Album. On the positive side, I loved the bright white paper, which is even whiter and brighter than the Moleskine Watercolor Album, and one reason to try to learn to love the Derwent Jorunal.
I had high hopes for this one since it was apparently produced specifically for pen and ink, and had gotten great reviews on the internet.


With great anticipation, I sat down at my desk and drew one figure with my brush pen filled with Platinum Carbon Ink. I think I was more disappointed with this one than the others because the title and the reviews had me convinced that I had found my perfect sketchbook.
This paper also works well with a dip pen and thicker drawing ink such as india ink or Japanese Sumi or manga ink. But this article focuses on pocket sketchbooks for on-the-spot sketching in ink and watercolor.
Stillman and Birn has produced a line of sketchbooks which have been receiving a lot of attention lately.
I was surprised to discover that so many members of the Sketching Forum are singing the praises of Stillman and Birn Sketchbooks.
It is a company who focuses on the needs of artists and has listened to their gripes and suggestions.
And their sketchbooks come in a variety of quality watercolor paper based on artists' preferences.
Gamma and Delta have ivory colored paper with Gamma paper being average weight and Delta paper being really thick.
Epsilon and Zeta paper is white and smooth but still with some texture, and is perfect for ink sketches with Epsilon paper being average weight and Zeta paper being really thick. For the most direct comparison with Moleskine watercolor paper in terms of paper color, weight and texture, Stillman and Birn's Alpha paper comes the closest, and I would say that it is actually better than Moleskine watercolor paper. In the sketch below done on Alpha paper, you can see in the shaded parts of the hands and in the jacket how the edges of the darker color are soft because the underlying color stayed moist as I had expected.
And since their pocket size sketchbook is softcover and more slim, it fits much better in the back pocket than a Moleskine, and still looks every bit as classy as a hardbound book. Quick brush, pen and ink and watercolor sketch done in an Alpha sketchbook on the trainStillman and Birn sketchbooks also take ink very well. The sketch on the right which was done with a brush pen and fountain pen, both filled with Platinum Carbon ink, and later colored with a light watercolor wash, with some darker washes blended in. This is important since you can use both sides of the paper and fill your sketchbook with double page spreads if you like.
All the paper is thick enough that there is no ghost image on the reverse side, and that goes double for the heavy weight papers, Beta, Delta, and Zeta. Stillman and Birn sketchbooks don't have a ribbon marker or elastic band or that pocket in the back.
For those who must have a serious black sketchbook, Stillman and Birn also makes hardbound sketchbooks which have more of a family resemblence to those black hardbound artist sketchbooks which have been around forever. One thing I have discovered about the softcover sketchbooks is that while they open perfectly flat, this also puts a strain on the covers which are naturally not as strong as the board in the hard covers.
Open the new sketchbook slightly at the mid-point, and place it on a clean surface, pages facing down.
Then gently open the sketchbook by pressing it downward to flatten it while creasing the entire spine with a burnishing tool or your thumbnail so that a crease forms along the length of the spine. The "valley" in the spine in the center of the picture below is the creaae I put in with my thumbnail. As for paper types, since I draw in ink, I personally prefer pure white paper over ivory color, so I can see more sparkle between the hatch lines. The smooth Epsilon (and Zeta) allows for a more crisp line that the Alpha (and Beta), but the difference is very subtle, and I usually can't tell the difference. One advantage the Alpha seems to have over the Epsilon is that some inks soak into the paper better and don't smudge onto the facing page. Here are a few carefully rendered ink and watercolor drawings (not on-the-spot sketches) to show how nice both Epsilon and Alpha paper are with ink and watercolor. If you sketch primarily with pencils or pigment ink pens, then there are several great alternatives to the Moleskine which come in a variety of colors, shapes and prices.
But going back to the title of this article, with all these choices today, is the Moleskine still the best pocket sketchbook out there? For artists who like the Moleskine Watercolor Album's horizontal format, it is still a decent pocket sketchbook for watercolor -- although I have noticed the paper now isn't as ink friendly as it used to be. Every nice thing I have written above about the Moleskine Sketchbooks can also be said about the Stillman and Birn Sketchbooks, and they gave us so many options, including a soft cover so they fit better in the pocket!
To avoid this, everyone in the system is given a task that is guaranteed to give each participant an equal chance of completing first - a chance which is increased only by how much work they do. When it turned out that he wasn’t going to be writing any more, I spent some time trying to work out why. Also, some people might add high-quality information, but others might not know what they’re talking about. To teach yourself about a topic, you need to be a collector, which means you need access to the objects. It could contain metadata for each item (allowable up to a point - Aaron was good at pushing the limits of what information was actually copyrightable), but some books remained in copyright.
He also saw that this would require politicians being open about their dealings (but became sceptical about the possibility of making everything open by choice; he did, however, create a secure drop-box for people to send information anonymously to reporters).
Each resource and property was only defined in terms of other nodes and properties, like a dictionary defines words in terms of other words. If an AI is given misleading information it could make wrong decisions, and if an AI is not given access to the information it needs it could also make wrong decisions, and either of those could be calamitous. Your eye analyses the light arriving from the tree, and your brain tries to summarise the wavelengths that it’s seeing. To be able to understand the shared properties of items in a group, and differences from items in a different group, is to begin to understand them. They’ve read Tim Berners-Lee’s books, and understand that there are Resources out there, with URLs that can be used to fetch them.
And that’s before you get into the jQuery.ajax option names (data for the query parameters, dataType for the response type, etc). It also doesn’t return a Promise, though there’s an onload event that gets called when the request finishes. Even with Gmail, there's no way to say that the person you email is the same person who's left a review, unless they have a URL (i.e. Now that both of those URLs are trusted, either of them can be used as the basis of a new trusted connection: linking from the trusted GitHub URL to a Flickr URL, and then from the Flickr URL to the trusted Google Plus URL (or any other trusted profile URL), is enough to prove that you also own the Flickr account and can write to it. In this case, when the published property is updated, the publishedDate property is also updated.
The intense focus is on performance of Blink as a platform for mobile applications, and not at all on document rendering features. Hardly anyone writes English (though a lot of people, and some machines, can read it to some extent). This makes running xmllint in the browser much more like running xmllint on the command line. We added a filter on the donor name, searched for their surname and selected those names which matched (there were several variations on each donor’s name in the database), then used Tableau’s grouping to group together the name variations. Once this was done, Tableau easily mapped the location of each donor, to produce the final visualisation: a map of each donation to a political party, coloured according to the recipient party and sized according to the value of the donation. To avoid this, only the artists that had been given MusicBrainz IDs in the BBC data were included, and these MBIDs were used to query last.fm for tags.
I'd like to be able to do the same thing in D3, as Gephi is quite awkward to use, and has cropped the node labels when exporting the above images (it seems to only take the nodes into account when cropping the output, and not their labels).
Fusion Tables creates a virtual merged table, allowing updates to the source tables to be replicated to the final merged table as they occur.
The UK parliamentary constituency shapefiles published by the Ordnance Survey as part of the Boundary-Line dataset contain polygons, names and two identifiers for each area: one is the Ordnance Survey’s own “unit id” and one is the Office for National Statistics’ “GSS code”. Although there’s usually a property name in the first row, there’s rarely a datapackage.json file defining a basic data type (number, string, date, etc), and practically never a JSON-LD context file to map those names to URLs. For example: country names (a list of names that changes slowly), members of parliament (a list of names that changes regularly), years (a range of numbers that grows gradually), gene identifiers (a list of strings that grows over time), postcodes (a list of known values, or values matching a regular expression). The Boundary-Line data is published under the OS OpenData license, which incorporates the Open Government License. On that page is a link to “Download RELION for free from here”, which leads to a form, asking for name, organisation and email address (which aren’t validated, so can be anything - the aim is to allow the owners to email users if a critical bug is found, but this shouldn’t really be a requirement before being allowed to download the software). They are difficult to find: trying to download XMIPP hits another registration form, and BSOFT has no visible license.
Apart from the folder name, the only way to find out which version of the code is present is to look in the configure script, which contains PACKAGE_VERSION=‘1.3’. The data table is paginated, sortable, filterable, and includes footer rows that summarise columns using facets where appropriate. This is most likely what people will see first, so it links to the code repository for all the information needed to repeat the experiments.
In theory this is good, but as it’s published in a system that doesn’t yet have version control, there’s no ability to compare past versions.
However, browsers never fully supported the API, and are dropping any native support that did exist. However, in order to provide this flexibility, the DOM API can be quite long-winded when reading the value of a single property, which is most often what's needed.
A5), divided into two equal halves (front and back), produced using only HTML and CSS (and a PDF conversion).
After writing a few scripts to fetch and parse data to CSV from various web services, using the DOI as the key for each row, I realised that it would be easier to gather the data in OpenRefine by incrementally adding columns.
A lot of artists swear by these little notebooks, and others are annoyed at all the hype surrounding them and their cult status.
The most recent descriptions talk about the "Moleskine brand" which covers all kinds of products such writing instruments, bags, computer cases, booklights and glasses.
People who hadn't considered themselves artists suddenly discovered they could find great fulfillment through drawing and journaling. Each time I went to Paris, I would buy fresh supply from a papeterie in the Rue de l'Ancienne Comedie.
A lot of artists love the sewn bound book format because it is so gratifying to draw in a book, and very satisfying to store them later on a book shelf.
The Moleskine has an advantage over many other hardbound journals and notebooks because it is more slim and very portable. It's much easier to draw on a flat surface and not have to battle with an uncooperative sketchbook.
If you sketch with a fountain pen and ink, you may or may not have positive results with the notebook, depending on the ink you use. For writing notes, I've found Platinum black ink and blue black ink work very well while their Carbon ink bleeds through. It helps if you use a fountain pen that's a bit of a dry writer, or one with a fine or extra fine nib. If you can find an ink converter for your fountain pen then you will have the freedom to try different brands of ink. On the right half of these swashes I worked the watercolor into the paper by going over it with the waterbrush until it stopped beading. The paper worked great with watercolors, and is much whiter than the notebook and sketchbook as you can see in the photo near the top of this article that has the different versions together. As I sketched the scene below, my hand cramped terribly from trying to keep the book balanced. Perhaps the sales of the expanded Moleskine brand product line were so good by this time, that they no longer felt the need to listen to the art community.
After some experimenting, I found a new way to hold this horizontal sketchbook which might make it less awkward to use.
We are all indebted to Modo & Modo (now called "Moleskine") for jump-starting this industry and pumping new life into it with all their marketing money. That is also the case today, and one could argue that the Moleskine brand is the only true Moleskine even now. But there are a few "les carnets moleskines" that are just as good or better than the Moleskine brand, depending on your needs. Some of them are great for journaling with a fountain but don't even think about sketching with ink and watercolor in one of these. I can't take a photo of that failed sketch now because apparently I tore it out and threw it in the trash. I think the same could be said for the other sketchbooks above which made my carbon ink feather, because carbon ink was formulated to flow smoothly in fountain pen ink channels. If you draw in ink at your desk or are ambitious enough to sketch on location with a brush or dip pen and a bottle of ink, then you might want to try this sketchbook. Alpha paper has an average sketchbook paper thickness, and Beta paper is really thick like what you might find on a watercolor block.
One big difference is the texture; Stillman and Birn's Alpha paper has less texture (smoother and less bumpy) than Moleskine watercolor paper, so it's easier to draw fine ink lines. So I use both the Alpha and Epsilon sketchbooks, and also have the heavy weight Beta and Zeta ready just in case I decide to go with heavier paper. For example, my Platinum Carbon ink will rub off a little when dry from Epsilon paper, but not Alpha paper.
When I first wrote this article in 2004, the Moleskine was clearly the best pocket sketchbook available because it was practically the only pocket sketchbook that was not a wire-spiral bound type. Thanks to Stillman and Birn we now have a great selection of pocket sketchbooks which should satisfy every artist, even picky artists like me. I didn’t find out why the writing had stopped, exactly, but I did get some insight into why it might have started. If everyone had their own wiki, and you could choose which trusted sources to subscribe to, you’d be able to collect just the information that you trusted, augment it yourself, and then broadcast it back out to others. The colours might cycle over time, as day and night pass, and they might cycle over longer periods, as seasons pass. The further away you look, the greater likelihood that the colour of a tree will be more different from the closest trees - the variance within the collection will increase. If this property was bound to the original table, you would see the new values being filled in as the data arrives! If this was available it would be ideal, as then the bower_components folder could be left out of the built app. In particular, we looked at a recent news story in The Independent, which stated that “three senior figures at scandal-hit [HSBC] bank donated ?875,000" to the Conservative Party in recent years. Pleasingly the totals almost exactly matched those given in the news story, for the three named donors. There’s no way to know what has changed from the previous version, as the previous versions are not available anywhere (this also means that it’s impossible to reproduce results generated using older versions of the software). Happily, this is the format in which Twitter’s streaming API provides information, so it's ideal for piping into dat.
Once a leaf has been attached to an item, the data added can then be used to build further leaves. That’s ok though, as long as it’s saved in the Internet Archive whenever someone refers to it.
I've written a jQuery plugin that provides equivalent functions and makes them easier to use.
Gregory's book An Illustrated Life: Drawing Inspiration from the Private Sketchbooks of Artists, Illustrators and Designers shows how closely the Moleskine is associated with this phenomenon. If you are primarily drawing rather than writing, you will probably choose the plain (unruled) version which is identified by a light green paper band.
It's still unpredictable and hard to control, but some artists might actually like the effects it gets.
But this opened the door for other companies to try and fill the gap with their own vertical sketchbooks, as I will describe below.
And later when Moleskine produced a sketchbook with good watercolor paper, no other Moleskine imitators could come close. Each of my online profiles on different sites is literally a different “profile”, and I only choose to link some of them together.
Authorship is immaterial (jk, partly), and when is anything ever authored by a single person, anyway?
One way around this is to use watercolor pencils (the sketchbook was created with pencil in mind after all).
If you stroke too many times, the paper surface will start to break up, and you'll have new problems.



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