On my way to a meeting at MIT, I happened to spot some stunning photos through the window of what turned out to be the Philip Alden Russell Gallery of the  David H. Koch Institute for Integrative Cancer Research. I contacted the Institute-which opened in March–and learned that the photos are featured in a gallery designed to connect the community with the Koch’s work.  I happily accepted Curator  Alex Fiorentino’s offer  to show me around.

On my tour,  Fiorentino  explained that the galleries are designed so that visitors can explore current cancer research projects, examine striking biomedical images, hear personal reflections on cancer and cancer research, and learn about the historical, geographic and scientific contects out of which the Institute emerged. The photos, he said, were taken under microscopes by Koch research scientists and collaborators–chosen through a contest,  then blown up, printed on fabric, adhered to stretchers over light sources,  Each has a scientific story to tell. The photo just below for example, is one I took of an EI-fluorescence micrograph by  Christian Kastrup of the Anderson and Langer Labs at the Koch. It shows a new  technique for delivering treatments to a blood vessel (seen in blue) using nanoparticles and microparticles. According to a Koch publication,  the original image was dark, with nanoparticles, microparticles and the blood vessel each stained a different color. But, in this version–to which my photo does not do justice— the original colors are inverted.

Zebrafish Eye

Another beauty is Kara Cerveny’s confocal micrograph–“Sunrise in the Eye: the Making of a Retina.”  Taken by the Koch collaborator at the Steve Wilson Group at University College, London, it is part of Cerveny’s investigations into how stem cells in the zebrafish eye differentiate to become more specialized cells. Her goal is to gain insight into how the normal development process goes awry in cancer and other diseases. There are ten award-winning photos displayed– all viewable any time through the Koch windows or inside during gallery hours–9-5 on weekdays.

Other gallery highlights include exhibits on five new technologies to combat cancer being developed at the Koch;  a “video box” providing 16 presentations by cancer patients, their families and scientists;  wallpaper showing cellular processes, a mosaic floor composed of thousands of tiles laid out to form a map of the Kendall Square area; and  timelines showing the parallel histories of science and engineering at MIT. The timelines converge in the present, with  the Koch’s cross-disciplinary approach to cancer.  And–just inside the lobby there’s an attractive cafe.

16 Personal Stories--Video display

As a journalist, I’d be remiss not to mention that David Koch, an MIT alum–has been the subject of some controversy. According to a 2010 article in  the New Yorker, as a  cofounder  of  Koch Industries,   the nation’s second largest privately-held corporation, he and his brother Charles are major funders of conservative/libertarian causes.  But, Wikipedia reports,  gifts of  $600m  for scientific research and the arts surpass David Koch’s  political donations.

While ordinarily I wouldn’t think that cancer research would be much of a draw, the gallery,  named for  financeer Philip Alden Russell– a mentor of funder Charles B Johnson and his wife Anne Johnson– is well worth a visit. Or several.

–Anita M. Harris

Koch Gallery Interpretation c. Anita M. Harris 2011

Koch Institute Public Galleries 500 Main St. Cambridge, MA Open to the public 9-5 weekdays. Admission Free.

New Cambridge Observer is a publication of the Harris Communications Group, an award-winning public relations and marketing communications firm located in Cambridge, MA.

Apologies, once again, for the long absence….but this time I have a good excuse. I’ve moved  to the country!

Actually, I still live in Cambridge–but after 29 years in that lofty perch overlooking the Cambridge Common I now live in a new house–just across from Fresh Pond Reservoir.

New home, new neighborhood, new outlook on life–less than a mile and a quarter from Harvard Square.

A few observations:

When I told people I was moving after so many years in the same building, I usually got one of the following responses:

(1) Why are you moving NOW? (As if I should die in a place I NEVER liked. Too little space, too much noise and no parking!)

and

(2) That’s wonderful. Now you have a good reason to get rid of your stuff. (Huh? The main reason I”m moving is that I want more ROOM for my stuff).

The new place is gorgeous-three floors, a garage, a basement, big windows, light…and just a 10-minute bike ride from my favorite morning coffee haunt.  There’s a grocery store nearby, a gym, a Chinese restaurant…I have nice neighbors who like gardening so much that they bought some plants that they take care of in my front yard.  When you walk down the street, people actually smile and say “hello”

Yesterday, my friend Susan and I walked around the reservoir.  On a Sunday afternoon, it felt rather like a Parisian promenade, except that it’s 2.2 miles in  circumference and there were many, many dogs. Part-way round,  theCity of Cambridge Water Department  is renovating…that’s not what they call it…but setting up ramps for people disabilities, a walkway out over the water and something called a vernal pond–which, I now know, courtesy of Susan and Wikipedia, is a temporary or “emphermeral” pool.

These pools, devoid of fish, are dry for at least part of the year but when filled (usually in the Spring) they teem with life such as frogs, toads, salamanders, daphnia and fairy shrimp–the last of which are often used to decisively define a vernal pool.

Close by the pool, we met  MWRA Ranger Jean–who, with a colleague, was posting a sign explaining all of the above. She welcomed us to the neighborhood and told  us to say hi to people and dogs–who, along with the golfers, tennis and base ball players and my neighbors, make up quite a friendly community, and a welcoming crowd.

—-Anita M. Harris

Anita Harris is president of  the Harris Communications Group, a strategic marketing communications and public relations firm located in Cambridge, MA.

At a Loss for Word

I spent the day trying to write and wrestling with Word. I’m a decade late with this rant, but today it got me.

I can barely remember why, but I loved Word Perfect. It was so well named from a writer’s perspective. It was the document software in which I  learned to type and for a long time the standard for writers and PR people and everyone who wanted to share a common language. It could catch my thoughts as they leapt fully formed (if out of context) from my brow;  store sidebars without getting sidetracked; set up and organize the page, stylize it with heads and subheads and put things in the order I wished; insert exported images and show me how they looked; accept Tom Swifties and newly minted puns; and help me express my thoughts in my own voice.

Then came PCs and laptops and Word slipped in under the tent flap and became the standard. Let’s face it, by comparison, Word bites and . . . behaves in other infantile ways. (You know what I mean, but you’ll see in a minute *** why I can’t type it.)

Who made Microsoft geeks the emperors of syntax and spelling and slang (Oh my!)? Who taught them to spell and keep up with language? Why are they the Wizards of Word? Why don’t they know that the basics (page layout, font, ability to insert, addition of typographical and graphic marks) should be doable without leaving the page? How come they use spellcheck to block current spelling of workplan and wasteland and  inhouse that don’t have hyphens- and make us change our use of speech to accommodate that quirk? What kind of bleeping editing program does not challenge words like ‘pubicrelations’ when you meant public relations, or f*** and s*** when you meant to write funk or shim? C’mon, that’s adolescent geekspeak for gotcha, smartyhosen!

What’s your favorite Word bugaboo?  While I’m at it, why do they call it Windows when they’re opaque, and laid on top of what you need to see for reference? For puzzle fans there are seven words flagged here in red by Word (none were on Lenny Bruce’s list).  Can you find them?

All for today. Rest easy  (See? If they knew syntax they’d have flagged that for easily!).

Guest blogger Ann Getman is a writer, painter and public relations consultant based in Cambridge, MA.
New Cambridge Observer is a publication of the Harris Communications Group of Cambridge, MA.

OK, I guess it’s time for me to weigh in on Sunday’s  Oscar ceremonies. My friends R,  A and I could not help but notice that  many of the be-gowned stars had bad hair: it was  either stringy,  in their faces or matted down, in patches.  Watching  from anything-goes Cambridge, even we were shocked. We liked Jennifer Hudson’s red dress and new figure and Oprah’s hair and straightforward presence (if not the boxiness of created by the stiching in her black  bodice). We  were a bit creeped out by Kirk Douglas and relieved when he made it through.  I thought Anne Hathaway was great in Love and Other Drugs, did a great job with her song,  and was a clear winner in the   best  gushiness category.

Which brings me to the point: James Franco. (Full disclosure–which I repeat whenever I get the chance–he is a cousin. Don’ t ask me how–but my mom grew up in Cleveland with Mitzi, his grandmother, and somehow, their  grandparents were related or perhaps two and the same). James’ Oscar appearance has been the topic of much discussion.

As my friend D wrote on Facebook: Can’t help it — after seeing Bob Hope and Billy Crystal, who can take Anne Hathaway and what’s-his-name seriously as Oscar hosts? At least bring back Alex Baldwin.

Feb. 17, 2011
Perhaps I spoke too soon about that neighborliness in tough times thing.

The day after I posted the photo of the snowman on the bench in the Cambridge Common, someone  knocked the bow-tied guy down.

Ice is making it hard to walk, and, now, there’s a layer of dirt on huge mounds of -snow to the point where it’s difficult to see where you’re going.

My friend E and I almost got killed  driving on Route 2 when a car scooted out from behind a drift that must have blocked that  driver’s view.

Six weeks into this,  I’m rarely taking out my car: not only is it it risky to drive, but where on earth will I find a place to park when I get back?

In for the winter?

In my neighborhood, many people still have not dug out their cars;  I have, several times,  but even so, to avoid driving around all night,  I’ve been skipping meetings–or using public transportation when I can.

One of my neighbors decided to brave it–but when she went out to her car, she found it parked in so tightly that even the American Automobile Association couldn’t tow her out.  She left an angry note,  keyed the offending car, then called the police, who said they couldn’t do anything because both her car and the offender’s were illegally parked.

A student at Harvard Law who grew up in LA asked  how anyone can live here for a lifetime. “It’s so depressing!” he said. I told him that some years, we don’t get any snow at all–and that, even this year,  it could be worse: .  he  could be at Cornell Law, in Ithaca, NY or  SUNY Albany, or, worse yet,  Buffalo.  My  (I see now)  obnoxious advice to him? Learn to love skiing and–chill out. Spring will come.”

Feb. 21, 2011
That was then. This is now. Over the weekend, someone bashed in the driver’s side of my parked car…I’m guessing  $700 damage.  And–it’s snowing again!

I say…so much for neighborliness.  Like winter, evidently, it  only lasts so long!

Anita M. Harris

New Cambridge Observer is a publication of the  Harris Communications Group, a marketing communications and public relations firm in Cambridge, MA.

This month, Charles LeDray and Evelyn Rydz at the Institute of Contemporary Art, Boston,  and Leonardo Drew, at the DeCordova Museum in Lincoln, MA, share a common theme–all focus on decay and the passage of time.

DeDray makes small items–men’s clothing, thousands of tiny ceramic pots,  sculptures in stitched fabric, carved bone, and wheel-thrown clay. As ICA materials point out, the smaller-than-life formal suits, embroidered patches, ties, and hats, as well as scaled-down chests of drawers, doors, and unique, thimble-sized vessels–and even facsimiles of used clothing stores complete with dust, make the viewer feel large and encourage thought about the content of the constructions. For example the coat in the photo to the left encompasses all sorts of other clothing–bras, pants, tops–making the point that individuals are composites of their experiences and other people.

My friend E liked the exhibit–because it elicited people no longer with us.  S, who tends to save things, found it interesting.

Nearby, in the galleries housing winners in the ICA’s Annual Foster Prize Exhibit, Evelyn Rydz’s “intricate drawings of beaches, based on her own photographs–focus on objects she finds washed up on coastlines worldwide. ”

According to the ICA, this work explores ” the site where sea meets land”…and shows “characters with long stories to tell.” She “references the journey and transformation that these objects have undergone, illuminating their role as castaways in foreign landscapes.”

At the DeCordova, Drew’s show, “Existed”  highlights  “the cyclical nature of creation, decay, and regeneration through a selection of large-scale sculptures, installations, and works on paper.

Built from rows of stacked cotton and wooden boxes, stuffed with rags, covered with scavenged objects, and caked with rust to suggest degeneration, Drew’s sculptural work is made to resemble the detritus of everyday life.

The artist often ages his found and fabricated materials, employing a process that is physically and conceptually steeped in memory, history, and the passage of time. These disparate materials are often composed within a grid that organizes the chaos into an ordered structure.

 Not exactly the pleasantest of subjects.

And  I suppose it’s good to be able to find beauty in decay–or to make beauty of  it.

In pondering the  decisions to highlight these artists,  I can’t help but conclude that  the curators are  making  statements about the current state of civilization, politics, and art.  All of these artists are highly skilled at what they do. But  I ask, after exploring and commenting on decay and loss, what is left for them (and us?) to do?

Anita M. Harris

Anita M. Harris, a writer and photographer, is president of the Harris Communications Group of Cambridge, MA.

Kudos to the display team at the new Anthropologie shop in Harvard Square–their store windows are works of art that absolutely drew me into the store–although I really don’t need a thing.

Anthropologie, located at 48 Brattle St, in Cambridge, has taken over the old Design Research building–which has been almost empty for over a year since Crate and Barrel moved out.

 The new store carries an enticing array of clothing, jewelry, shoes, boots, bags and home goods. Most items are a bit ornate for my tastes but definitely worth a visit if only to see the store’s  artistic and  creative arrangements of merchandise.  –Anita M. Harris

New Cambridge Observer is a publication of the Harris Communications Group of Cambridge, MA. We also publish HarrisCom Blog.