Much enjoyed last week’s opening of the Koch Institute’s 2017 Image Awards Exhibition. The exhibit, dubbed “with/in/sight”  includes 10 scientific images chosen as best-in-class from among some 120 entries from MIT life scientists and their collaborators across the country–and one from Ireland.

The display, in the public galleries at the Koch Institute for Integrative Cancer Research, is the Koch’s seventh in as many years. Its goal is to celebrate “the diversity of biomedical research at MIT and offers insight into the important role that science and engineering play in our complex and ever-changing world,” according to a Koch brochure.

The images are printed on t-shirt material stretched across frames back lit with LEDs. They are striking artwork in themselves– and showcase some of the most exciting work under way in the cancer research arena.

“Making Waves: Delivery for Ageless Skin.” Koch Institute, Harvard University, Mass General Hospital.

“Making Waves” conveys research on non-invasive sound waves that carry genetic material through protective layers of skin, transferring genes to cells whose genetic clocks have been turned back by the nucleic acids they have received– in order to reverse skin-aging. Credits go to Carl Schoellhammer, Denitsa Milanova, Hamberto Trevino, Cody Cleveland, Jeffrey Wyckoff, Anna Mandinova, Giovanni Traverso, Robert Langer, and George Church.

Whithead Institute: Snap Chat: A Flatworm Creates a New Profile

At the Whitehead Institute, Samuel LoCascio, Kutay Deniz Atabay and Peter Reddien are studying planarian flatworms to learn more about how they regerate. Each color in their image represents a different layer of neurons in the flatworm’s head.

Downstream Dreams: Investigating Melanoma in a Zebrafish: Koch Institute, MIT

Dahlia Perez and Jacqueline A. Lees are studying zebrafish to provide insight into melanoma. This image shows the organization of zebrafish cells in their normal state. Next, biologists will mutate a single gene known to initiate a certain melanoma in order to determine its “downstream” effects.

Center: “Minding the Gap: Studying the Tumor Extracellular Matrix,” Koch Institute

Tumor Penetrating Nanoparticles Infiltrate Cancer Cells, Koch Institute

Steffen RIckelt and Richard Hynes of the Koch Institute are studying not the clusters of brownish colon cancer metasteses shown in the image, screen, but, rather, the “seeming neutral” tissue matrix around them. The goal is determine how the matrix impacts the progression of tumor cells navigating a complex network of cells and proteins.

Langliang Hao, Srivatsan Raghavan, Emilia Pulver, Jeffrey Wyckoff and Sangeeta Bhatia of the Koch Institute are using  biocompatible nanoparticles (yellow) to target and penetrate clusters of cancer cells (pink) with the goal of delivering treatment.

Body of Knowledge: Self-Organized Brain Cells, MIT Department of Biological Engineering and Koch Institute at MIT.

Colin Edington, Iris Lee and Linda Griffith of MIT are involved in the Griffith lab’s “Human on a Chip,” project, in which many different”mini organs”, developed from stem cells in matrix, are linked together in a bioreactor platform. The researchers are studying interactions of multiple organs and the cross between them in order to develop new disease treatments. Shown here are neurons (green) and astrocytes (red).

Microfluidics for the Masses, Measuring Cell Growth Rates, Koch Institute

Selim Olcum, Nathan Cermak and Scott Manalis are using microfluidics to measure the response of cell masses to drugs. Their image shows fluid filled channels (bottom) connected to tiny mass sensors shaped like hollow diving boards (top); the sensors’ whose  vibrations precisely reveal the mass of individual cells passing through them. As treated cells flow across the array of sensors, each cell is weighed multiple times, thereby revealing how quickly the mass of individual cells is changing. Researchers are beginning to use this method to predict optimal treatment strategies for individual patients.

Hashtag No Filter,: Visualizing Breast Cancer Conversations. Royal COllege of Surgeons in Ireland and Wellcome Images.

My favorite image does not show cells, nor was it submitted by an MIT lab. Rather, it visualizes twitter conversations about breast cancer carried out by a network of connected cancer patients and their loved ones, patient advocates, health care professionals, and researchers. The image, by Erie Clarke, Richard Arnett and Jane Burns of the Royal College of Surgeons in Ireland,  represents 92, 915 tweets posted over an eight-week period. It is from the Wellcome Images collection.

Other images not included here display pathways taken by metatastic lung cancer cells over time and  ovarian cancer cells as they break through the abdominal wall.

I’m the first to admit that these photos do not do justice to the real images–nor do they adequately convey the amazing convergent technologies –including imaging–used to carry out the research.

The gallery,  at street level in the Koch Institute, 500 Main Street, in Cambridge, is open to the public at no charge from 8-6 Monday-Thursday, and until 4 pm on Friday. The images are also visible from the sidewalk, outside.

Through March 2018.

Anita Harris is a writer, photographer and communications consultant based in Cambridge, MA.
New Cambridge Observer is a publication of the Harris Communications Group, an award-winning PR and market development firm located in Kendall Square, Cambridge.

Yesterday, the news from DC was not good, nor was the weather, nor was my writing! So I quit work at 3:30 and headed for the Kendall Square T. where I came upon the delightful Keytar bear, who immediately raised my spirits. I’ve long wanted to share the work of Boston area street musicians– Keytar said it would fine to post a video. I’m hoping this will be the first of many–and would welcome your contributions!

Anita M. Harris

Anita Harris is a writer and communications consultant based in Kendall Square, Cambridge.
New Cambridge Observer is ia publication of the Harris Communications Group, an award-winning PR and market development firm baswed in Cambridge, MA.

Much enjoyed the current show at Lacoste--which has long been my favorite Concord, MA, Gallery. This time, owner and former ceramicist Lucy Lacoste is featuring the work of ceramicist Don Reitz– pieces from as far back as the 1960s through equally-if-not-more exciting work from 2014, just before he passed away in his 80’s.

As Lacoste explains, “Don Reitz is one of the great geniuses of contemporary ceramics and was devoted to clay, color and expression throughout his career.

“The show  encompasses three periods in the Reitz’s career– the Sara series, in which he used color to narrative stories on earthenware clay, his wood-fire period using fire and ash for expression, and his color with wood-fire and salt, which was a summation of the many elements in his life works.

‘There are also connector pieces that led from one period to the next such as the colorful plates that preceded the use of color in the Sara series and earthenware with expressive brushwork that came at the end of his life.”

My favorite pieces were those embodying both painting and sculpture. That is, ceramics in the three-dimensional form of brush strokes, incorporating  and exhibiting both color and motion. 

 
According to Lacoste, “The driving force in Reitz’ life was to be an artist and communicate through his art.  As a youth with dyslexia, he found making marks in dirt to be expressive. He took this into his ceramics throughout his career with markings on clay being his personal language. His marks, symbols and signature were always important to him whether in his salt-fire work, where the salt melted in firing to become a revealing skin; or in the ‘Sara’ period where everything was a mark or symbolic imagery done with a colorful palette; or wood-fire where the marks were revealed through the ash. The artist has always approached his work intuitively and expressively.

I Go Without Fear, 1984, earthenware, low-fire salt with engobes,

“Among the pieces in the show is a  wall plaque I Go Without Fear, 1984, earthenware, low-fire salt with engobes, 2 x 25 x 20” from his ‘Sara’ series.  Reitz’s ‘Sara Series’ was born of adversity: while he recovered from a serious car accident and his young niece from cancer, the two exchanged drawings in what amounted to a healing partnership. A childlike sensibility with color and form in abundant informs Reitz’s work from this period. This is an endearing yet powerful work showing a stick figure cautiously and optimistically moving out into the world.

Jammin’

“Jammin’, 2013 is a powerful triptych being shown for the first time from the private collection of his family.  This piece stands out for its bold, dynamic color and free calligraphic painting.  It is one of the strongest and largest of his series of triptych showing the artist at his most painterly.”
The exhibition is free and open to the public and is wheel chair accessible.
Through March 27, 2017 at the
Lacoste Gallery
25 Main Street • Concord, MA 01742
978.369.0278 • www.lacostegallery.com

–Anita M. Harris

Anita M. Harris is a writer, photographer and communications consultant based in Cambridge, MA. 
New Cambridge Observer is a publication of the Harris Communications Group, also in Cambridge, MA. 

One of my favorite galleries is Lacoste, in Concord, MA–which features nationally and internationally known ceramicists–as well as emerging artists. Founded by Lucy Lacoste,  a ceramicist herself, the gallery shown the work of 80 or more artists.  Over the years, I’ve much admired Lacoste’s striking displays–which have provided insight and inspiration for my own writing and art.

The current exhibit, which runs November 19-December 4, 2016, is NORDIC LIGHT, features the work  of Anne Fløche and Hans Vangsø,  partners in life who work independently interpreting contemporary ceramics in Aarhus, Denmark. As Lucy Lacoste explains:

Anne Floche with patron

Anne Fløche is a Danish clay sculptor experimenting with various forms and colors in clay by using utensils or implements to make markings on clay surfaces. The color principles of terra sigillata, a clay slip used like a glaze, informs her application of colors which are subtle yet rich in scale. For Anne, clay is a broad canvas whereas glazes, engobes and slips are paints for her artistic expressions. In this exhibition, she is inspired by architectures of different geographical locations. Her sculptures are composed to form landscapes or cityscapes of an imagined world.

Anne Floche, Green Box

Anne Floche, Blue with White

Anne Floche, Tablet with White Time is Curved

Hans Vangso

Hans Vangsø is a Danish studio potter mentored by the great Gutte Eriksen, following the rich Scandinavian and Japanese ceramic traditions. His works are simple in form and line yet the surfaces are highly textured. Multiple firing processes and unconventional treatments of surfaces are his hallmark. Vessels are bisque fired then applied with thick glazes, wrapped in seaweed or metal then tightly bound in newspaper before firing to a high temperature.  Bubbles and blisters on the vessel surfaces as a result of these processes are unique in each vessel. Colors are subtle but there are unmistakable markings that appear to have gone through some form of geological stress.  

Hans Vangso, Tall Jar

Hans Vangso, Cut Jar

Lacoste Gallery was introduced to the work of Hans Vangsø and Anne Fløche by William Hull, the pre-eminent curator of Danish ceramics in the US. They are partners and share a home on the east coast of Jutland, Denmark.

Lucy Lacoste

“We have shown Hans Vangsø many times over the years; this is the first full show with him and his partner Anne Fløche. Both are rooted in Scandinavian traditions yet are applying exciting and new treatments to ceramic art. They have come to symbolize the new in Danish ceramics”  Lacoste said.

The current show runs through December 4, 2016. Next up is “New Pots, Utility 2, featuring the work of Linda Christianon and Jan McKeachie Johnston, from December 10, 2016-January 7, 2017. An opening reception with Christiabso and Johnston will be held on Saturday, December 10, 2016, from 3-5 pm; the artists will speak on Sunday, December 11, at 2 pm.

–Anita M. Harris

Anita M. Harris is a writer, photographer and communications consultant base in Cambridge, MA.

New Cambridge Observer is a publication of the Harris Communications Group, an award-winning pr and digital marketing firm in Kendall Square, Cambridge.

With all of the sturm, drang, disruption and depression in Cambridge last week after Donald Trump was elected President, I thought I’d retreat to upstate New York to commune with nature and art.

The nature went well,  but as it turned out, there was a shooting, probably gang-related, at Crossgates Mall, not far from my family home. There was news of hate crimes in New York  and elsewhere. And  I arrived at the Tang Museum at Skidmore College a few minutes too late for a community discussion of the election and its aftermath.

The discussion had been held beneath an installation called “Flag Exchange,”  comprised mainly of torn American flags. The flags collected as part of a multi-year project in which artist Mel Ziegler traveled across the US— offering new replacement flags for tattered ones flying at homes, post offices, businesses, and other public locations. The exhibit also included picnic tables painted red, white, and blue–all aimed at provocation and one would hope thoughtful dialogue on the current state of democracy.

After  accepting the gift of  a safety pin (the post-Trump election symbol of solidarity with those who have experienced racism, homophobia, xenophobia and such),  I did manage to escape somewhat into art in a wonderfully expansive  exhibit called “Six-fold Symmetry: Pattern in Art and Science,” curated by Skidmore faculty from a variety of disciplines.*

Among my favorite pieces were:

Drawing Memory, 2016, a wall-sized installation in which Nigerian artist Victor Ekpuk (b. 1964) uses white chalk on black-painted background to evoke and build on his understanding of Nsibidi, an African art form used by the secret Ekpe, or (Leopard Society). Art history Professor Emeritus Lisa Aronson writes that while he remains an outsider to the society, Ekpuk’s work resembles the dense and crowded aesthetic of Nsibidi (which is  often played out on cloth) giving his viewers a complex display of imagery to decode. Ekpuk’s wall drawings mirror Nsibidi’s impermanent and performative nature, both in his preferred use of an erasable chalk medium and his practice of removing the murals from the wall at the end of exhibition.

First Family–Hexagon, 2010

Iranian born Monir Farmanfarmaian (b.1924) synthesizes Persian history and artistic traditions and western geometrical abstraction in her mirrored sculpture “Hexagon.” According to  Computer Science Professor Michael Eckman, the calculation and geometry of 14th century mosaics are closely tied to Sufism, the mystical aspect of Islam, and its sacred numerology. As Farmanfarmaian explains, “The six sides of the hexagon are the directions, forward, backward, right, left, up, down. The hexagon also reflects the six virtues: generosity, self-discipline, patience, determination, insight and compassion. All the mosques in Iran, with all the flowers and the leaves and the curves and so on are based on hexagons. For me, everything connects with the hexagon.”

 Arachna’s Arcade, 2008, by Providence, RI, sculptor Dean Snyder (b. 1955) is a “drawing in space,” of a spider web. Its  “silk” is composed of highly-polished steel–which makes the web appear almost photographic in that it transposes the outside garden into the Tang gallery, curator Rachel Seligman, associate professor of mathematics, points out.

Energy Scaffolds and Information Architecture (Return to Formlessness), 2015  With use of color pencil, graphite and architectural stencils on antique ledger book pages, the intricate drawings of American artist Louise Despond (b. 1983) emerge  “organically”,  beginning with a few marks on paper but with no formal plan.  “Each drawing is a process of discovery, with a larger, universal force guiding the emerging patterns. This intuitive process generates imagery that is symmetrical, highly geometric and possessed of an expressive energy that she feels is connected both the spiritual realm and to nature,” Seligman writes.

Hours 1-8, 2016. In this series of oil paintings on linen, Grace DeGennera (b. 1956 ) “explores the ways we experience the passage of time.”  As  Roe-Dale points out, DeGennera uses “iteration”  to depict this movement, not unlike  the way in which mathematicians iterate a model (as Gravner and Griffeath did to generate their “snowfake”, described below). “Time that progresses discretely is visualized in her beads of pigment, suggesting a clock ticking …hour by hour,” Roe-Dale writes. “From afar, however, the series evokes the continuous unbroken flow of time from past to future, through the loosely brushed washes of color in the backgrounds, which reflect the shifting light as day turns into night.”

Bentley “photo” of real snowflake

Wilson Bentley’s “Snowflakes” are captured through novel
photomicrosopy techniques he developed  starting in 1885. Bentley (1865-1931) a farmer and amateur meteorologist, was the first to photograph a single snow crystal. According to Roe-Dale, Bentley’s work responds to the 1611 inquiry of  German mathematician and astronomer Johannes Kepler’s  into the genesis of forms and to his theories about he origin of the intricate hexagonal pattern of the delicate snowflake structure.

Snowfake

Snowfakes
In 2016, Janka Gravner (b. Slovenia, 1960)  and David Griffeath (b. US, 1948)  used a mathematical model to computationally generate what they call “snowfakes.”. A goal was to investigate the formation of snow crystals and perhaps to advocate for the human ability to replicate natural, ordered beauty with deliberate, algorithmic design. According to Roe-Dale, Gravner and Griffeath used the methods of cellular automation to account for physical variables such as temperature, pressure and water vapor density in modelling the diffusive, freezing, attachment and melting actions of individual water molecules in a matrix of three dimensional space. They came up with more than 80 types of snowflake crystals generated by nature, thus providing insight into the form and design of ice and other crystalline solids.

*
Thomas Bansted’s “Last of the Dreadnaughts,” 2011-2012, (below) is  based on “Dazzle,” a pattern of disruption conceived by British artist Norman Wilkinson in 1917.  During World War I, Wilkinson commanded a unit in the Royal Academy, in which artists and students created bold patterns used on ships to make it difficult for submarines to predict boats’ paths or aim weapons.

In “Dreadnaughts,” Bangsted, (b. Denmark, 1976) created a series of large-scale digitally-assembled photographs of World War I ships.  Associate Art Professor Sarah  Sweeney writes that in his manipulations, Bangsted applies a Dazzle pattern that “highlights the incongruity of the ship with its background”–breaking up the form of the ship and concealing its identity.

As explained on the Tang Website, Patterns, systems, and networks are all around us, and in this digital age we are increasingly aware of their influence on our lived experience. This exhibition explores some of the ways in which human beings create and manipulate patterns, and why we are intrinsically driven to do so. Patterns allow us to understand and predict complex natural and cultural phenomena, and to create artworks and other structures of surprising complexity and unity.

Yet the exhibit also shows that in nature–as in snowflakes and spider webs–while amazing and beautiful patterns exist, no two creations  are exactly alike, and patterns are enhanced and enlivened by variation.

Given the current political situation, it strikes me that that much as we may crave the comfort and safety of ongoing patterns, we can also be bored by them. And that as inhabitants of the natural world we must expect–and find beauty despite– disruption in our lives.

I highly recommend the exhibit, which will be at the Francis Young Tang Teaching Museum and Art Gallery at Skidmore College in Saratoga, New York, until March 12, 2017.

*The exhibition was co-curated by Rachel Roe-Dale, Associate Professor of Mathematics, and Rachel Seligman, Assistant Director for Curatorial Affairs, Tang Museum, in collaboration with: Lisa Aronson, Professor Emeritus of Art History; Grace Burton, Associate Professor of Spanish; Michael Eckmann, Associate Professor of Computer Science; Rebecca Johnson, Associate Professor of Psychology; Elizabeth Macy, Visiting Professor of Music; Josh Ness, Associate Professor of Biology; Gregory Spinner, Teaching Professor in Religious Studies; and Sarah Sweeney, Associate Professor of Art. The exhibition is supported by The Andrew W. Mellon Foundation and Friends of the Tang.

–Anita M. Harris
Anita Harris is an author, photographer and communications consultant based in Cambridge, MA. 

New Cambridge Observer is publication of the Harris Communications Group, an award-winning PR and digital marketing firm located in Kendall Square, Cambridge.

An Open Secret

The documentary movie “An Open Secret” does a wonderful job of exposing the sexual abuse of children in Hollywood. But you’ll probably never see it– not because of the difficult subject matter, but because almost no commercial theaters are willing to screen the film.

Written by  Amy Berg, Lorien Hayes and Billy McMillin and directed by Berg, the 2014 film shows that abuse of child actors is pervasive in Hollywood and that most people in the industry know about it. Either they’ve been personally touched by it (pun intended) or know someone who has been. Many powerful people in Hollywood who could ruin the careers of anyone who pushes for justice on this issue are involved.

I applaud the subjects who were willing to share their painful stories and especially the teenager who actually went to court against his agent/abuser. The abuser got only six months in jail and is still in the industry despite solid proof of the exploitation.

Questions:
It’s a big story, so why isn’t anyone willing to distribute the film? Why has it been pulled from film festivals?  Why after seeing the film have network executives refused to have the film on their networks? Why did the Screen Actor’s Guild unsuccessfully sue the filmmakers after seeing the film in which the head of their Young Performers Committee was implicated in the scandal?

Answer:

The topic is too hot to handle and hits too close to home.

Who can speak out for the innocent victims? In “Spotlight”, Hollywood is happy to pay homage to the reporters who uncovered sex abuse in the Catholic Church a number of years ago, but unwilling to acknowledge it in their midst.

In the past, I’ve attributed problems of child actors to their inability to handle fame and fortune and an acquired sense of entitlement. Now I wonder whether their spiraling out of control has far more nefarious roots.

I thank the Boston Globe for sponsoring the screening of this movie in its documentary series along with a Q&A session with the producer. I wish that others had the courage to take on this difficult topic and not bow to the powerful perpetrators, but who’s to take up the mantle? Newspapers are too financially strapped to take on such financially powerful interests so others such as documentary filmmakers or even comedians (like those who exposed Bill Cosby) need to raise our awareness and lead us to take action.

See the movie if you can and be outraged by the subject matter (child sexual abuse) and by the story behind the story (the unwillingness to deal with the “open secret”).

–-Sheila Green

Having just published a book on the late 1960s, and having driven past the famed Corita Kent gas tanks on route 93 South of Boston hundreds of times, I wondered, on entering the wonderful new exhibit “Corita Kent and the Language of Pop” at the Harvard Fogg Museum how I could possibly have missed Kent’s amazing presence in the Pop Art scene.

The show juxtaposes some 60 works by Kent–who was born in 1918 and became a nun in 1936–with approximately the same number of works by  known pop figures such as Andy Warhol,  Jim Dine,  Edward Ruscha, Roy Lichtenstein, Robert Indiana, and others.  It examines Kent’s screen prints; that 1971 bold “rainbow swash” design for the Boston Gas tank, as well as films, books, and other works.

But in a talk after the September 3 opening, Susan Dackerman, consultative curator of prints at the Harvard Art Museums, said that she herself had  not known much about Kent’s  work until she met another curator’s sister–Mary Anne Karia (née Mikulka), a former student of Kent’s at Immaculate Heart College in Los Angeles, and a long-time friend of Kent’s. Mikulka showed Dackerman the notes, papers and prints saved from her student and later days. That introduction, in 2010, turned into a multi-year research project in which a team of Harvard art historians and graduate students began to place Kent–who left the convent and moved to Boston in 1968– in the artistic and cultural movements of her time.

The exhibition explores how Kent’s work both responded to and advanced the concerns of Vatican II, a movement to modernize the Catholic Church and make it more relevant to contemporary society. The church advocated conducting the Mass in English. Kent, like her pop art contemporaries, simultaneously turned to vernacular texts for inclusion in her vibrant prints, drawing from such colloquial sources as product slogans, street signs, and Beatles lyrics. Vatican II also  advocated having priests turning to face their congregants–a theme shown in the reversals of words in various Kent prints which require viewers to commune or relate to the work in new ways, as pointed out by Elizabeth Cary Agassiz Professor of the Humanities. While Kent questioned the authority of the Church, she also took up  the church’s fight against poverty as an artistic theme. 

By bringing “Wonder Bread” into her work,  according to American studies graduate student Eva Payne Kent, Kent pointed out the need for food and  the leavening qualities of bread–as well as the symbolism of the communion wafer, and the sharing of bread as a means of communion among everyday people.

Kent thus emphasized the egalitarian rather than the authoritarian, and, unlike the implied messages of recognized pop artists,  her messages made her art not purely critique of the commercial world but brought out the importance of quotidian life.

In 1968, a year after she was featured as the new nun on cover of Newsweek Magazine, Kent left the convent and her teaching position and moved to Boston.

At this point, as sixties political protests escalated, Kent began to include news photo images of war, racial struggles, political figures in her prints– perhaps relying less on words to express emotion.  I found these works less vivid–but they packed a punch-. I was especially taken by an anti-war print that included a photo of Daniel and PHilip Berrigan, friends of hers who were priests and antiwar activists with whom I interacted at Cornell and later, during the Trial of the Harrisburg 8.

Asked in Q&A why Kent had not been considered important to the Pop Art, Dackerman pointed out that a center of the movement had been the Ferris Art Gallery, in Los Angeles–and that the recognized pop artists were often referred to as the “Ferris Studs.”  Not only was she a woman, Dackerman said, but she was, of all things “a nun.”. Another speaker mentioned that unlike her male counterparts, Kent, then called “Sister Mary Corita,” might have been considered “too cheery” and positive about the Church, possibilities for communion, and the egalitarian nature of the commercial world.

All in all–the show is a must-see for anyone interested in the 1960s, pop art, female artists or the relationship of art, religion, politics and social change.,

Anita M. Harris
Anita Harris is the author of Ithaca Diaries, Coming of Age in the 1960s and of Broken Patterns, Professional Women and the Quest for a New Feminine Identity.
Print and e-versions of both books are available on Amazon or Kindle.
New Cambridge Observer is a publication of the Harris Communications Group, an award-winning PR and marketing firm in Cambridge, MA.

Excited to have been interviewed about Ithaca Diaries by radio personality  extraordinare Lisa Mullins.  A segment is slated to air nationally on NPR’s “Here and Now,”  on Memorial Day, May 25, 2015.  The  program airs live on WGBH Boston from 12 p.m. to 2 p.m. Both in Boston and elsewhere you can  choose a live stream from WBUR or Click here for a searchable list of public radio stations that broadcast Here & Now.

According to the Here and Now Website, you can also:

Hear individual stories: Audio for stories in the first hour of Here & Now is typically posted by 2:30 p.m. EST. Audio for stories in the second hour is typically posted by 3:30 p.m. EST. You can listen to past shows by browsing or searching the archives.

Hear the whole show: You can stream each hour of Here & Now using the WBUR mobile app. A podcast of each hour is also available in the iTunes store, within hours of its air time (better time estimates coming soon). For more ways to download the podcast (not using iTunes), go here.

About Here and Now:
Here and Now is a live production of NPR and WBUR Boston, in collaboration with public radio stations across the country.  According to its Website, the program reflects the fluid world of news as it’s happening in the middle of the day, with timely, smart and in-depth news, interviews and conversation.

Co-hosted by award-winning journalists Robin Young and Jeremy Hobson, the show’s daily lineup includes interviews with NPR reporters, editors and bloggers, as well as leading newsmakers, innovators and artists from across the U.S. and around the globe.

Here & Now began at WBUR in 1997, and expanded to two hours in partnership with NPR in 2013. Today, the show reaches an estimated 3.6 million weekly listeners on over 383 stations across the country.

About Ithaca Diaries
Ithaca Diaries  is a coming of age memoir set at Cornell University in the tumultuous 1960s. The story is told in first person from the point of view of a smart, sassy, funny, scared, sophisticated yet naïve college student who can laugh at herself while she and the world around her are having a nervous breakdown. Based on Harris’ own journals and letters, interviews and other primary and secondary accounts of the time, Ithaca Diaries describes collegiate life as protests, politics, and violence increasingly engulf the student, her campus, and her nation. Her irreverent observations serve as a prism for understanding what it was like to live through those tumultuous  times.While often laugh-out-loud funny, they provide meaningful insight into the process of political and social change we are continuing to experience, today.

Ithaca DIaries is available from Amazon, Kindle and the Cornell Campus Store.

Anita M. Harris is an award-winning writer, blogger, and communications consultant based in Cambridge, MA. A new edition of her  first book, Broken Patterns, Professional Women and the Quest for a New Feminine Identity, was published in 2014. 

New Cambridge Observer is a publication of the Harris Communications Group, an award-winning PR and marketing firm based in Cambridge, MA.