Google has launched its Google Health beta test site. You can sign on to keep all of your medical records on this site. Google will work with the providers (e.g., Walgreens, Medco, Hospitals, etc.) to compile your medical information. You can choose to release this information to others and you can also add information on your own too. You can add information about your medical condition, immunizations, medications, allergies, etc. Currently, the level of permissions on the data is a the global level. That is, all or nothing type of release is the only one available.
What is interesting in this beta site is the notion that you can control the access and release of your private medical data, which is part of your Digital Persona. Google acts as an agent for you and ensures that the trust and security that you desire are offered by Google. In effect, Google works like a Trust Bank (see our paper). This is an idea that I proposed in our NSF proposal. Unfortunately, the reviewers felt that the idea would be too difficult to implement and that there would be lot of resistance from "luddites" - a term the reviewers used.
I am curious to see how Google pulls this off and also to see if NSF will revisit how they appoint reviewers to panels!
Monday, May 19, 2008
Saturday, May 17, 2008
First Solo Public Performance
April 26, 2008 at The Old Opera Cafe, Nevada, Iowa
Boy! What a rush it was! It took almost a day for me to wind down. It was the most exhilarating experience in my life . I never imagined that I would play the flute for nearly two hours. Not only did I play that long, the crowd did not leave. They stayed until I called it a night. I am sure they stayed back because they enjoyed the music!
My accompanist, Atul (Tabla) was somewhat anxious prior to the event. He had reasons to be anxious. we had played together very little and we had a few hours of practice together. He was worried we may not have enough material to go on for two hours. Somehow I felt at ease going into the performance. Perhaps, I got confidence from the advice Kudamaloorji gave me (he asked me to enjoy my music and play tunes that I enjoy!). I had also gotten some tips from Misha - to reduce the complexity of notes. Once I started improvising on the fly I could go on without feeling exhausted.
For anyone interested in viewing and listening tot he performance (not a great recording) go to my VOX site or Facebook page.
Boy! What a rush it was! It took almost a day for me to wind down. It was the most exhilarating experience in my life . I never imagined that I would play the flute for nearly two hours. Not only did I play that long, the crowd did not leave. They stayed until I called it a night. I am sure they stayed back because they enjoyed the music!
My accompanist, Atul (Tabla) was somewhat anxious prior to the event. He had reasons to be anxious. we had played together very little and we had a few hours of practice together. He was worried we may not have enough material to go on for two hours. Somehow I felt at ease going into the performance. Perhaps, I got confidence from the advice Kudamaloorji gave me (he asked me to enjoy my music and play tunes that I enjoy!). I had also gotten some tips from Misha - to reduce the complexity of notes. Once I started improvising on the fly I could go on without feeling exhausted.
For anyone interested in viewing and listening tot he performance (not a great recording) go to my VOX site or Facebook page.
Wednesday, May 07, 2008
Shashank's Flute Lect-Dem
The much awaited lecture demonstration of Carnatic flute by Shashank finally came to pass on April 20. Because of the rescheduling of his concerts there was a slight chance we would not have this event. But I and several others were glad that the event did take place.
Shashank reached Ames around 5:00 a.m., driving from Madison, Wisconsin where he had performed the previous evening. He had with him his wife, Shirisha, daughter Swara, violinst, and percussionist.
We hurriedly set up an audio system for Shashank and his percussionist (Phalgun). Appu helped so did Srikanth. Boy, was the carpet dirty! Viren pulled a surprise on me by asking me to introduce the artists to the audience.
Shashank gave a well received lecture and demo. He started with a lecture about the scales and melodies (raagas). He demonstrated the ascending and descending 12 notes from which raagas are composed. He chose Shankarabharanam ragam to demonstrate the nuances of the Indian music. The raagam is well known among westerners as C major scale. The audience could easily relate to the comparison. The C-major scale and the raagam in its plain form sounded exactly the same. He moved on to show how the Indian version differs. By introducing slides and microtones the notes get decorated. While only a few notes are affected this way for the raagam, he took another raagam, Todi to show how all the notes are modified.
He then went on to describe how Carnatic music makes use of the time cycles or rhythms. One hubderd and fortyfour different rhythmic cycles are possible and when combined with the huge number of raagams Carnatic music really turns into a treat to listen and learn!
He and the percussionist then took the audience through the various (not 144) rhythms as he played Shankarabharanam ragam. He concluded the event with a lecture on how he uses different flutes to go across multiple octaves.
By the time the lect-dem got done it was time to move to the City auditorium for the evening's concerts! What a busy day!
Shashank reached Ames around 5:00 a.m., driving from Madison, Wisconsin where he had performed the previous evening. He had with him his wife, Shirisha, daughter Swara, violinst, and percussionist.
We hurriedly set up an audio system for Shashank and his percussionist (Phalgun). Appu helped so did Srikanth. Boy, was the carpet dirty! Viren pulled a surprise on me by asking me to introduce the artists to the audience.
Shashank gave a well received lecture and demo. He started with a lecture about the scales and melodies (raagas). He demonstrated the ascending and descending 12 notes from which raagas are composed. He chose Shankarabharanam ragam to demonstrate the nuances of the Indian music. The raagam is well known among westerners as C major scale. The audience could easily relate to the comparison. The C-major scale and the raagam in its plain form sounded exactly the same. He moved on to show how the Indian version differs. By introducing slides and microtones the notes get decorated. While only a few notes are affected this way for the raagam, he took another raagam, Todi to show how all the notes are modified.
He then went on to describe how Carnatic music makes use of the time cycles or rhythms. One hubderd and fortyfour different rhythmic cycles are possible and when combined with the huge number of raagams Carnatic music really turns into a treat to listen and learn!
He and the percussionist then took the audience through the various (not 144) rhythms as he played Shankarabharanam ragam. He concluded the event with a lecture on how he uses different flutes to go across multiple octaves.
By the time the lect-dem got done it was time to move to the City auditorium for the evening's concerts! What a busy day!
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