Most importantly, links between content are displayed on roll-over. Rolling over the square for a path will reveal all the contents of that path; rolling over the square for a tag will show all the items it tags. As with all visualizations in Scalar, double-clicking a title opens the associated content.
Get e-book PATHWAYS: In and Out of Relationships in Prose
Thus, visualizations act not just as way for authors and readers to identify and understand the macro- and micro-structures of a book, but as a way to navigate those structures. The tag visualization shown to the right can be an effective tool in this regard. The resulting cascade of key events includes molecular, cellular, structural and functional changes in biological systems, resulting in a measurable adverse outcome. Thereby, an AOP ideally provides information relevant to chemical structure-activity relationships as a basis for predicting effects of structurally similar compounds.
AOPs could potentially also form the basis for qualitative and quantitative predictive modeling of the human adverse outcome resulting from molecular initiating or other key events for which higher-throughput testing methods are available or can be developed. A variety of cellular and molecular processes are known to be critical for normal function of the central CNS and peripheral nervous systems PNS. Because of the biological and functional complexity of the CNS and PNS, it has been challenging to establish causative links and quantitative relationships between key events that comprise the pathways leading from chemical exposure to an adverse outcome in the nervous system.
Following introduction of the principles of MOA and AOPs, examples of potential or putative adverse outcome pathways specific for developmental or adult neurotoxicity are summarized and aspects of their assessment considered. You would also see me wasting a lot of time, on the internet.
From a distance it might still look like I am working. Their worlds seem both connected yet isolated from one another. It gives them all this kinship in survival, this sixth sense of observing life through enduring lenses.
What are you looking for in a narrator, or in any character, that takes center stage in your stories? What makes a character belong to you? AC: These are such nice ways to describe the narrators and their relationships to each other: scored by the same soundtrack, haunted by the same song.
Waiting for thought
While writing the book I saw them as separate beings that move around in their own territories but share a single heartbeat. That was what caused me to title the collection Creature instead of Creatures.
But they are connected, versions of each other, or as you said, haunted by a version of the same thing. FZ: Recently, Rebecca Brown and I spoke with each other about how being a writer is also about finding your kin, both on and off the page. I know we both share a love for Clarice Lispector and Jane Bowles, but who are some other writers you would consider your kin?
- The Prophecy: The Golden Vampire Avengers and Their Guardian Wolf!
- Rustic Pathways.
- Best of the Good Old Days.
- The Crater:Seven Days of Terror in Putnam County;
- Guys Night Out - Seduction, Erotica, BDSM, Bondage.
- Erfolg Mit Einem Visionsboard: Wie Man Ein Visionboard Macht Und Die Attraktionsgesetze Und Erfolgsgesetze Nutzt Um Mit Einem Visionsboard Alles Zu Bekommen ... (Neu bearbeitet Auflage) (German Edition).
What did they do to cause you to notice? AC: Happily, I feel a lot of kinship with all the Dorothy authors, like Renee Gladman who has always been one of my favorite writers, and whose work always makes me want to write and Suzanne Scanlon and Azareen Van der Vliet Oloomi, and also Danielle Dutton, who founded and runs the press. This is part of what has been so gratifying about publishing a book with Dorothy: a conversation around the possibilities of fiction, which is a mission of the press, feels very real and natural there and I do see it in each of the books, the possibilities of fiction.
But also, Bhanu Kapil, who helps me notice how a writer can accompany a character through violence or even death and offer not empathy, necessarily, but the accompaniment itself, the willingness to be present, to not look away.