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Tonight I board the big silver bird with Lara to head to Darwin to finalise the purchase of our apartment. In the past fortnight, said co-owner has been in Melbourne, courtesy of the Territory's requirement that everything be done with pen-and-paper. The first step was getting the final signatories on the bank loan, which took three attempts as the bank made minor errors each time, which was mildly annoying. Now we head the great tropical north to get the keys and move in. In the meantime, it has meant that my dear rodent animal companions, Mayhem and Mayday, also need to have a little holiday. They have grown up so much in just a couple of months! As Mel offered, she is now the keeper of the little rascals for the coming week, where they are safely ensconced in her shower cubicle and seem to be thoroughly enjoying their temporary residence.
In work news, for the past two days, I have been buried in delivering two HPC and Bioinformatics workshops with some 64 attendees. These are similar to the standard workshops I deliver but modified to take into account the numerous applications and workflows, e.g., "Rattus Norvegicus ESTs with BLAST and Slurm". Part of the workshops includes tests which I worked with the University of Agricultural Sciences in Sweden and a workflow from Data Carpentry, modified for HPC systems, that use a long-term evolution experiment published in 2016 ("Tempo and mode of genome evolution in a 50,000-generation experiment"). The workshops will also feature in a presentation on HPC for Bioinformatics that I'm planning to give to eResearch New Zealand early next year.
As usual, my social life has been pretty full as well. In an effort to have some sort of narrative thread in this entry, I will mention an outing with Erica to the Sun Theatre in Yarraville to see the satirical speculative fiction film "The Substance" which has an excellent and comprehensive review from my old friend Andrew M, who accurately notes: ".. from a filmmaking point of view, it’s an incredibly well put together, intricately constructed, horrifically grotesque and sickening movie. There are incredible scenes, immaculate shots piled on top of each other, with no concern, with no regard for our well being whatsoever". It has thematic depth with its portrayal of the patriarchial beauty industry, its competition between generations, birthing metaphors, and whilst draws upon the body-horror of John Carpenter's "The Thing", David Cronenberg's "Videodrome", and with an over-the-top comic ending in the style of Peter Jackson's "Braindead". It is utterly grotesque and I loved it; and I certainly understand why others don't.
In work news, for the past two days, I have been buried in delivering two HPC and Bioinformatics workshops with some 64 attendees. These are similar to the standard workshops I deliver but modified to take into account the numerous applications and workflows, e.g., "Rattus Norvegicus ESTs with BLAST and Slurm". Part of the workshops includes tests which I worked with the University of Agricultural Sciences in Sweden and a workflow from Data Carpentry, modified for HPC systems, that use a long-term evolution experiment published in 2016 ("Tempo and mode of genome evolution in a 50,000-generation experiment"). The workshops will also feature in a presentation on HPC for Bioinformatics that I'm planning to give to eResearch New Zealand early next year.
As usual, my social life has been pretty full as well. In an effort to have some sort of narrative thread in this entry, I will mention an outing with Erica to the Sun Theatre in Yarraville to see the satirical speculative fiction film "The Substance" which has an excellent and comprehensive review from my old friend Andrew M, who accurately notes: ".. from a filmmaking point of view, it’s an incredibly well put together, intricately constructed, horrifically grotesque and sickening movie. There are incredible scenes, immaculate shots piled on top of each other, with no concern, with no regard for our well being whatsoever". It has thematic depth with its portrayal of the patriarchial beauty industry, its competition between generations, birthing metaphors, and whilst draws upon the body-horror of John Carpenter's "The Thing", David Cronenberg's "Videodrome", and with an over-the-top comic ending in the style of Peter Jackson's "Braindead". It is utterly grotesque and I loved it; and I certainly understand why others don't.
