Internships Archives - Media Link Inc.
When she's not on the softball field, she enjoys playing guitar and travelling to foreign countries. Learn more about Haley here.
Before this internship, I had next to nothing in experience in the world of marketing and advertising, so I never realized how much work went into advertising for companies. When I first stepped into this internship role, it all just seemed very overwhelming between all the projects from social media to having to create proposals for every single place where we wanted to advertise. My co-workers made it very easy to figure everything out, because they all were more than willing to help out whenever I had questions.
I felt like a big part of the company, because I was able to help with projects such as creating proposals and creating advertising campaigns. Experiencing the unique challenges helped me tremendously when it comes to overcoming hurdles and advancing personally and professionally.
I know I will not forget this experience, because of how accommodating everyone was in order for me to get the most out of this time. I am extremely grateful for Natalie on taking a chance on me and for the rest of the team for helping me out whenever I needed it, even with the probably excessive questioning.
Before starting this marketing internship, I did not have any specific expectation, because I did not have much experience in the marketing and advertising industry. I came in the first day with an open mind and eagerness to learn as much as possible. Looking back, I am now surprised by how much I have grown, not only intellectually, but also personally after the internship.
In terms of knowledge and skills, I have been acquainted with many technical terms in the industry, especially in media buying such as avails, need rates, GRP, CPM, etc. I handled tasks that were essentially important to the company such as generating proposals, checking media buy affidavits, proposing social media copy, etc. Therefore, I feel that I am a part of the team and I have something significant to contribute to the company's development. During the internship, I worked almost everyday with Media Link Software® (MLS), Media Link's proprietary media buying software, and I really enjoyed it. MLS made things so much easier, because everything was put in one place. I could import avails, vendor information, generate proposals and check affidavits on one platform instead of using tons of spreadsheets.
In addition to gaining significant skills and knowledge of the marketing industry, I have also achieved personal growth after the internship. By having hands-on experiences, I get to know what I enjoy doing and what I do not like. In other words, I am more aware of myself and my passion, thus it will help me make better choices for my future career. I am also more confident in myself, not only because I've gained new skills, but also because I have been encouraged to ask questions, to raise my opinions about given tasks, and to recommend changes for improvement.
Everyone was so helpful and tried their best to accommodate my wish for learning new things. I know I will miss my supervisors and my colleagues who have helped me to become who I am today. I am genuinely grateful for the opportunity to have had this internship experience.
If you told me I would be helping with market research for national organizations, generating proposals, or attending a network premiere event, I never would have believed you. I did not know what to expect on my first day as a marketing intern for Media Link, Inc., but I knew I wanted to do more than just run errands, file papers, or make coffee. Media Link, Inc. was that opportunity for me; the opportunity to gain hands on knowledge about the marketing and advertising industry.
Through my internship experience, I was able to work on a variety of projects that were genuinely important to the company and the clients. I was tasked with invoices, proposals, affidavits, social media posts, research, and other vital parts to the overall process. With the projects I was trusted with, I felt essential and like I was a part of a team. I am still amazed by the knowledge I have gained in just one summer.
I am grateful I was able to expand my marketing vocabulary and learn the everyday terms used in this field. This experience has familiarized me with a wide range of marketing terms and strategies, from writing blog posts and social media content to learning about SEO and attracting a target demographic. My supervisor and everyone else in the office established a comfortable environment right away, so I was never apprehensive about asking questions and learning new information. I looked forward to coming into the office each week.
My time with Media Link, Inc. prepared me for life after graduation and opened up more opportunities for success. This was my first real life experience with the marketing industry–outside of textbooks and academic clubs on campus. I feel I am better equipped for a career in this field and thank Media Link, Inc. for giving me the tools to be successful.
We recognize the mutual benefits of a strong and structured internship program. Interns have the opportunity to discover both an industry and a company which enables them to further narrow down their future professional path. They gain valuable insights, and by doing so, provide new perspectives to businesses. Having a diverse base of interns also stimulates intergenerational and multicultural exchange necessary for innovation and growth.
Media Link's internship program consists of 144 hours per internship. We take time getting to know our interns from the start, so we can create an individualized bundle of responsibilities and tasks to improve the skills necessary for their future careers. Some of our interns like to focus on creative tasks such as copy writing and social media; others prefer the data driven nature of market research and tracking campaign success – our goal is to create a good fit. Although, we do believe everybody should experience each task at least once to gain a fully rounded internship experience. Interns meet with our internship coordinator on a regular basis to talk about their progress and to adjust tasks where needed.
Around 10 students run though our internship program each year. We are so proud to see their growth and see where their path after graduation takes them. Over the last few years, we have extended our mentoring into a part-time position for those interns who have exhibited a special passion for our field. This ensures they have the opportunity to continue to grow both personally and professionally to help them better prepare to be our next generation of marketing professionals.
I was referred to Media Link's internship program by a teammate of mine who went through the same program. Although he gave me an idea of how his experience was at Media Link, I didn't know what to expect.
I have been blown away by the amount of learning and growing I have experienced with my time here. I eased in slowly, because I was shy and didn't want to ask too many questions; however, the support I received from the staff and my supervisors made everything easier. I could not have asked for a better work environment and colleagues for an internship experience.
I was tasked with researching ways to import affidavits into Media Link Software™ and most of the work I have done here has been in spreadsheets. Media Link Software™ has been the biggest aspect of my experience here. I learned how to do invoicing and importing avails into the software. I have also learned office etiquette and proper communication among coworkers, and most of all I have grown as a person through this experience.
They have given me every opportunity to succeed here and also in life after my internship. Not only have I learned valuable new skills and techniques to help me in my professional career, but they have taken me to Chamber of Commerce events and allowed me to see how to properly network myself. My summer with Media Link is coming to a close, but I will never forget this great opportunity and learning experience.
They fully explain every detail and present outstanding proposals that fit our advertising budget.
We began a new advertising initiative and Media Link has been an integral part of the strategies and implementation of these initiatives.
I would definitely recommend Media Link to any business who is looking to get a leg up on their competition.
They work with us every step of the way.
Media Link ensures we are getting the best bang for our dollar.
Media Link helped us launch a new campaign incorporating venues we've never before tried.
I have never experienced such great service and a genuine interest in our marketing efforts.


Business Day Live 29 May 2013.
ESKOM could see the first power from the inaugural round of the independent power producer procurement programme by year-end.
Energy Minister Dipuo Peters on Tuesday launched the R240m RustMo 1 Solar Farm developed by black-owned energy group Momentous Energy.
Posted on May 25, 2013 by EGI Ed.
Several other responses were, therefore, being pursued, including an initiative to identify whether additional support might be required from the utility's shareholder, the South African government.
Posted on May 20, 2013 by EGI Ed.
The National Energy Regulator of SA (Nersa) has granted Eskom a licence for its Sere wind farm in the Western Cape, the power parastatal said.
"This is an exciting milestone in Eskom's move towards a cleaner energy mix," Eskom CEO Brian Dames said in a statement.
"Sere is our first, large-scale, renewable energy project. It demonstrates our commitment to reducing our carbon footprint and to investing in a sustainable energy future."
Pedersen did not provide a value for the contract. Eskom said previously that $260-million of a $3.75-billion World Bank loan would go towards building Sere and a separate 100MW concentrated solar power plant.
Posted on April 23, 2013 by EGI Ed.
SWITCH off your geyser between 5pm and 9pm, or face load shedding this winter, was the essence of the message conveyed by Eskom CEO Brian Dames and Public Enterprises Minister Malusi Gigaba at their briefing on the state of the system on Monday.
While this was the message, the words "there will be load shedding" were carefully avoided by both gentlemen.
Monday, 22 April 2013: Eskom has today provided an update on the outlook for the power system as we go into winter 2013, urging all South Africans to partner to keep the lights on in a challenging year.
In previous years Eskom has generally reduced planned maintenance to the minimum during the winter months, so as to ensure it has maximum capacity available to meet higher demand for electricity.
However, higher levels of planned maintenance are urgently required in order to ensure that our ageing [sic] fleet of power stations can perform more reliably, on a sustained basis. This means that the power system will be very tight over the next few months, particularly during the evening peak from 5pm to 9pm.


Burgettstown, Pa. — While many fans were busy enjoying the music at the Vans Warped Tour Monday, more than 100 people were treated for heat-related illness by emergency medical personnel, and 27 were transported to the hospital with heat injuries.
Washington County EMS called the crisis a "mass casualty incident," which triggered a response from surrounding-area EMS services to ensure there was adequate care for everyone who needed it.
CBS 2 Pittsburgh reported that ambulances could be seen driving in and out of the concert ground for several hours. One EMS worker guessed that people weren't aware of the effect the heat would have on them.
"Probably just got by enjoying the concert and didn't really get a chance to hydrate, hot day, it's hard," a member of the Fort Cherry EMS crew said.
Officials said all fans who were transported for heat-related issues have been released from area hospitals.


text:
package com.recursivity.bowler.example

import org.scalatest.FunSuite
import com.recursivity.bowler.Cacheable
import collection.mutable.HashMap

/**
 * Created by IntelliJ IDEA.
 * User: wfaler
 * Date: Nov 8, 2010
 * Time: 1:15:05 AM
 * To change this template use File | Settings | File Templates.
 */

class ConcretePageTest extends FunSuite{

  test("test concrete page"){
    val page = new ConcretePage
    println(page.render)
  }

  test("concretePageWith Cache"){
    val page = new ConcretePage with Cacheable{
      def get: Option[String] = {
        try{
          return Some(SimpleCache.map("concretePage"))
        }catch{
          case e: NoSuchElementException => {
            return None
          }
        }
      }

      def put(rendered: String) = SimpleCache.map += "concretePage" -> rendered
    }

    var i = 0
    var total: Long = 0
    while(i < 1000){
      SimpleCache.map.remove("concretePage")
      val start = System.currentTimeMillis
      page.render
      total = total + (System.currentTimeMillis - start)
      i = i + 1
    }

    println("Average render time over 100x: " + (total / 100))

  }
}

object SimpleCache{
  val map = new HashMap[String, String]

}

redpajama_set_name: RedPajamaGithub


Below is a selection of questions Physio123 have been asked. If you have any further questions, please don't hesitate to contact us by emailing: office@physio123.co.uk or use our enquiry form.
No. Physio123 does not use any contracts. You are free to cancel your service at any time if you are not satisfied with the service we are providing you. We are also confident enough in the services that we offer that we know once you see the results the packages that Physio123 offers, you will stay with us for the long term! Our success is your success – let's succeed together!


text:
Currently viewing: S-01 | Summary001 Key | Experimental result
biodegradation in water: ready biodegradability
30 April 2015 to 15 June 2015
OECD Guideline 301 B (Ready Biodegradability: CO2 Evolution Test)
EU Method C.4-C (Determination of the "Ready" Biodegradability - Carbon Dioxide Evolution Test)
EPA OPPTS 835.3110 (Ready Biodegradability)
- A nominal amount of test material (1000 mg) was dissolved in mineral medium with the aid of ultrasonication (5 minutes) and the volume adjusted to 1 litre to give a 1000 mg/L stock solution. An aliquot (65.1 mL) of this stock solution was dispersed in inoculated mineral medium and the volume adjusted to 3 litres to give a final concentration of 21.7 mg/L, equivalent to 9.3 mg carbon/L. The volumetric flask containing the test material was inverted several times to ensure homogeneity of the solution.
- At the time the study was performed it was calculated that a test concentration of 10 mg carbon/L was employed in the test following the recommendations of the Test Guidelines. However this was calculated using the incorrect empirical formula, therefore the test concentration actually employed was 9.3 mg carbon/L.
Oxygen conditions:
Inoculum or test system:
activated sludge, domestic (adaptation not specified)
Details on inoculum:
- Source: A mixed population of activated sewage sludge micro-organisms was obtained from the aeration stage of the Severn Trent Water Plc sewage treatment plant at Loughborough, Leicestershire, UK, which treats predominantly domestic sewage.
- Preparation of inoculum for exposure: The activated sewage sludge sample was washed twice by settlement and resuspension in mineral medium to remove any excessive amounts of dissolved organic carbon (DOC) that may have been present. The washed sample was then maintained on continuous aeration in the laboratory at a temperature of approximately 21 ºC and used on the day of collection.
- Concentration of sludge: Determination of the suspended solids level of the activated sewage sludge was carried out by filtering a sample (100 mL) of the washed activated sewage sludge by suction through pre-weighed GF/A filter paper (Rinsed three times with 20 mL deionized reverse osmosis water prior to drying in an oven) using a Buchner funnel. Filtration was then continued for a further 3 minutes after rinsing the filter three successive times with 10 mL of deionised reverse osmosis water. The filter paper was then dried in an oven at approximately 105 ºC for at least 1 hour and allowed to cool before weighing. This process was repeated until a constant weight was attained. The suspended solids concentration was equal to 3.3 g/L prior to use.
Duration of test (contact time):
Initial conc.:
21.7 mg/L
other: Carbon
Parameter followed for biodegradation estimation:
CO2 evolution
- Composition of medium: Mineral Medium: To 1 litre (final volume) of purified water (Reverse osmosis purified and deionised water (Elga Optima 15+ or Elga Purelab Option R-15 BP) was added the following volumes of solutions a – d: 10 mL of Solution a, 1 mL of Solution b, 1 mL of Solution c and 1 mL of Solution d.
Solution a: KH2PO4 8.50 g/L, K2HPO4 21.75 g/L, Na2HPO4.2H2O 33.40 g/L and NH4Cl 0.50 g/L, pH = 7.4.
Solution b: CaCl2 27.50 g/L.
Solution c: MgSO4.7H2O 22.50 g/L.
Solution d: FeCl3.6H2O 0.25 g/L.
- Test temperature: 22-24 °C
- pH: 7.4 ± 0.2
- pH adjusted: yes, using diluted hydrochloric acid or sodium hydroxide solution prior to the volume in all the vessels being adjusted to 3 litres by the addition of mineral medium which had been purged overnight with CO2 free air.
- Aeration of dilution water: Approximately 24 hours prior to addition of the test and reference materials the vessels were filled with 2400 mL of mineral medium and 27.3 mL of inoculum and aerated overnight.
- Suspended solids concentration: 30 mg (ss)/L
- Continuous darkness: yes/no
- Culturing apparatus: 5 litre test culture vessels each containing 3 litres of solution
- Number of culture flasks/concentration: 2
- Method used to create aerobic conditions: The test vessels were sealed and CO2-free air bubbled through the solution at a rate of 30 to 100 mL/min per vessel and stirred continuously by magnetic stirrer. The CO2-free air was produced by passing compressed air through a glass column containing self-indicating soda lime (Carbosorb®) granules.
- Details of trap for CO2 and volatile organics if used: The CO2 produced by degradation was collected in two 500 mL Dreschel bottles containing 350 mL of 0.05 M NaOH. The CO2 absorbing solutions were prepared using purified water.
- IC Analysis: Samples (2 mL) were taken from the first CO2 absorber vessels on Days 0, 2, 6, 8, 10, 14, 21, 24, 28 and 29. The second absorber vessels were sampled on Days 0 and 29. All samples were analysed for IC immediately. On Day 28, 1 mL of concentrated hydrochloric acid was added to each vessel to drive off any inorganic carbonates formed. The vessels were resealed, aerated overnight and the final samples taken from both absorber vessels on Day 29.
- IC/TC Ratio: Samples (30 mL) were removed from the inoculum control and test material vessels on Day 0 and filtered through 0.45 μm Gelman AcroCap filters (first approximate 5 mL discarded in order to pre-condition the filter) prior to DOC analysis. The samples were analysed for IC and TC using a Shimadzu TOC-VCPH TOC Analyser.
- Observations: The appearance of the test preparations was recorded on Days 0, 6, 13, 20 and 27.
CONTROL AND BLANK SYSTEM
- Inoculum blank: An inoculated control, in duplicate, consisting of inoculated mineral medium was used in the study.
- Reference material: A reference material, sodium benzoate (C6H5COONa), was used to prepare the procedure control vessels in duplicate. An initial stock solution of 1000 mg/L was prepared by dissolving the reference material directly in mineral medium with the aid of ultrasonication for approximately 10 minutes. An aliquot (51.4 mL) of this stock solution was added to the test vessel containing inoculated mineral medium and the volume adjusted to 3 litres to give a final test concentration of 17.1 mg/L, equivalent to 10 mg carbon/L. The volumetric flask containing the reference material was inverted several times to ensure homogeneity of the solution.
- Toxicity control: A toxicity control (one vessel only), containing the test material and sodium benzoate, was prepared in order to assess any toxic effect of the test material on the sewage sludge micro-organisms used in the test. An aliquot (65.1 mL) of the test material stock solution was dispersed in inoculated mineral medium along with an aliquot (51.4 mL) of the sodium benzoate stock solution. The volume was adjusted to 3 litres to give a final concentration of 21.7 mg test material/L plus 17.1 mg sodium benzoate/L, equivalent to a total of 19.3 mg carbon/L.
- Calculation of Carbon Content:
The theoretical amount of carbon present in the test material (C12H17N4OSClHCl) was calculated as follows:
[(No. of C atoms x mol wt of C) / mol wt of test material] x 100
[(12 x 12.011) / 337.27] x 100 = 42.73 %
Thus for a concentration of 9.3 mg C/L the total organic carbon present was 27.9 mg C.
The theoretical amount of carbon present in the reference material, sodium benzoate (C6H5COONa) was calculated as follows:
[(No. of C atoms x mol wt of C) / mol wt of sodium benzoate] x 100
[(7 x 12.011) / 144.11] x 100 = 58.24 %
Thus for a 10 mg C/L test concentration the total organic carbon present for sodium benzoate was 30 mg C.
- Percentage Biodegradation
The percentage biodegradation or percentage of Theoretical Amount of Carbon Dioxide (ThCO2) produced is calculated by substituting the inorganic carbon values, into the following equation. The values of Replicates R1 and R2 are meaned for the inoculum control, test and reference materials before substitution into the following equation:
%ThCO2(=%biodegradation) = [(mg IC in test flask – mg IC in control flask) / mg TOC added as test material] x 100
- Total CO2 Evolution
The total CO2 evolution in the inoculum control vessels at the end of the test is calculated from the equation below. The inorganic carbon values for Replicates R1 and R2 on Day 28 are meaned before substitution into the equation:
Total CO2 evolution (mg C/L) = mg IC in control x (100 / %C of CO2) x (1 / test volume)
= mg IC in control x (100 / 27.29) x (1 / 3)
VALIDATION CRITERIA
- The results of the degradation test are considered valid if in the same test the reference material yields ≥ 60 % degradation by Day 14.
- The test material may be considered to be readily biodegradable if ≥ 60 % degradation is attained within 28 days. This level of degradation must be reached within 10 days of biodegradation exceeding 10 %.
- The toxicity control (test material and sodium benzoate) should attain ≥ 25 % degradation by Day 14 for the test material to be considered as non-inhibitory.
- The test is considered valid if the difference of the extremes of replicate values of production of CO2 at the time the plateau is reached, at the end of the test or at the end of the 10-Day window, as appropriate, is less than 20 %.
- The total CO2 evolution in the inoculum control vessels at the end of the test should not normally exceed 40 mg/L medium (= 120 mg/3 litres, corresponding to 33 mg C per flask), however values up to 70 mg/L are acceptable. Data from studies where values in excess of 70 mg/L are obtained should be critically examined.
- The IC content of the test material suspension in the mineral medium at the beginning of the test should be <5 % of the TC.
benzoic acid, sodium salt
Preliminary study:
The results obtained from the samples taken for DOC analysis from the preliminary investigational work indicated that the test material did not adsorb to filter matrices or to activated sewage sludge. Therefore, for the purpose of the study, the samples taken for DOC analysis were filtered to remove the suspended solids present without the loss of any test material.
Test performance:
- The total CO2 evolution in the inoculum control vessels on Day 28 was 35.70 mg/L and therefore satisfied the validation criterion given in the OECD Test Guidelines.
- The IC content of the test material suspension in the mineral medium at the start of the test was below 5 % of the TC content and hence satisfied the validation criterion given in the OECD Test Guidelines.
- The difference between the values for CO2 production at the end of the test for the replicate vessels was <20 % and hence satisfied the validation criterion given in the OECD Test Guidelines
% degradation (CO2 evolution)
Sampling time:
- Acidification of the test vessels on Day 28 followed by the final analyses on Day 29 was conducted according to the methods specified in the Test Guidelines. This acidification effectively kills the micro-organisms present and drives off any dissolved CO2 present in the test vessels. Therefore any additional CO2 detected in the Day 29 samples originated from dissolved CO2 that was present in the test vessels on Day 28 and hence the biodegradation value calculated from the Day 29 analyses is taken as being the final biodegradation value for the test material.
- The results of the inorganic carbon analysis of samples from the first absorber vessels on Day 29 showed an increase in all replicate vessels with the exception of test material replicate 1 and the toxicity control. This decrease was considered to be due to sampling/analytical variation.
-Inorganic carbon analysis of the samples from the second absorber vessels on Day 29 confirmed that no significant carry-over of CO2 into the second absorber vessels occurred.
- The test material attained 115 % biodegradation after 28 days and satisfied the 10-Day window validation criterion, whereby 60 % biodegradation must be attained within 10 days of the biodegradation exceeding 10 %. The test material can therefore be considered to be readily biodegradable under the strict terms and conditions of OECD Guideline No. 301B.
- Biodegradation values in excess of 100 % were considered to be due to an increase in the numbers of viable micro-organisms in the test material vessels as a result of the readily biodegradable nature of the test material. This effect occurs due to the micro-organisms utilising the test material as a carbon source for cellular growth resulting in a greater number of viable micro-organisms in these vessels when compared to the control vessels. The increased number of micro-organisms in these vessels gave rise to increased respiration rates and hence background CO2 evolution was greater than in the control vessels. This increase in background CO2 evolution resulted in biodegradation rates in excess of 100 %.
- The toxicity control attained 51 % biodegradation after 14 days and 78 % biodegradation after 28 days thereby confirming that the test material did not exhibit an inhibitory effect on the sewage treatment micro-organisms used in the test.
Results with reference substance:
Sodium benzoate attained 88 % biodegradation after 14 days and 98 % biodegradation after 28 days thereby confirming the suitability of the inoculum and test conditions
Table 1: Dissolved Organic Carbon (DOC) Values from the Preliminary Investigational Work
DOC Concentration
% of Nominal Carbon Content
mg C/L
mg C/L Correct for Appropriate Control
Mineral medium
<LOQ
Control, inoculated at 30 mg ss/L, Filtered
Control, inoculated at 30 mg ss/L, Centrifuged
100 mg/L Untreated
100 mg/L Filtered
100 mg/L, inoculated at 30 mg ss/L, Filtered
100 mg/L, inoculated at 30 mg ss/L, Centrifuged
Table 2: Percentage Biodegradation Values
% Biodegradation
Procedure Control
Toxicity Control
*Day 29 values corrected to include any carry-over of CO2 detected in Absorber 2
Under the conditions of this study the test material attained 115 % biodegradation after 28 days and satisfied the 10-Day window validation criterion, the test material can therefore be considered to be readily biodegradable.
The biodegradation potential of the test material was investigated in accordance with the standardised guidelines OECD 301B, EU Method C.4-C and EPA OCSPP 835.3110, under GLP conditions.
The study was performed to assess the ready biodegradability of the test material in an aerobic aqueous medium. The test material, at a concentration of 9.3 mg carbon/L, was exposed to activated sewage sludge micro-organisms with mineral medium in sealed culture vessels in the dark at temperatures of between 22 to 24 °C for 28 days. The biodegradation of the test material was assessed by the determination of carbon dioxide produced. Control solutions with inoculum and the reference material, sodium benzoate, together with a toxicity control were used for validation purposes.
The test material attained 115 % biodegradation after 28 days and satisfied the 10-Day window validation criterion, whereby 60% biodegradation must be attained within 10 days of the biodegradation exceeding 10%. The test material can therefore be considered to be readily biodegradable under the strict terms and conditions of OECD Guideline No. 301B.
Biodegradation values in excess of 100 % were considered to be due to an increase in the numbers of viable micro-organisms in the test material vessels as a result of the readily biodegradable nature of the test material. This effect occurs due to the micro-organisms utilising the test material as a carbon source for cellular growth resulting in a greater number of viable micro-organisms in these vessels when compared to the control vessels. The increased number of micro-organisms in these vessels gave rise to increased respiration rates and hence background CO2 evolution was greater than in the control vessels. This increase in background CO2 evolution resulted in biodegradation rates in excess of 100 %.
All validity criteria of the test were met.
Biodegradation in water:
The biodegradation potential of the test material was investigated in accordance with the standardised guidelines OECD 301B, EU Method C.4-C and EPA OCSPP 835.3110, under GLP conditions. The study was awarded a reliability score of 1 in accordance with the criteria set forth by Klimisch et al. (1997).
[Type of water: freshwater]

redpajama_set_name: RedPajamaCommonCrawl


text:
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A.C.W. & E.C.W.
E.C.W.
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Musket, Pike & Shot
Early Italian Wars
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Home / Body's Bits & Banners / Body's Banners / American Civil War / Union / Infantry / ACU 17
ACU 17
88th new york 2nd reg. Irish brigade (see main description for battle honours)
Organized at fort schuyler, n.Y., and left state for washington, d.C., december 16, 1861. Attached to meagher's brigade, sumner's division, army of the potomac, to march, 1862. Meagher's 2nd brigade, richardson's 1st division, 2nd army corps, army of the potomac, to may, 1862. 2nd brigade, 1st division, 2nd army corps, to june, 1864. Consolidated brigade, 1st division, 2nd army corps, to november, 1864. 2nd brigade, 1st division, 2nd army corps, to june, 1865.Battles: duty in the defences of washington, d. C., till march, 1862. Advance on manassas, virginia., march 10-15. Ordered to the peninsula, virginia, siege of yorktown, fair oaks or seven pines may 31-june 1, seven days before richmond june 25-july 1, gaines mill, peach orchard and savage station june 29, white oak swamp, glendale, malvern hill, harrison's landing till august 16, movement to fortress monroe, thence to alexandria and centreville august 16-30, maryland campaign september 6-22, antietam, moved to harper's ferry, w. Virginia, reconnaissance to charlestown october 16-17. Advance up loudoun valley and movement to falmouth october 29, fredericksburg. At falmouth till april 27, 1863, mud march, chancellorsviile campaign april 27-may 6, chancellorsviile, gettysburg (pa.) campaign june 11-july 24, gettysburg, pursuit of lee to manassas gap, duty on line of the rappahannock till october. Advance from the rappahannock to the rapidan september 13-17. Bristoe campaign october 9-22. Auburn and bristoe october 14. Advance to line of the rappahannock november 7-8. Mine run campaign november 26-december 2. Mine run. Duty at stevensburg till may, 1864. Demonstration on the rapidan february 6-7. Campaign from the rapidan to the james may 3-june 15. Battles of the wilderness may 5-7; spotsylvania, po river, spotsylvania court house, bloody angle, north anna river, on line of the pamunkey may 26-28. Totopotomy, cold harbour, before petersburg june 16-18, siege of petersburg june 16, 1864, to april 2, 1865, jerusalem plank road, demonstration north of the james july 27-29, deep bottom july 27-28, strawberry plains, deep bottom, ream's station, boydton plank road, hatcher's run, reconnaissance to hatcher's run, dabney's mills, hatcher's run, february 5-7, 1865. Watkins' house march 25. Appomattox campaign march 28-april 9. Hatcher's run or boydton road march, white oak road, sutherland station and fall of petersburg april 2. Sailor's creek, farmville, appomattox court house. Regiment lost during service 15 officers and 136 enlisted men killed and mortally wounded and 3 officers and 69 enlisted men by disease. A total of 223 men. The flags of the 88th are identical to that of the 63rd and, 69th new york infantry regiments in that, they adopt the standard pattern flag of new york state in respect, of the national flag. However the green regimental colour is unique for the irish brigade and, this organization of flags are not replicated in any other eastern formation. Based on a green silk field the flag is adorned with examples of irish symbolism such as harps and shamrocks. The unit designation appears on a red scroll. With the motto who have never retreated from clash of spears" embroidered in gold and, written in gaelic upon a red scroll. Several examples of flags associated with regiments from the irish brigade are held within the state collections in albany, new york. A single example of a green regimental flag was donated to the irish government by president john f. Kennedy during his term of office.
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5 Things that Should Matter Today: BBNaija star Tacha has ended her management deal with Teebillz
December 31, 2019 | Op-Ed Editor
BBNaija star Tacha Akide has announced the end of her management deal with Teebillz. She announced this in a statement shared on her Instagram page some hours ago.
THANK YOU BILLZ VIZION FOR HELPING ME END MY 2019 ON A HIGH❤🔱
A post shared by PH CITY FIRST DAUGHTER🔱 🇳🇬🇬🇭 (@symply_tacha) on Dec 30, 2019 at 5:05pm PST
Burna Boy, Rema make Obama's playlist of 35 songs of 2019
Former US President Barack Obama shared his playlist of 35 songs for the year 2019 and Burna Boy and Rema made the list.
From hip-hop to country to The Boss, here are my songs of the year. If you're looking for something to keep you company on a long drive or help you turn up a workout, I hope there's a track or two in here that does the trick. pic.twitter.com/mQ2VssyDwt
— Barack Obama (@BarackObama) December 30, 2019
Nigeria secured highest convictions globally in 2019 – Lai Mohammed
Minister of Information and Culture, Lai Mohammed on Monday December 30 announced that Nigeria secured the highest convictions globally in 2019.
Highlighting some of Buhari-led administration's achievement in its fight against corruption in 2019, the Minister stated that there is progress in all fronts including institutional reforms, loot recovery and prosecution of allegedly corrupt persons.
Stop rejecting gunshot victims – Lagos state warns hospitals
The Lagos State Government has strongly appealed to all health care providers, including public and private health facilities operating in the State to stop the trend of rejecting gunshot victims and other trauma patients on the excuse of requiring a police report or the need to provide evidence of funds before commencing treatment.
The State Commissioner for Health, Prof. Akin Abayomi who issued these statements on Sunday, December 29th while reacting to investigations by the Ministry of Health revealing that some health facilities in the State are in the habit of rejecting or delaying care to trauma victims which has in some cases resulted in avoidable loss of lives, noted that several times such patients are not in a position to discuss the incidence or finance and are often brought in by good Samaritans.
Sokoto state House of Assembly slumps and dies
A member of the Sokoto State House of Assembly, Harisu Isa, slumped and died when he arrived the state assembly complex to attend the day's plenary today Monday December 30th.
The Deputy Speaker of the house, Abubakar Magaji, who confirmed Harisu's death to newsmen, said that the lawmaker who represented Kebbe constituency in the house, was rushed to the Usmanu Danfodiyo University Teaching Hospital when he slumped and was confirmed dead on arrival.
Tags: BBNaija, Sokoto, Tacha


Some of my favorite places to shop exist as such for the simple pleasure of their fabulous dressing room. Now here's a place I'll need to stop by the next time the girls and I make a weekend getaway to Vegas; it's the Miss Sixty store on the strip. Their changing rooms are a cluster of white domes in the middle of the store – a plus for good looks and creativity – but possibly not so much for design – they make for a fun way to change in and out of outfits, but only as long as you don't mind showing off that silhouette!


High school student Jinpachi Kogure is a member of the manga club and is no good with women. Yumika Testuyoshi is a troubled female high school student who's always skipping school and searching for a girl she doesn't hate. However, these two are in reality young masters of the art of killing people: "Young Guns"----!


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Fala śmierci (ang. Killer Wave) – amerykańsko-kanadyjski film katastroficzny z 2007 roku w reżyserii Bruce'a McDonalda. Wyprodukowany przez wytwórnię Muse Entertainment Enterprises.

Premiera filmu miała miejsce 10 stycznia 2007 roku w Wielkiej Brytanii oraz 5 sierpnia w Stanach Zjednoczonych.

Opis fabuły
John McAdams (Angus Macfadyen), pisarz i ekspert w dziedzinie ekologii, ustala, że fale zagrażające wybrzeżom Stanów Zjednoczonych zostały wywołane celowo. Tymczasem ginie inny naukowiec zajmujący się tą sprawą. Okazuje się, że fale powstają w wyniku wybuchów podwodnych pocisków jądrowych.

Obsada
Źródło: Filmweb
 Angus Macfadyen jako John McAdams
 Karine Vanasse jako Sophie Marleau
 Louis Philippe Dandenault jako Marlon Clark
 John Robinson jako Frank Brisick
 Tom Skerritt jako Victor Bannister
 Stephen McHattie jako Edgard Powell
 Ellen David jako Annabelle
 Bruce Dinsmore jako Jackson Wilcord
 Christopher Heyerdahl jako Stanley Schiff
 Andreas Apergis jako Aslan Bukhari
 Anna Hopkins jako Mel
 Vlasta Vrana jako Heinz Litchner
 Linda Smith jako Olivia McPhee
i inni

Przypisy

Linki zewnętrzne

Amerykańskie filmy katastroficzne
Amerykańskie filmy z 2007 roku
Kanadyjskie filmy katastroficzne
Kanadyjskie filmy z 2007 roku
Filmy w reżyserii Bruce'a McDonalda

redpajama_set_name: RedPajamaWikipedia


This note card box features artwork by Henri Matisse. This note card box features a fold-over flap with magnetic closure, along with an inside panel containing a photo and short biography of the artist. Each set contains ten cards and envelopes, two each of five images.


Beautiful paper fans, handmade, in Nepal, from a gorgeous, thick quality printed natural paper. We love the bright colours, and think they would look great decorating a bedroom, party or celebration. Available in small or large; bright pink, yellow, lilac, turquoise or pale pink; ready for hanging.


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Samsung Tizen Smart TV
Samsung and Tizen OS Forums
Neo QLED 8K: Object Tracking Sound Pro | Samsung
By SAMSUNG,
March 13, 2021 in Samsung Tizen Smart TV
Put yourself right in the action with 3D sound from Neo QLED 8K. Speakers on the bottom, side, and top of the screen work together to deliver realistic audio that matches the movement on-screen. Immerse yourself fully through sound. Is your TV sound one dimensional? Samsung OTS Pro automatically analyze objects so sound follows the action. Using multiple speakers, OTS Pro delivers vivid sense of realism to you. Experience OTS Pro, and add motion to the sound. #NeoQLED8K #UltraViewingAngle #SamsungTV
[Interview] The Secret Behind the Rich, Powerful Sound of Samsung's Premium Soundbar
▲ (From left) Mingyo Oh, Haekwang Park and Shinhye Choi, at Samsung Electronics' Visual Display Business behind Premium Soundbar, the HW-Q950A
With the increasing popularity of large screen televisions and the continued addition of further OTT (over-the-top) services, more users are looking to establish a theater-like experience in their homes. On top of that, social distancing measures have required people to go out less, stoking their desire to enjoy premium visual and audio experiences from home.
Full, clear and deep sound plays a crucial role in ensuring that content is delivered as it was originally intended. Paving the way for new audio experiences, Samsung Electronics introduced its high-end soundbar models, the HW-Q950A and HW-Q900A, in May of this year. The new premium models take sound quality to the next level with up to 16 channels and a host of enhanced functions that bring even greater satisfaction to users. Samsung Newsroom met with the product experts of the 2021 soundbar models to find out the secret behind their powerful and precise sound.
11.1.4-Channel Surround Sound That Fills the Entire Room
▲ Haekwang Park, Principal Engineer at the Sound Device Lab, Samsung's Visual Display Business
Thanks to our ever-evolving content culture, sound is getting richer, fuller and more expressive. The days of one-directional (mono) sound are long gone as we have ushered in the era of multi-directional channels that allow sound to fill up the surrounding space. "Sound is becoming increasingly important as people nowadays watch a wide variety of programs that place more emphasis on audio quality, such as music shows and films," says Haekwang Park, Principal Engineer from the Sound lab at Samsung's Visual Display Business.
To live up to consumers' heightened expectations, Samsung has spared no effort in developing high-quality soundbar products that deliver very realistic sound. In 2016, Samsung brought its first 5.1.4-channel soundbar model to market. This soundbar was equipped with left, right and middle channels, two rear channels, a subwoofer and four upward-firing speakers, and delivered immersive, three-dimensional surround sound. More channels were added to later models, including a surround channel on the side of the soundbar and a wide surround channel to deliver sound from the front and sides. In 2020, Samsung introduced a 9.1.4-channel model.
In 2021, Samsung went a step further with its latest 11.1.4-channel model, the HW-Q950A, which features two rear surround channels. Product planner Mingyo Oh explained that, "The newly added channels are located on the sides of the rear surround speakers. They add liveliness to dynamic scenes involving things like airplanes in flight and car chases by allowing the sound to hit the side walls before it bounces back to where the audience is positioned." The premium soundbar delivers an outstanding audio experience by filling previously quiet moments with powerful, immersive sound.
▲ Mingyo Oh from the Product Planning Group at Samsung's Visual Display Business
Delivering Sound Exactly as Intended With Advanced Rendering and Waveguide Techniques
A channel is a passage for sound that dictates which direction it travels. This is why having a higher number of channels provides better, smoother sound. It usually requires costly equipments to offer 11.1.4-channel sound, but Samsung's HW-Q950A is able to provide a breathtaking 3D surround sound experience with only four speakers thanks to its unparalleled rendering and waveguide techniques.
Rendering is the process of creating a way for the audio output to deliver sound exactly as the artist intended. The Samsung developers made it possible to deliver an optimal acoustic experience with the soundbar system by tapping into its cutting-edge rendering technology. "To provide the most natural audio experience to users, we have carefully designed our products to deliver sound seamlessly. The HW-Q950A soundbar delivers sound that is reflected in various directions and arrives at users' ears at the optimal angle," related Shinhye Choi.
▲ Shinhye Choi from the Global Product Marketing Group at Samsung's Visual Display Business
An advanced waveguide technique is also indispensable when it comes to delivering next-level sound. A multi-channel speaker emits sound in multiple directions, and the waveguide technique allows components in the speaker to deliver sound in the direction intended by the developer. Haekwang Park reported that, "Top-tier experts at the Visual Display Business's Sound Lab and Samsung Audio Lab in California came together to design the parts that went into the speakers. Our soundbar models are meticulously constructed to deliver world-class sound performance."
How SpaceFit Sound+ and Q-Symphony Further Elevate the Viewing Experience
Usually, most of the sound emitted by speakers hits walls or curtains before reaching the audience's ears. This explains why the same sound is heard differently depending on the dimensions and layout of the viewing environment. Samsung's HW-Q950A soundbar and 2021 TV models deliver stunning sound that tunes into users' viewing environments by analyzing the dimensions of the space they're in using SpaceFit Sound+.
SpaceFit Sound+ combines SpaceFit Sound technology, which delivers optimized audio, and Auto EQ (auto equalizer) technology. Together, the SpaceFit Sound and Auto EQ solutions use embedded microphones to thoroughly survey the viewing space, and then feed that data to the soundbar to enable it to deliver a tailored sound experience.
But the collaboration between the Samsung TV and the soundbar does not stop there. Samsung's innovative, proprietary Q-Symphony technology additionally combines and enhances the sound generated by the TV and soundbar to guarantee optimal sound quality. Normally, when you connect a soundbar to your TV, the sound is emitted only from the soundbar. What's more, some technical issues involving out-of-sync sound and tone disparities between the two devices had been observed. Q-Symphony overcomes these issues by incorporating a stereoscopic sound effect that allows sound to play through the speakers that wrap around the TV in addition to through the soundbar, providing richer and more realistic sound compared to when sound is produced through the soundbar alone.
Combining Truly Rich Sound With Highly Convenient Functionality
As with other models, Samsung has placed great emphasis on creating a new level of acoustic immersion with the HW-Q950A. But that doesn't mean it can't also include a host of convenient features. To begin with, the Active Voice Amplifier (AVA) feature clarifies dialogue in the viewer's favorite shows to help them hear on-screen conversations clearly amid a variety of background noises. With an embedded microphone, the soundbar automatically measures noise levels and enhances voices if the noise continues for more than three seconds or surpasses a certain threshold.
And the HW-Q950A optimizes sound for different types of scenes, such as those with loud sound effects and dialogue-heavy scenes. For instance, the Adaptive Sound feature analyzes sound signals to deliver an optimal sound experience for each scene. Moreover, Game Mode Pro delivers a powerful, immersive gaming experience with subwoofers and upward-firing speakers. The Tap Sound feature also enables users to simply tap their smartphones on the soundbar when listening to a song to take their listening experience to the next level.
The motto of Samsung's soundbar developers is to get the basics right when it comes to sound. "We are working our hardest to deliver sound of the highest quality," the developers related. "We do this by collaborating closely with groups of experts and employing Samsung's advanced measuring and simulation techniques to set clear standards for what we define as 'optimal' sound."
The developers' ultimate goal is to deliver a best-in-class acoustic experience to users regardless of the type of content they're consuming, or the specific features of their viewing environment. Let's keep our fingers crossed that they make this dream a reality.
View the full article
Samsung Neo QLED TVs Obtain 'Spatial Sound Optimization' Certification From VDE
Samsung Electronics today announced that its Neo QLED TVs1 became the first in the industry to receive certification of Spatial Sound Optimization from Verband Deutscher Elektrotechniker(VDE).
Different watching environments — for example, a living room, a bedroom, or a terrace — create different sound experiences. The VDE's Spatial Sound Optimization certification is given to products that offer a consistent sound experience regardless of the surrounding environment.
To reduce such variation in sound, Samsung has added the SpaceFit Sound feature to its Neo QLED TVs, enabling its products to provide a sound experience consistent to a standard listening environment.
Built-in microphones are utilized to recognize the surrounding environment like curtains, carpets, and walls, which can affect the sound. For example, when the TV recognizes that the carpet in the living room is absorbing the mid-range and treble sound, it calibrates its sound to surroundings by boosting the mid and the treble.
When the TV is placed close to the wall, the bass sound can be distorted since there is little space between the wall and the TV. 'SpaceFit Sound' can recognize the issue and reinforce the bass to provide a clearer sound.
As more and more customers seek to personalize their space according to their lifestyles, TVs are being watched not only from living rooms and bedrooms, but also in workrooms, and even in kitchens.
The sounds reflected off the surrounding walls, ceilings, and floors are much louder than the sound we directly hear. This means users can feel the sounds from the same product differently depending on the unique size and shape of the place and wall materials.
While users were previously required to configure the audio manually, 'SpaceFit Sound' automatically recognizes the users' environment so no additional setups are required.
"SpaceFit Sound optimizes the sound from content by analyzing user's surrounding environment," said Younghun Choi, EVP and Head of R&D Team of Visual Display Business at Samsung Electronics. "What we want is for our customers to just enjoy their TV without any hassle."
1 Certified models: Q70A, Q80A, Q90A, Q700A, Q800A, Q900A TVs
[Interview] Neo QLED 8K Engineers Discuss Packing the TVs' Ultra-Slim Frames With Powerful Sound Technologies
On a rainy night, a family gathers in their living room to watch a horror movie. Snuggling up together under a big blanket, they push the sofa closer to the TV to maximize the spooky vibes. What else could they do to take their immersion to the next level?
Samsung Electronics exquisitely refined its Neo QLED 8K lineup's sound system to allow users to take full advantage of their large TV's audio quality. The flagship displays were designed to analyze both the size of the space where they sit and how they've been installed in order to calibrate sound to its optimal settings. The TVs use that information to pump out realistic, object-tracking sound through their eight total speakers. When applied to our 'family movie night' scenario above, the TV's speakers would compensate for when the family's thick blanket absorbed the tones of mid-to-high registers, and evenly distribute three-dimensional sound from the corners to the center when the family sat closer to the screen.
To learn more about how Samsung's newest TVs customize sound based on where users place their screen, and how sound has evolved as tool for fostering immersive home entertainment, Samsung Newsroom sat down with some of the developers behind the displays.
▲ (From left) Engineers Jongbae Kim, Sungjoo Kim and Sunmin Kim of Samsung Electronics' Visual Display Business.
SpaceFit Does Spatial Analysis Daily to Optimize Sound Settings
Today, with more users watching TV in more places, including living rooms, workrooms, bedrooms, terraces and more, both sitting up and lying down, and at different times of the day, our viewing habits are changing. Now, more users are customizing their viewing experience based on their living environment. With this in mind, the developers focused on creating technology that would automatically analyze users' viewing environments to ensure that they're always enjoying the best possible sound. The result is SpaceFit, a feature that automatically checks for changes in your living space once a day and calibrates sound settings accordingly.
Here's how it works. First, a built-in microphone identifies elements that can affect sound, such as curtains, carpets and walls. Suppose the TV is placed in a user's living room, which features a carpet that we can assume absorbs mid-to-high range sound. In this case, SpaceFit would optimize sound settings to raise the mid-to-high range sound accordingly and automatically. It works the same regardless of whether stands, wall hangings and other elements are changed. If the TV were to be moved closer to the wall, then the space behind it would become narrower, which could affect low frequency sounds. SpaceFit allows the TV to notice this change and adjust its settings in advance to produce clearer sound.
The key point to remember is that all of these processes occur automatically. As Engineer Sunmin Kim explained, "SpaceFit is an automated function that does not require that users press a button, and the device won't send out a 'testing' sound. By simply turning it on or off, the TV will analyze the environment based on the sound of the content that the user actually consumes. So all you need to do is just enjoying what is being played on screen."
This industry-first technology was made possible thanks to innovations that were based on a myriad of data and AI technologies. From sound-absorbing areas, such as what are referred to in sound engineering as 'dead rooms,' to acoustically reflective spaces, the team considered both extremes in terms of viewing environments.
"Since there were so many variables to consider, we built up a sufficiently wide learning database and analyzed it using machine learning technology. That's where the AI technologies that Samsung developed kicked in," said Sunmin Kim, who also noted that the feature "can cover almost any typical space in which a TV may be placed."
OTS Pro Uses Eight Speakers to Produce 3D Sound From All Corners of the Screen
Content is beginning to make use of a wider range of sound channels, and users' preferred ways of enjoying that content are also changing. As home entertainment expands and both wide screens and multi-channel sources with immersive formats like films become more popular, it's becoming commonplace for multiple people to enjoy the same content together. The key here is to widen the 'sweet spot' – the location from which users can enjoy optimal sound even at the outside edges of the screen. As content grows more varied and screens become bigger, sound, too, must evolve in a way that enhances users' enjoyment.
Object Tracking Sound (OTS) technology, a feature that tracks the movement of objects onscreen using the TV's multi-channel speakers, is allowing Samsung to take users' enjoyment to the next level. Neo QLED 8K includes an enhanced version of the technology, OTS Pro, and adds two center speakers to previous models' six-speaker setup, for a total of eight. When an object onscreen moves, the speaker located in the optimal spot for expressing the movement produces sound, matching what the viewer sees on their screen. The immersive sound setup enriches the left and right stereo experience and the 3D effect, taking the viewing experience to new heights by making the user feel as if they were standing in the middle of the action.
"Often, when consuming content on a large screen, viewers watching the TV from both sides notice that sound produced at the center of the screen seems like it's being produced in only one side," said Engineer Jongbae Kim. "That's why we added a center speaker between the left and right sides. The combination of the newly added center speaker and OTS Pro gathers sound in the middle of the screen, makes voices clearer, and expresses sound's position more accurately, without distortion."
If a speaker were to actually be placed at the center of a TV, it could clash with the overall design concept. The developers solved this issue by attaching a tweeter applied with a wave guide to the rear of the device. "If a speaker were to be placed on the back, sound would disperse in all directions and bounce off the walls, reducing clarity," said Engineer Sungjoo Kim. "We needed a technology that drew sound toward viewers when they were in front of their TV. Employing a hole array technique enabled us to ensure that sound would travel well from a tweeter to the front of the display."
The team's efforts to balance sound also extend to Samsung's next-generation MICRO LED display. Because the bottom of this large screen can almost reach the floor of users' living rooms, if users connect their display to a multi-component home theater setup, there may not be space to place a center speaker.
"The 110-inch MICRO LED lineup features a μ-Symphony function, which allows you to use the built-in speaker as the center speaker," said Jongbae Kim. "This means that you do not have to use a separate center speaker for your home entertainment system because MICRO LED's multi-channel speaker fills that role. Because sound comes from the center of the screen, there is no sound-image mismatching, and the user enjoys a cinema-like experience."
Making Use of Each and Every Piece of a Ultra-Slim Design
The Infinity Screen, a unique aspect of Samsung's TV design, maximizes immersion by making bezels nearly invisible. It also posed a unique challenge for the developers, requiring them to explore how to best mount multiple speakers within the device's slim form.
"In the past, a duct structure was used to draw the low frequency sound from the inside of the woofer speaker to the outside," said Sungjoo Kim. "This type of design is capable of generating unwanted noise resulting from air turbulence. So, for the 8K models, we decided to take a 'passive radiator' approach that allowed us to produce rich, low-pitched sound. This not only enabled us to use the limited space inside the slim TV more efficiently, but it also allowed us to create rich and pure sound."
"By exposing the diaphragm of the woofer and the passive radiator on the back of the TV," he added, "it became possible to visualize Neo QLED's sound performance in an interesting and intuitive way."
It's just one of Neo QLED TVs' many innovative, out-of-the-box design elements. To help accommodate for panels becoming thinner and thinner, components that used to serve basic functions have been given new roles. "We used part of the rear cover of the TV as an acoustic component that guides the direction of sound to the sides," said Jongbae Kim. "We also reinvented the design of the 'slit vent,' a component inside the rear cover that extends from the center tweeter to the bottom and was previously used to emit heat, to improve acoustic performance by controlling directivity. We utilized each and every part as much as possible, which means that no element of the design is without purpose."
Delivering Rich, Realistic Sound
The developers have also gone to great lengths to gain a deeper understanding of the content users enjoy as part of an effort to provide better sound performance. For example, when analyzing sports content, they focus on reproducing the sound of the crowd, while for music, they try to create a stable sound stage. For movies, they conduct constant analysis to ensure that dialogue comes from the center of the screen.
"With speaker form factors changing, upmixing is becoming more important," said Sunmin Kim. "Input channels are becoming varied, and the average number of speakers is increasing to six to eight, which adds up to countless combinations of inputs and outputs.
"Let's say you're enjoying two-channel content. Here, instead of sending signals blindly through eight speakers, it is important to understand the mixing characteristics of the content and send each signal separately. Samsung's unique technology makes this possible using an optimized algorithm that's based on AI."
Samsung TVs have led the global market for 15 years running, and the user data that the company has accumulated thus far has been an invaluable asset. As countless families across the world use Samsung TVs, the ubiquity of the company's displays offers an opportunity to think about what's next. Sungjoo Kim hinted at what Samsung has in store. "We are systematically building a deep learning network that is based on numerous data," said Kim. "In addition, we are going to firmly establish our position as a global leader by discussing technologies needed in the mid-to-long term with Samsung Electronics' overseas AI research centers."
In response to an ever-growing flood of content, the developers are committed to helping Samsung TVs deliver a sound experience that's as close to reality as possible.
Screens are getting bigger, designs are getting slimmer, and content is becoming more varied. Keeping pace with trends, increasing speaker channels and doing so in three dimensions, and advancing our AI technologies to allow channels to better correspond to one another will bring us closer to delivering realistic sound. This may ultimately lead us into an era where you do not need a remote control to adjust sound settings.
Look forward to more Samsung TV innovations designed to maximize users' viewing experiences.
Neo QLED 8K: SpaceFit Sound+ | Samsung
By SAMSUNG
The pitch is always perfect with Neo QLED 8K. SpaceFit Sound+ analyzes your space to tailor audio to its dimensions. Now, you can immerse yourself in crisp dialogue and booming music, in spaces big or small. For Neo QLED and Q950 Soundbar Sound changes based on the room, it may differ from the original. If you sound feels like this, there is a solution. Neo QLED and Q950 analyze the space you're in. SpaceFit Sound+ automatically provides the right sound for your space. From a spacious living room to a cozy bedroom, enjoy the optimal sound for your space. #NeoQLED8K #SpaceFitSound+ #SamsungTV
How to play custom sound during tuner is running?
By Ahmed Mostafa
My application is running on tv window (tizen.tvwindow.show)
when i play a sound in javascript the tv window is hidden
how to play the sound without losing the tv channel?


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MAY 11, 2014 – JUNE 15, 2014
Run Time: 2 hours plus an intermission.
Experience Prospero's wizardry as never before in this startling production, featuring magic created by Teller (of the legendary duo Penn & Teller). When shipwrecked aristocrats wash up on the shores of Prospero's strange island, they find themselves immersed in a world of trickery and amazement, where Tom Waits and Kathleen Brennan's Dust Bowl balladry, Teller's magic, and Pilobolus's movement animate the spirits and monsters. The Tempest is a co-production with The Smith Center for the Performing Arts in Nevada.
Standing Room Tickets
A very limited number of standing room tickets for select sold-out shows will be sold on the day of each show, in person only and only 1 ticket per person, from A.R.T. Ticket Services. The Ticket Office opens at 12:00PM.
Grade 3 and Up
The Dust Bowl circus theme and use of stage magic make this a family-friendly production of Shakespeare's play. The plot may be a little too complex for youngsters to follow, but prepared children age 8 and up will be taken in by the spectacle and enjoy the overall experience. Very young children may be frightened by the loud noises and simulated storm.
Notable dates
ASL Dates:
June 3, 7:30PM
Audio Described Dates:
June 4, 7:30PM*
*Touch tour 1 hour prior
There will be post-show discussions after the following select matinee performances:
May 17, May 21, May 24, May 28, May 31, and June 4.
There will also be a post-performance discussion with Dr. Jeremy Wolfe on Tuesday, May 27, following the 7:30PM performance.
Dr. Wolfe will discuss how it is possible to miss so much of what happens right in front of your eyes.
Jeremy Wolfe is Professor of Ophthalmology and Professor of Radiology at Harvard Medical School. He is Director of the Visual Attention Lab and the Center for Advanced Medical Imaging at Brigham and Women's Hospital. His research focuses on visual search and visual attention with a particular interest in socially important search tasks in areas such as medical image perception (e.g. cancer screening) and security (e.g. baggage screening). He taught Introductory Psychology for 25 years at MIT and Harvard.
Zita Ezpeleta and Kewsong Lee
Sarah Hancock
Alan Jones and Ashley Garrett
Lisbeth Tarlow and Stephen Kay
The Cambridge Trust Company
The Tempest Audience Reaction
The Tempest Production Photos
Inside The Tempest Rehearsal
Tempest Audience Reviews
Patriot Ledger
Patriot Ledger: The Tempest: A Magical Night at the Theatre
It's a telling experience when you wake up the morning after seeing a play, and it's still there with you, its spectacles, sounds and surprises pulsing in your mind hours after the theater emptied.
Wall Street Journal: Playing Tricks
Fanciful, mysterious and full of cheerily broad comedy, this is a "Tempest" that will give equal pleasure to seasoned playgoers and novices who quake in their boots at the mention of iambic pentameter. It is—in a word—magical.
Boston Globe: ART conjures a 'Tempest' of magic
Despite its stylistic edge, the ART's new production of "The Tempest" doesn't blow up Shakespeare's play so much as bring it alive in new garb.
WBUR/ARTery
WBUR/ARTery: This Magic Moment: Trust The Tale — And Teller — In A.R.T.'s 'The Tempest'
Make that "We are the stuff of which magic is made on."
View More Close
WBUR – Radio Boston
WBUR – Radio Boston: Teller Makes Magic at A.R.T.
The magician Teller, of Penn & Teller fame, is known for stunning illusions. He's also known for not speaking onstage. So you may be surprised to learn that Teller actually loves the spoken word — particularly that of the great master, William Shakespeare.
Edge Boston
Edge Boston: Magic To Do: Teller on "The Tempest"
Magic was in Teller's blood from a young age, and, it turns out, so was Shakespeare. When he was ten his grandfather — a Russian immigrant who worked as a Philadelphia streetcar driver — gave the family a complete set of Shakespeare's plays.
Boston Globe: Teller conjures up a magical vision of 'The Tempest' at ART
Teller, the mononymous magician, says that his upcoming production of "The Tempest" began as the stuff of dreams — his, to be precise.
WBUR/ARTery: The Silent Man Speaks: Teller Re-Imagines 'The Tempest' With Magic
For the past few years, Teller, the usually silent half of the Las Vegas illusion duo known as Penn & Teller, has been conjuring an ambitious theatrical collaboration — a re-imagining of Shakespeare's fantasy play "The Tempest" with a live band, acrobatic choreography and hefty doses of magic.
Adapted and directed by
Aaron Posner and Teller
Magic by
A.R.T.: Debut. Teller has been the smaller, quieter half of Penn & Teller since 1975. With Penn Jillette, he has played off and on Broadway, toured in North America and Britain, and is currently the longest-running headline act in Las Vegas. Penn & Teller have written and starred in television series and specials, including eight seasons of the Emmy-nominated Showtime series "Penn & Teller: Bullshit!"; "Penn & Teller Tell a Lie" on Discovery; "Penn & Teller's Sincity Spectacular" on FX; "Behind the Scenes," a PBS children's series on the arts; "The Unpleasant World of Penn & Teller," a magic and comedy series on England's Channel 4; and the recent ITV variety series, "Penn & Teller: Fool Us." Teller has written for The Atlantic Monthly, Smithsonian, The New York Times, The Washington Post, Esquire, GQ, The New Yorker; as well as three books with Penn Jillette and two on his own. He is a frequent contributor to All Things Considered on NPR. Teller and Aaron Posner co-directed a version of Shakespeare's Macbeth. He co-wrote and directed Play Dead (Off-Broadway and Los Angeles), and co-directed the performance film. He directed Tim's Vermeer, a documentary film from Sony Pictures Classics now in theaters nationwide and on DVD/Blu-Ray in June, 2014.
Songs by
Tom Waits and Kathleen Brennan
A.R.T.: Debut. Tom Waits is an Oscar nominated songwriter, Golden Globe recipient, Grammy Award winner and Rock and Roll Hall of Fame inductee. Tom Waits and his long time collaborator and wife Kathleen Brennan were recently named number four in a list of the "100 Best Living Songwriters" published by America's Paste magazine. Waits's music is recognized for its distinctive orchestrations and arrangements. He has recorded over 20 albums including Bad As Me and appeared in well over 20 films, working with such maverick directors like Jim Jarmusch, Terry Giliam, Francis Ford Coppola, and Robert Altman.
Matt Kent, Pilobolus
Daniel Conway
A.R.T.: Debut. Recent projects: Love in Afghanistan, Arena Stage; The Diary of Anne Frank, End of The Rainbow, Milwaukee Rep; Sucker Punch, The Secret of Sweet, The Aliens, Studio Theatre; Company, Hairspray, Chess, Sunset Boulevard, Signature Theatre; The Merry Wives of Windsor, Shakespeare Theatre. Current and upcoming productions: Sunday in the Park with George, Signature Theatre; I and You, Geva Theatre; Water by the Spoonful, Studio Theatre. Twelve nominations for Helen Hayes Award for Outstanding Set Design, most recently for Stunning, Woolly Mammoth Theatre.
Paloma Young
A.R.T.: The Tempest. Broadway: Peter and the Starcatcher (Tony Award). Off-Broadway: Natasha, Pierre & The Great Comet of 1812 (Lucille Lortel Award), Kazino; The Patron Saint of Sea Monsters, Fly By Night, Playwrights Horizons; Wildflower, 2econd Stage; Recall, Colt Coeur; Brooklyn Babylon, BAM NextWave. Regional: The Bandstand, Paper Mill Playhouse; Troublemaker... and You, Nero, Berkeley Repertory Theatre; Hoover Comes Alive! and A Current Nobody, La Jolla Playhouse. Ms. Young has also worked at South Coast Repertory, The Old Globe, Oregon Shakespeare Festival, California Shakespeare Theatre, Hand2Mouth and Mixed Blood among others. MFA UCSD.
Christopher Akerlind
A.R.T.: Marie Antoinette, The Gershwins' Porgy and Bess, The Seagull, Britannicus, Island of Slaves, Orpheus X, Olly's Prison, Oedipus, La Dispute, Uncle Vanya, Enrico IV, Misalliance. Broadway: Rocky, The Gershwins' Porgy and Bess (Tony nomination), End of the Rainbow, Superior Donuts, Top Girls, 110 in the Shade (Tony nomination), Shining City, Rabbit Hole, Talk Radio, Awake and Sing (Tony nomination), Seven Guitars (Tony nomination), The Light in the Piazza (Tony, Drama Desk, Outer Critics, and Henry Hewes Awards).
Darron L West
A.R.T.: La Dispute, Richard II, bobrauschenbergamerica. Darron is a Tony and OBIE Award-winning sound designer whose work for theater and dance has been heard in over 500 Productions nationally and internationally on Broadway and off. His other accolades for sound design include the Bay Area Theater Critics Circle Award, the Lucille Lortel Award, the AUDELCO, and he is a two-time Henry Hewes Design Award winner and a proud recipient of the 2012 Princess Grace Award Statue.
Magic Design
Johnny Thompson
A.R.T.: Debut. Johnny Thompson (The Great Tomsoni) has written, developed and provided material for magicians including Siegfried and Roy, Penn and Teller, Doug Henning, Lance Burton, David Blaine, The Amazing Jonathan. Magic consultant for Off-Broadway Play Dead, for which he won an LA Drama Critics Circle Award in the category of Illusion/Magic Design. In conjunction with Teller, he designed the magic effects for The Exorcist, Geffen Theatre. TV/Film magic advisor/consulting credits include: "Fool Us"; "Hart to Hart"; "Fantasy Island"; "One Day at a Time"; "Beyond Westworld"; The Fantasticks; Bogus; Houdini – Believe; The Magic Box.
Magic Engineering and Construction
Thom Rubino
A.R.T.: Debut. Thom Rubino started designing illusions, theatrical effects and displays over 20 years ago. In 1999, he moved to Las Vegas to continue his journey. His company, Thom Rubino Illusions, has a list of clients that include: Armani Exchange, Goldman Sachs, Gucci, Sephora, Myth Busters, Siegfried and Roy Productions, Cirque Du Soleil, and Teller. It's a privilege for me to be part of Teller's and Johnny Thompson's Tempest magic team.
Music Direction and Arrangements
Shaina Taub
A.R.T.: Debut. Shaina Taub is a performer and songwriter. Off-Broadway: Natasha, Pierre & The Great Comet of 1812 (Princess Mary, Lortel Award nomination); Karen O's Stop the Virgens, St. Ann's Warehouse, Sydney Opera House. Recipient of the Jonathan Larson Grant, and fellowships from the Sundance Institute, MacDowell, and Yaddo. Ars Nova's 2012 Composer-in-Residence. Musical commissions in development: There's A House, Oregon Shakespeare Festival; Robin, Ars Nova. Signed in music publishing by Ghostlight/Sh-K-Boom Records and Razor & Tie. Her band plays regularly in New York. For concert listings and albums: www.shainataub.com.
Instrument Design and Wollesonics
Kenny Wollesen
A.R.T.: Debut. Founder of the Wollesonic Laboratories and mastermind behind Sonic Massages and the Himalayas marching band. Sound design: Great Small Works, Puppeteers Cooperative, and Imagination Explosion. Theater (as musician): Alice (dir. Robert Wilson and Tom Waits), Thalia Theatre and BAM. Composer: Macbeth (dir. Teller and Aaron Posner), Two River Theater and Folger Theatre. Worked with: Bill Frisell, Norah Jones, Tom Waits, Sean Lennon, Ben Goldberg, Laurie Anderson, Steve Bernstein, Jonas Mekas, Butch Morris, Ilhan Ersahin, Hal Wilner, John Medeski, Jim Hall, and John Zorn.
DUNCAN STEWART AND CO.DUNCAN STEWART CSABENTON WHITLEY CSA
Katie Ailinger
A.R.T.: Trans Scripts, Part I: The Women, The Plough and the Stars, In the Body of the World, Nice Fish, The Tempest, The Lily's Revenge, The Donkey Show, Woody Sez, Futurity: A Musical By The Lisps, Ajax. Off-Broadway: Nice Fish, St. Ann's Warehouse; Nixon's Nixon, Fresh Play Festival, MCC Theater; Trial by Water, I Land, Ma-Yi Theatre. Boston area: Choice, The Second Girl, Cry of the Reed, Streamers, Huntington Theatre Company; Other Desert Cities, RED, The Divine Sister, The Great American Trailer Park Musical, SpeakEasy Stage Company; God's Ear, Pericles, Henry VIII, Actors' Shakespeare Project. Additional credits include Center Theatre Group, Theatre @ Boston Court, Milwaukee Rep, Trinity Rep, and WGBH's annual concert A Christmas Celtic Sojourn. BFA: University of Southern California (Stage Management). Proud member of Actors' Equity Association.
Tom Nelis
A.R.T.: Moby-Dick, The Tempest, The Blue Flower, bobrauschenbergamerica. Broadway: Indecent, The Visit, Enron, The Caine Mutiny Court Martial, Aida, Girl From The North Country (upcoming). International: Laurie Anderson's Songs and Stories from Moby Dick; Richard Foreman's Pearls for Pigs; Tadashi Suzuki's Dionysus; The Merchant of Venice, RSC, TFANA. Thirty years of Off-Broadway and Regional productions. Founding member, SITI Company. Honors: Eliot Norton Award (Prospero, The Tempest), OBIE Award (Marshal McLuhan, The Medium). Education/Training: MFA, UC San Diego.
Charlotte Graham
A.R.T.: Debut. Off-Broadway: Amandine (workshop), Cherry Lane; The Importance of Being Ernest Hemingway, Access Theater. Regional: Three Sisters, Build, Love's Labour's Lost, Chautauqua Theater Company; Camelot, Trinity Rep; Beast, New York Stage and Film; Life Science, Brown/Trinity Playwrights Rep. Film: The Hot Flashes. Television: "Gossip Girl," "Law & Order: SVU," "Hart of Dixie," "Joe, Joe & Jane" (NBC pilot). B.A. Brown University, MFA: Brown/Trinity Rep MFA Program in Acting.
Nate Dendy
A.R.T.: Debut. Regional: The Fantasticks (The Mute, L.A. Drama Critics Circle Award and Helen Hayes Award nominations), Arena Stage, South Coast Repertory, Trinity Rep; Angels In America (Prior Walter), Risk Theater Initiative; Twelfth Night, Dallas Shakespeare Festival; A Christmas Carol, Trinity Rep. Film: Turtle Hill: Brooklyn. M.F.A. from Brown University/Trinity Rep.
Zachary Eisenstat
A.R.T.: The Heart of Robin Hood, The Donkey Show. Regional: On The Town, The Chosen, Lyric Stage Company; Coriolanus, Commonwealth Shakespeare Company; The Play About the Baby, Exquisite Corp. Other theater: Matchmaker, Matchmaker I'm Willing To Settle, 2011 NY Musical Festival; A Midsummer Night's Dream, staged reading with the Boston Landmarks Orchestra. Mechanical Engineering S.B. from the Massachusetts Institute of Technology.
Manelich Minniefee
A.R.T.: Debut. Pilobolus (Principal Dancer, Dance Captain 2003-2012). Regional: The Magic Flute (Principal Dancer), Verdi Opera House, Parma Italy; Mars, Center for Performance Research. TV: "Sesame Street" (Dancer); "2007 Academy Awards Telecast" (Dancer); "Ellen"; "Live with Regis and Kelly." B.F.A. in Dance from NYU's Tisch School of the Arts.
Louis Butelli
A.R.T.: Debut. Off-Broadway: I Am The Wind, 59E59 Theaters; A Midsummer Night's Dream, New Victory; CYCLOPS: A Rock Opera (NYMF Award Outstanding Individual Performer, Pulitzer Prize Jury nomination), 47th St. Regional: Henry VIII (Helen Hayes Award, Outstanding Supporting Actor), Twelfth Night (Helen Hayes nomination, Outstanding Supporting Actor), Folger Theatre; Shakespeare Theatre DC; Alabama Shakespeare Festival; Yale Rep; La Jolla Playhouse. TV: "The Knick," "All My Children," "Law & Order: CI."
Gonzala
Dawn Didawick
A.R.T.: Debut. Broadway: All My Sons (Tony Award Best Revival). Regional: The Crucible, Autumn Garden, The Seagull, The Bear, Pera Pelas, The Man Who Had All The Luck, Antaeus Company, LA; Actors Theatre of Louisville; Alabama Shakespeare Festival; The Globe Theatre; Long Wharf; Hartford Stage; Seattle Rep; Repertory Theatre of St. Louis. Film: Erin Brockovich; Christmas with the Kranks; The Amateurs; Breakfast of Champions; I Am. TV: "Almost A Woman" (Peabody Award); "Pretty Little Liars"; "Hart of Dixie (recurring)." Web Series: "HA!."
Christopher Donahue
A.R.T.: Debut. Broadway: Metamorphoses. Off-Broadway: Monster, Classic Stage Company (OBIE award); Lincoln Center's Serious Fun! Festival; MTC; Public Theater; Second Stage. Regional: Arden Theatre Company; Berkeley Rep; Boston Lyric Opera; Chicago Opera Theater; City Theatre Company; Court Theatre; Goodman Theatre; Hartford Stage; Huntington Theatre Company; La Jolla Playhouse; Lookingglass; McCarter Theatre; Milwaukee Rep; Remains Theatre; Seattle Rep; Two River Theater; Weston Playhouse; Yale Rep.
Joby Earle
A.R.T.: Debut. Broadway: War Horse. Off Broadway: Julius Caesar, Romeo and Juliet, Smith Street Stage. Regional: Owners, Yale Rep; The Puppetmaster of Lodz, Berkshire Theatre Group; The Pitmen Painters, Palm Beach Dramaworks. M.F.A. Yale School of Drama.
Edmund Lewis
A.R.T.: Debut. Off-Broadway: Hamlet, Saint Joan, Lynn Redgrave Theater. Off-Off-Broadway: Hamlet, Saint Joan, Access Theater; The Orphan, The Tank Theater; Five by Ives, Arclight Theater; Waiting For Godot, The Misanthrope, Pilot House Theater; Like Larvae, NY Fringe Festival. Regional: Hamlet, Saint Joan, Olney Theater Center. Edmund is a proud member of Actors' Equity.
Eric Hissom
A.R.T.: Debut. Broadway National Tour: The 39 Steps. Regional: Cyrano (Cyrano), Folger Theatre; Bengal Tiger at the Baghdad Zoo (Tiger), Round House Theatre; The Game's Afoot, Cleveland Playhouse; Twelfth Night, Actors Theatre of Louisville; The Thirty-Nine Steps, La Jolla Playhouse, Seattle Rep; Eurydice, Milwaukee Rep; Glengarry Glen Ross, Asolo Rep; The Vibrator Play, Woolly Mammoth. Television: "One Tree Hill," "Mortal Kombat," "Sheena Queen of the Jungle." Film: Out of Time. M.F.A. FSU's Asolo Conservatory.
Trinculo
Jonathan M. Kim
A.R.T.: Debut. Off-Broadway: In Masks Outrageous and Austere (Originated the role of the Interpreter); The Radio City Christmas Spectacular (Principle/Soloist). Film: Second Hand Lions, Pastor Sheperd. Television: "Boardwalk Empire," "Barney and Friends." B.A. Theater and Dance, University of Texas.
Miche Braden
A.R.T.: Debut. Off-Broadway: The Devil's Music: The Life and Blues of Bessie Smith (Lead/MD/Arranger, Drama Desk and Lucille Lortel Award nominations), St Luke's Theatre. Regional: The Devil's Music, Penguin Rep, Cleveland Playhouse, Merrimack Rep, Hartford Stage, Florida Rep, Florida Stage. International: Gone With The Wind, Royal Manitoba Theatre. Film: Da Sweet Blood of Jesus (Choral Vocal Arranger – Score), Spike Lee. Recordings: Sweet Child O' Mine, Postmodern Jukebox; At The Crossroads, Gardenias For Lady Day, James Carter; Diva Out of Bounds, Miche Braden.
Michael Brun
A.R.T.: Debut. Upright Bass, Trumpet, Vocals, Percussion. Lead Composer: Folk Wandering. Music Director: Mr. Burns, Playwrights Horizons; Gameplay, Ars Nova. Member, Shaina Taub Trio. His newest album, little blues, is available at www.mikebrun.com
Nate Tucker
A.R.T.: The Tempest, Finding Neverland. Music Director for Mt. Auburn Cemetery's A Glimpse Beyond. Principal Percussionist for Juventas New Music Ensemble and Flamenco Boston. Resident composer for Boston Theater Company, Come On Over Ensemble Theater, Danza Organica, Peter DiMuro/Public Displays of Motion. Dance Accompanist for Boston Ballet and Boston Conservatory. New Album Off Gridavailable on iTunes. Percussion Performance degrees from The Boston Conservatory and University of North Carolina School of the Arts.
Christopher Rose
A.R.T.: Debut. Christopher Rose is a magician and mystery entertainer in Las Vegas. He has performed his private show at numerous hotels on the Las Vegas Strip, including The Royal Resort, The Orleans Hotel, and The Harmon Theater which is part of Planet Hollywood. The president of the International Magician Society, Tony Hassini calls him "The greatest living mind reader." In addition, he has worked as a part of the production team (magic design) on several shows, including WonderGround and Jeff McBride's Magic at the Edge.
Allegra Libonati
A.R.T.: The Pirate Princess, The Light Princess, Hansel and Gretel (Director); The Snow Queen (Director/Adapter); The Donkey Show (Resident Director); The Tempest, Prometheus Bound (Associate Director), Death and the Powers: The Robots' Opera, Best of Both Worlds (Assistant Director). OBERON: Once In Hell: Dante's Inferno in 10 Dinner Courses; Matchmaker, Matchmaker, I'm Willing to Settle: A Musical Guide to Internet Dating. Broadway: HAIR (Assistant Director, Tony Award-winning Revival). Summer Theater of New Canaan: South Pacific, My Fair Lady, Carousel, Twelfth Night, Romeo and Juliet, Taming of the Shrew, A Midsummer Night's Dream, H4 (an original adaptation of Henry IV, Parts 1 and 2).
Assistant Stage Manager - A.R.T.
Taylor Brennan
A.R.T.: Stage Manager: HEAR WORD!; Burn All Night; Notes from the Field: Doing Time in Education; 1984; O.P.C.; The Shape She Makes; The Donkey Show. Assistant Stage Manager: Bedlam's Sense & Sensibility; The Night of the Iguana; Fingersmith; RoosevElvis; Kansas City Choir Boy; Natasha, Pierre & The Great Comet of 1812; The Heart of Robin Hood; All the Way; The Glass Menagerie; The Lily's Revenge; Once. Production Associate: Prometheus Bound; The Blue Flower; Cabaret. Education/Training: Graduate of Boston University (Summa cum laude) College of Fine Arts.
Assistant Stage - The Smith Center
Erin Guernsey
A.R.T.: Debut. Graduating this spring from the University of Nevada, Las Vegas with an M.F.A. in Stage Management. Recently a stage management intern with the Broadway Company of Wicked. Credits include: Urinetown, Arcadia, Seven Guitars, Two Gentlemen of Verona and Brighton Beach Memoirs. Thanks to Mom, Dad, Chris, and Grams for your love and encouragement. Thanks to Brackley Frayer and Keith Thompson for your professional guidance and support.
Magdalene Ellsworth
A.R.T.: Debut. Regional (selected): Christmas Carol, Gutenberg! The Musical!, Forever Plaid (Milwaukee Repertory Theatre); Mary Dyer (Prologue Theatre Company-Chicago); Arms and The Man (Ten Chimneys). Upcoming: Once on This Island (Shanghai Conservatory of Music) and Evita (Carthage College). M.F.A. from Western Illinois University. Magdalene is a Chicago-based theater director and educator overjoyed to be back assisting Aaron on such a phenomenal project. Love and thanks to Aaron, Teller, and Brett.
Assistant to the Directors
Susanna Wolk
Assistant Choreographer
Associate Set Designer
Assistant Set Designers
Paige Hathaway, Joshua Madsen
Set Design Intern
Daniel Prodsky
Associate Costume Designer
Katherine Nowacki
Associate Lighting Designer
Associate Sound Designer
Charles Coes
Magic Technician
Levitation Illusion
John Gaughan
Bryan Schuette
Derek Wiles
Prop Acquisition
Vinny Giordano
Special Magic Seamstress
Lynetta Welch
A.R.T. Production Dramaturg
Morgan Goldstein
A.R.T. Voice Coach
Jeremy Sortore
Production Assistants - The Smith Center
Katherine Davis, Crystal Murphy
Smith Center Tech Liaison
Justin Lex
Producing Intern
Ruth Lichtman
Understudies
For Prospero: Louis Butelli; For Ariel: Christopher Rose
William B. Collins; Beth Emelson; Janet Griffin; T. Gene Hatcher; Tony Hsieh; Penn, Emily, Moxie, and Zolten Jillette; Gabrielle Lyster; Barbara Mowat; Norm and Lupe Nielsen; Michele Osherow; Arthur Penn; Maisie Ann Posner; David G. Rosenbaum; Angel Sugg; Pam Thompson; UNLV; Erin Weaver; Judi Williams.
From the Penn & Teller office: Glenn Alai, Steven Doctors, Laura Foley, Nate Santucci, Ezekiel Zabrowski.
Special thanks to Rio All-Suites Hotel and Caesars Entertainment for hosting The Tempest in workshop at the Penn & Teller Theater.
Thanks to the following actors who participated in the developmental workshops for The Tempest: Tommy Derrah, Brittany Duff, Mark Fucik, Alexander Hernandez, Ted Hewlett, Carol Kane, Nathan Keepers, John Kuntz, Patrick Page, Mindy Woodhead, and Henry Woronicz.


text:
ACQUSITION OF SEDISH SLÄPLIFTPRODUKTER AB
The most proven Aluminum tracks on the market - GAMSKETTE - will now be sold by PRINOTH
Släpliftprodukter AB, based in Sweden, belongs to PRINOTH AG since November 1, 2014 and has been producing tracks for snow groomers successfully for years. It is particularly well-known for its Gamskette product line. Now its product portfolio will be completely transferred to PRINOTH AG, though production will continue in Sweden.
By acquiring Släpliftprodukter AB, the leading manufacturer of tracks for snow groomers, PRINOTH AG has also obtained valuable technological expertise. One of the most famous products of the company, headquartered in Ludvika, is the Gamskette product line. These tracks are considered the best and most reliable aluminum tracks for snow groomers and combine a special cleat design with high-quality materials. They were developed by Austrian Norbert Krainer, who founded Släpliftprodukter AB in 1989. PRINOTH will acquire the entire product portfolio from the Swedish company, including the tracks and overlapping locks.
Släpliftprodukter AB company headquarters will stay put
Despite the acquisition, the manufacturer of snow groomer tracks will stay in Sweden and maintain its company headquarters in Ludvika. Founder Norbert Krainer will continue to be available to the company in a consulting function. Markus Straninger, former head of sales of the Gamskette product line in Austria, joined PRINOTH GmbH in Telfs on February 1, 2015. This guarantees that existing Gamskette customers will continue to enjoy excellent customer care.
Expertise from the snow groomer track manufacturer will be incorporated into PRINOTH development
Släpliftprodukter AB has long maintained a close business relationship with the snow groomer manufacturer. The acquisition means an enormous gain in expertise for PRINOTH AG, with the technology and expertise from the Swedish company now being incorporated into development and production at PRINOTH. Existing synergies between both companies in the field of snow groomer tracks can be optimally leveraged and further expanded. Above all, however, the market position of the successful Gamskette product line will be advanced and its future secured.
For further details please contact directly Markus Straninger at markus.straninger@prinoth.com


text:
Q: Android Maven compilation error (Multiple Dex File) I'm tryin to add AppCompat library (v7) to Maven. I downloaded it by SDK-Deployer, everything goes fine, no compilation errors, but I tried to do mvn clean install on my project and I saw this:
Failed to execute goal com.jayway.maven.plugins.android.generation2:android-maven-plugin:3.6.0:generate-sources (default-generate-sources) on project reader-android: MojoExecutionException: ANDROID-040-001: Could not execute: Command = cmd.exe /X /C "C:\SDK\sdk\build-tools\android-4.4W\aapt.exe package -m -J "C:\Users\Przemek\Desktop\Book Reader\pd_proj\reader-android\target\generated-sources\r" -M "C:\Users\Przemek\Desktop\Book Reader\pd_proj\reader-android\AndroidManifest.xml" -S "C:\Users\Przemek\Desktop\Book Reader\pd_proj\reader-android\res" --auto-add-overlay -A "C:\Users\Przemek\Desktop\Book Reader\pd_proj\reader-android\assets" -I C:\SDK\sdk\platforms\android-20\android.jar", Result = 1 -> [Help 1]
I'm a little confused, don't know what to do.
I've just added this to my project:
<dependency>
    <groupId>com.android.support</groupId>
    <artifactId>appcompat-v7</artifactId>
    <version>19.0.1</version>
    <type>aar</type>
</dependency>

I've heard that it can cause errors:
<plugin>
    <groupId>com.jayway.maven.plugins.android.generation2</groupId>
    <artifactId>android-maven-plugin</artifactId>
    <configuration>
        <sdk>
            <platform>20</platform>
        </sdk>
    </configuration>
</plugin>

Thank you for your help.
EDIT:
Probably it's my main problem:
Error: No resource found that matches the given name (at 'theme' with value '@style/Theme.AppCompat').

A: Try to compile with sdkversion 20 or greater.
If you use gradle:
defaultConfig {
    targetSdkVersion 20
}

redpajama_set_name: RedPajamaStackExchange


When it comes to the jobs that seem to require a lot of heart to be able to fulfill successfully, that of being a police officer would fit the bill perfectly. It seems like something that you really have to be fully invested in and be able to rely on your colleagues as to be able to carry out your duty in law enforcement. Therefore, after having such a connection for so long and one day having to give it up as naturally, everybody eventually does, it could be an experience that is tough to handle at first. Naturally, it's not going to be an easy transition to get through.
If you have done something every day for the last 39 years, longer than what many of our readers have been alive, and one day had to hang it up, it would be a heart-wrenching experience for sure. This time, we check in with a police officer as he ends up signing off for the last time after a 39-year run and it might just make you well up in tears. From this signoff alone, you can pick up the feeling that the officer has really invested his whole heart and mind into his career and has made some pretty tight bonds, relying on other people to make sure that they had his back in what could be the most dangerous workplace of them all.
Down in the video below, we have to warn you that you might just well up in tears yourself after watching this but what the video that shows is the very last time that this trooper would sign off, capping off a career that is something to be proud of. You can't help but feel for this guy but you have to think that he's going to go on to keep on doing good for his community as he has all of these years in the role of law enforcement.


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