�Ascension Technology Corporation has shrunk the dimensions of its 3D Guidance medSAFE magnetic sensor without sacrificing tracking parameters. The outer diameter of its new sensor is 0.90 mm (0.035 column inch), small enough to comfortably fit the hollow tube of a 19-gauge biopsy needle.
The new sensing element passively senses pulsed DC magnetic william Claude Dukenfield generated by either a cubic sender or
a flat transmitter and is available for easy integration and manufacturability by medical OEMs. Its first
use is fast, accurate, and unobtrusive trailing of the distal tip of a needle deployed for soft tissue
treatment.
The operation of the new sensor is untouched by occlusions, composite materials, or the presence
of common hospital metals, such as stainless steel steel (300 series), atomic number 22, and aluminum. When used
with Ascension's flat sender, it overcomes the distorting effects of underlying ferric steel
structures, contained in procedural tables and gurneys.
Before the introduction of Ascension's sensor, the miniaturisation of charismatic sensors typically resulted
in the loss of trailing of an instrument's roll angle. The new sensing element cures that limitation while allowing
piloting and steering of tools with miniscule inner diameters. It if fully structured with other
medSAFE sensors for gating purposes, ensuring that needle placements occur only at opportune times
in the organ movement or respiratory cycle.
Ascension Technology Corporation, based in Burlington, Vermont, USA, is a populace leader in magnetic
and optical trailing solutions for medical applications. For extra information around Ascension
sensors in surgical navigation and minimally invasive procedures, visit http://www.ascension-tech.com or
contact Trish Scott at: 802-893-6657, ext. 34.
Biomedical references and medical procedures described in this release ar examples of what tin can be accomplished with
trailing and imaging technology once users and have complied with all pertinent FDA/CE/IRB directions.
Ascension Technology Corporation
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Monday 1 September 2008
Friday 22 August 2008
Global Gathering is coming to Australia in 2008!
Future Entertainment, Angel Music Group And Ministry Of Sound Australia Deliver A November Knock Out With The World�s Undisputed Heavy Weight Of Dance Music Festivals!
Hot sour the heels of the most successful Global Gathering in the UK to date, Future Entertainment, the Angel Music Group and Ministry Of Sound Australia announce the most dynamic and groundbreaking joint venture the Australian music industry has seen in a very long time; the launch of the Global Gathering Festivals across the country this coming November.
Since its found in 2001, Global Gathering has become the world�s undisputed front runner of dance festivals. A massive 50,000 revellers congregate annually from all corners of the globe at the notable Long Marston Airfield in the last weekend in July, creating the biggest dance and live music weekender of the European summer. This year�s record attendance exceeded 55,000 and stood tall as the strongest performer amidst the 10000 of UK festivals this summer.
Headliners Kanye West, Moby and Mark Ronson nailed their live sets going away the entire audience breathless, whilst the likes of Armin Van Buuren, John Digwqeed, Roger Sanchez, Above and Beyond and many other awful superstar DJ�s rocked and rolled everyone in attendance.
This is a landmark marriage between Australia�s largest festival promoter and international touring agent, Australia�s most recognised dance music brand and record label, and the UK�s to the highest degree successful dance festival promoters. Future Entertainment, The Angel Music Group and Ministry of Sound Australia ar respectively leaders in their fields and collectively deliver what may well be the biggest venture of its tolerant in Australia to date.
Over the next few week�s details of the very first Global Gathering Festivals will be revealed. Make no fault; this will be a milestone for festival culture in Australia.
For major talent announcements, go dates and all event information go to Global Gathering,�Future Entertainment�or Ministry of Sound.
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Tuesday 12 August 2008
Dotun Adebayo: From Shaft to Chef, remembering Isaac Hayes
When we heard the news on Sunday that Isaac Hayes had died, the companionship I was with divided a mo of daze and skepticism and an instant of contemplation. Then one of us exclaimed: "The Black Moses!"
That's how we remember him. A soul singer/musician/composer with the balls to be to a fault black, also strong and too beautiful at a time when the happy-clappy negro of Motown was the unthreatening template for the soundtrack of "brigham Young America". Isaac Hayes didn't do cute.
At least, not in 1971.
Back then, with his shaven head, full beard and dark specs, he looked like the "baaad mother ... shut your mouth" of his alter ego Shaft � the "private pecker" who's "a sex political machine to all the chicks" and wHO kickstarted a new musical genre of movies they called "blaxploitation". Hayes's album Theme From Shaft made it to Britain before the movie. But it wasn't what we expected.
Hayes didn't come from Tin Pan Alley. Neither was he shouting gaudy "I'm black and I'm proud." His score for the picture show was more subtle than that � a symphony with soul that forced you to sit and listen. There would be many boogie-woogie nights to come (Theme From Shaft marked the birth of a new kind of music: discotheque), but Isaac Hayes's masterpiece was besides cool for cats � from the black ghettoes of America's northern cities to the African-Caribbean "ghetto" of Tottenham, north London � to ignore.
So, they gave him a Best Original Song Oscar for it. A first for an African-American. And he didn't take to "step and fetchit". On the contrary, the Academy Award seemed to make him more warlike. The sir Ernst Boris Chain of slave rings about his chest was a reminder that his citizenry, like the Israelites, were enslaved, and his "Jesus in dark glasses" image on the cover of the Black Moses album emphasises the point that Hayes was more than scarcely a composer/musician/singer at a time when black America needed more from their superstars.
For a few days, it looked as though Isaac Hayes might be that blackened leader Americans were looking for for � to take the seat of the slain Malcolm X and Martin Luther King. But off the record, Hayes had become an icon in the entertainment earthly concern. We wanted him to lead us all right-hand, all the way to his adjacent gig or his side by side album and, besides, he wasn't truly as competitive as his image would suggest. He was likewise cuddly and too much Mr Nice Guy to call out "let my people go" to honest-to-god pharoah. He also had a sense of humour that sawing machine nothing amiss in the voice of southern soulfulness becoming the voice of the Chef in the cartoon series South Park.
That's how offspring black and white kids will remember Isaac Hayes. To them, he had balls, all right � "chocolate salty balls". An irony that was not lost on us as we took in his passing.
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Wednesday 6 August 2008
Peter Green Splinter Group
Artist: Peter Green Splinter Group
Genre(s):
Other
Discography:
Soho Session Disk2
Year: 1999
Tracks: 10
Soho Session Disk1
Year: 1999
Tracks: 9
Destiny Road
Year: 1999
Tracks: 12
Peter Green Splinter Group
Year: 1997
Tracks: 12
Iggy and the Stooges' gear stolen in Montreal
Iggy and the Stooges' rented truck--containing all of the group's equipment--was stolen Monday morning (8/4) between 6:30 and 7:30 a.m. outside the Embassy Suites Hotel (208 Saint Antoine Ouest) in Montreal, according to a conjure release.
A name of the missing equipment, including some photos of the stolen gear, is posted at band member Mike Watt's website.
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The website likewise includes striking information for use by anyone with information approximately the thieving of the 15-foot Penske truck with Michigan license plates (AC46494) and its contents.
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Tuesday 8 July 2008
Rita Marley
Artist: Rita Marley
Genre(s):
Other
Discography:
Sings Bob Marley... and Friends
Year: 2003
Tracks: 12
Best known as Bob Marley's wife, Rita Marley was also a solo artist in her possess correct both before and later on her marriage, and served as the caretaker of her husband's legacy following his premature last in 1981. Born Alpharita Anderson in Cuba, she grew up largely in the Trenchtown section of Kingston, and first base sang with a female ska iII called the Soulettes. The Soulettes began recording for Clement "Coxsone" Dodd's Studio One label in 1964, and Dodd asked his emergent young ace Bob Marley to mentor them; Marley and Anderson hide in lovemaking and marital in 1966. Rita recorded with deuce unlike Soulettes lineups in the mid-'60s, edit a few hit solo singles of her possess (including "Pied Piper"), and backed the Wailers on some of their '60s recordings. When Peter Tosh and Bunny Wailer left the Wailers in 1974, Rita helped organize the I-Threes, a female vocal triplet consisting of herself, Marcia Griffiths, and Judy Mowatt. The I-Threes backed Bob Marley in the studio and on duty tour for the remainder of his career, up until his death from melanoma in 1981. During that prison term, both Marleys narrowly loose an assassination attack in 1976, in which one smoke grazed Rita's head and some other hit Bob's subdivision.In 1981, as Bob succumbed to crab, Rita recorded the solo album WHO Feels It Knows It. A spiritual, life-affirming statement, the album featured a lighthearted hit single in "I Draw," a blatantly pro-marijuana lesson in right smoking technique. Banned by the BBC, "One Draw" became the first-class honours degree reggae single to whirligig Billboard's disco music singles chart, which was used to track dance-club playact at the time. Another single, "Fiddle Play," had a measure of success in the U.K. However, Marley found it hard to follow up on a full-time recording life history; she spent a great deal of the '80s manipulation the various legal and business sector interests associated with her husband's name and estate, and as well mentored her children's musical venture, Ziggy Marley & the Melody Makers. She finally returned to solo recording with 1988's Harambe (Working Together for Freedom), and followed it in 1991 with We Must Carry On, which garnered a Grammy nomination. Both albums continued her hang for danceable, rootsy reggae with spiritual messages and a definite sense of playfulness. Marley finally returned with a new album, Rita Marley Sings Bob Marley...and Friends, in 2003.
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