Sound International was a British monthly music and recording magazine established in 1978 and published until the mid-1980s. The magazine included interviews with musicians, recording engineers and producers, news and reviews of musical instruments and recording equipment, and feature articles on a wide range of aspects of the professional and semi-professional music and recording industry of the period.
Sound International was established as a sister publication to the leading international professional recording journal of the time, Studio Sound magazine (formerly Tape Recorder). Both were published from the Croydon, Surrey offices of Link House Publications, headquartered in Poole, Dorset in the United Kingdom. The purpose of the title was to appeal to professional and amateur musicians as well as recording engineers and producers and the growing crossover area of musicians building their own studios and utilising lower-cost, smaller-scale "semi-pro" or "prosumer" audio equipment, pioneered by companies like Tascam with their 4-track reel-to-reel recorders and the cassette-based 4-track Portastudio. The magazine correctly identified that there would be a significant growth in the importance of home studios at both the professional and semi-professional levels and was aimed at this burgeoning market.
The first issue of Sound International was published in May 1978. In the early 1980s, Link House Publications purchased competing title Beat Instrumental and added it to the masthead of Sound International. The title also underwent a significant redesign at the time. The title was ultimately incorporated into Studio Sound magazine in around 1985 as the musical instrument (MI) and professional audio industries started to become more integrated.
Founding Editor of Sound International was Richard Elen, formerly a studio manager for EMI Music Publishing Ltd and trained at Island Records' Basing Street Studios in the early 1970s, and the Deputy Editor was Tony Bacon, who joined the title from Richard Desmond's competing magazine International Musician and Recording World. After Elen left the magazine in 1981 to become Editor of Studio Sound magazine, Tony Bacon was promoted to the post of Editor. He remained Editor until the title was "folded into" Studio Sound in the mid-1980s. Bacon went on to edit other magazines and authored the guitar books Six Decades of The Fender Telecaster, 50 years of the Gibson Les Paul and Paul McCartney - Bassmaster.
Sound International was established as a sister publication to the leading international professional recording journal of the time, Studio Sound magazine (formerly Tape Recorder). Both were published from the Croydon, Surrey offices of Link House Publications, headquartered in Poole, Dorset in the United Kingdom. The purpose of the title was to appeal to professional and amateur musicians as well as recording engineers and producers and the growing crossover area of musicians building their own studios and utilising lower-cost, smaller-scale "semi-pro" or "prosumer" audio equipment, pioneered by companies like Tascam with their 4-track reel-to-reel recorders and the cassette-based 4-track Portastudio. The magazine correctly identified that there would be a significant growth in the importance of home studios at both the professional and semi-professional levels and was aimed at this burgeoning market.
The first issue of Sound International was published in May 1978. In the early 1980s, Link House Publications purchased competing title Beat Instrumental and added it to the masthead of Sound International. The title also underwent a significant redesign at the time. The title was ultimately incorporated into Studio Sound magazine in around 1985 as the musical instrument (MI) and professional audio industries started to become more integrated.
Founding Editor of Sound International was Richard Elen, formerly a studio manager for EMI Music Publishing Ltd and trained at Island Records' Basing Street Studios in the early 1970s, and the Deputy Editor was Tony Bacon, who joined the title from Richard Desmond's competing magazine International Musician and Recording World. After Elen left the magazine in 1981 to become Editor of Studio Sound magazine, Tony Bacon was promoted to the post of Editor. He remained Editor until the title was "folded into" Studio Sound in the mid-1980s. Bacon went on to edit other magazines and authored the guitar books Six Decades of The Fender Telecaster, 50 years of the Gibson Les Paul and Paul McCartney - Bassmaster.
Thambipillai Thanalakshmi is a minority Sri Lankan Tamil woman who was 43 when she was raped in Meesalai in Jaffna in Sri Lanka on July 7, 2001. Amnesty International claimed that the Sri Lankan Army soldiers were the culprit.
Incident
According to Amnesty International, Thanalakshmi was dragged outside her house at around 8.30pm allegedly by several soldiers. Her mother hearing her screaming came to save her but was assaulted by the perpetrators. Thanalakshmi was taken to a rice field and raped by at least three of them. The next morning relatives lodged a police complaint and police recovered part of Thanalakshmi's clothes from the rice field and a medical examination done by the medical personnel at Mantikai hospital confirmed she had been raped.
Government investigation
Suspected soldiers were arrested and produced before a Magistrate on July 13, 2001. But no charges were filed as of January 28, 2002.
Incident
According to Amnesty International, Thanalakshmi was dragged outside her house at around 8.30pm allegedly by several soldiers. Her mother hearing her screaming came to save her but was assaulted by the perpetrators. Thanalakshmi was taken to a rice field and raped by at least three of them. The next morning relatives lodged a police complaint and police recovered part of Thanalakshmi's clothes from the rice field and a medical examination done by the medical personnel at Mantikai hospital confirmed she had been raped.
Government investigation
Suspected soldiers were arrested and produced before a Magistrate on July 13, 2001. But no charges were filed as of January 28, 2002.
The Visual Culture Caucus is a membership organization formed to promote and advance the discussion of visual culture in both critical and artistic practice and interdisciplinary contact with those working to similar ends in other visual media . The caucus represents academics and artists in the field of visual culture .
The caucus has 100 members mostly based in North America. It organizes panels and discussions, mostly around the College Art Association annual conference .
History
The Visual Cultural Caucus was founded in 2000 as an affiliated society of the College Art Association by Nicholas Mirzoeff, professor of art and art education at New York University and Laurie Beth Clark, professor of creative arts at the University of Wisconsin-Madison. It came at the end of a decade that had seen a proliferation of journal articles and books on the subject of Visual Culture and marked a consolidation of the academic growth of the field.
Conferences
The Visual Culture Caucus organizes discussion panels and receptions in association with each conference of the College Art Association. The panels are well attended, influential and often reviewed in the art press and journals.
Notable members
*Coco Fusco, artist, writer, and Chair of Fine Art at Parsons The New School for Design
*W. J. T. Mitchell, writer, editor, and Professor at the University of Chicago
*Nicholas Mirzoeff, author, and Professor at New York University
The caucus has 100 members mostly based in North America. It organizes panels and discussions, mostly around the College Art Association annual conference .
History
The Visual Cultural Caucus was founded in 2000 as an affiliated society of the College Art Association by Nicholas Mirzoeff, professor of art and art education at New York University and Laurie Beth Clark, professor of creative arts at the University of Wisconsin-Madison. It came at the end of a decade that had seen a proliferation of journal articles and books on the subject of Visual Culture and marked a consolidation of the academic growth of the field.
Conferences
The Visual Culture Caucus organizes discussion panels and receptions in association with each conference of the College Art Association. The panels are well attended, influential and often reviewed in the art press and journals.
Notable members
*Coco Fusco, artist, writer, and Chair of Fine Art at Parsons The New School for Design
*W. J. T. Mitchell, writer, editor, and Professor at the University of Chicago
*Nicholas Mirzoeff, author, and Professor at New York University
The Artesia Digital Media Group is a digital asset management software company with operations centered in the Washington, D.C. area and offices throughout North America and Europe. The company was originally a division of Thompson until a management buyout in 1999 created Artesia Technologies, Inc.
The next year, Artesia was named one of Computerworld’s 100 Emerging Companies to Watch in 2000 and spent the next several years as one of a few companies working to define the newly forming category and promote Digital Asset Management as an important competency for firms dealing with digital media.
In late 2000, Artesia secured additional funding from a group of investors which included Warburg Pincus Ventures, BEA Systems, and Razorfish. In August 2004, the company was acquired by Open Text, an Enterprise Content Management company based in Waterloo, Ontario. Shortly thereafter, Artesia Technologies, Inc. was renamed “The Artesia Digital Media Group” to form the foundation of Open Text’s Digital Media Group.
The company’s software, Artesia DAM, is a scalable, Java EE enterprise-class digital asset management solution for ingesting rich media content and managing the creative workflows around editing, collaborating, and distributing digital media files. Artesia DAM is currently used by companies in a variety of industries and sectors to manage advertising and marketing activities, and also within production environments in entertainment media, publishing, and the federal government.
Artesia DAM is now renamed as Open Text Media Management a whole new set of offerings.
The next year, Artesia was named one of Computerworld’s 100 Emerging Companies to Watch in 2000 and spent the next several years as one of a few companies working to define the newly forming category and promote Digital Asset Management as an important competency for firms dealing with digital media.
In late 2000, Artesia secured additional funding from a group of investors which included Warburg Pincus Ventures, BEA Systems, and Razorfish. In August 2004, the company was acquired by Open Text, an Enterprise Content Management company based in Waterloo, Ontario. Shortly thereafter, Artesia Technologies, Inc. was renamed “The Artesia Digital Media Group” to form the foundation of Open Text’s Digital Media Group.
The company’s software, Artesia DAM, is a scalable, Java EE enterprise-class digital asset management solution for ingesting rich media content and managing the creative workflows around editing, collaborating, and distributing digital media files. Artesia DAM is currently used by companies in a variety of industries and sectors to manage advertising and marketing activities, and also within production environments in entertainment media, publishing, and the federal government.
Artesia DAM is now renamed as Open Text Media Management a whole new set of offerings.