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Saturday, December 12, 2015

The World's first complete miniature symphony orchestra printed in 3-D!

One-of-a-kind model represents the sights and sounds of a modern symphony.

Nearly everyone has heard orchestral music in film, television, radio or even video games, but not everyone has attended a live orchestral performance and enjoyed its dynamic visual elements. A new display in MIM’s Europe Galleryuses state-of-the-art technology to deliver a multisensory orchestral experience to guests via the world’s first complete miniature symphony orchestra printed in 3-D.

Enlisting the help of London-based musicians, many of whom are members of the London City Orchestra, the Musical Instrument Museum used 3-D printing technology to illustrate the expansive size and typical seating configuration of a large symphony orchestra. 

Although it had been a project in the works for several years, it was the advent of 3-D printing and its improved technology that enabledmy3Dtwin, a studio in London, England, that specializes in 3-D printed figurines, to tackle this project and provide the level of detail required to accurately represent each instrument.

Every figurine is 3-D printed in color and no two figures are alike. Each musician was photographed in a special 360-degree photo booth with cameras arranged in every possible angle to capture the musicians and their instruments. The resulting photos were translated into a digital rendering that was then printed as a 1/12 scale “twin” of the musician, meaning a sitting musician with a viola is four and one-half inches in height and a standing bass player is six inches. Built layer by layer of plaster of paris, each twin emerged in full color from a 3-D printer. 

The figures sit atop an 84-inch monitor donated by NEC Display Solutions. The monitor lights up as audio of each instrument plays, highlighting the major sections of the orchestra. Over the course of four minutes, guests are taken on a journey around the orchestra, hearing audio excerpts from standard orchestral works. In this way, the display illustrates the number and variety of instruments, how they are held, how the orchestra is configured, and what the performers wear—all combined to create a multisensory orchestral experience.

MIM extends a special thank-you to NEC Display Solutions and TSI Touch for the generous technology donations used to create the orchestra’s stage and to the 3-D printing talent of my3Dtwin.

***

About MIM 
The Musical Instrument Museum (MIM) enriches the world by collecting, preserving and making accessible a wide variety of musical instruments and performance videos from every country in the world. MIM offers guests a welcoming and fun experience, incomparable interactive technology, dynamic programming and exceptional musical performances. MIM also fosters appreciation of diverse cultures around the globe by showing that we all innovate, adapt and learn from each other to create music—the language of the soul. 

The Musical Instrument Museum is located at 4725 E. Mayo Boulevard in Phoenix, Arizona (corner of Tatum and Mayo Boulevards, just south of Loop 101). For general museum information and a full schedule of events, visit MIM.org or call 480.478.6000.

Find MIM on Facebook: Facebook.com/MIMphx 
Follow MIM on Twitter: @MIMphx 
Subscribe to MIM on YouTube: YouTube.com/MIMphx 

Media Contact 
Carlotta Soares, Interim Media Relations Manager, MIM 
Carlotta.Soares@MIM.org 
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Gem Code- Complex ft. Sadat X & The Audible Doctor

The New York rap duo Gemcode has come a long way since they used to go by the name Dynamic Equilibrium. The group looks to prove this with the release of new single "Complex," a collaboration with underground stalwarts Sadat X (of Brand Nubian) and Audible Doctor (of Brown Bag All Stars). Gemcode pays homage to Sadat's storied history with the hook, inspired by a collaboration he previously did with KRS-One, "Blow Up The Spot." "Complex" is the third single off their forthcoming project entitled Formula9DE.

Gem CoDE- Complex ft. Sadat X & The Audible Doctor (AUDIO)

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Haze Da Punter - You Ain't Bout Dat

CONNECTICUT'S TOP ARTIST HAZE DA PUNTER, HAS BLESSED THE STREETS WITH HIS HOT NEW MIXTAPE 'OVERDUE'. HIS STYLE AND LYRICAL DELIVERY HAS FANS AND DJ'S BUZZING OVER SOCIAL MEDIA AND CLUBS.
SHOW YOUR SUPPORT AND SHARE HIS LATEST SINGLE 'YOU AIN'T BOUT THAT'....

Artist: Haze Da Punder (@hazedapunter)

Song Title: You Ain't Bout Dat

120 BPM
Label: Punter Music Group

Genre: Hip Hop

Twitter: @hazedapunter
label info: info@hazedapunter.com
Official Soundcloud Link: 


For Promo & Licensing Info Contact: Greg Burke 804. 446. 1781
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Only when you start locking up people who work for CAS when they get out of line will you fix the Ontario Children’s Aid System

An urgent fix is needed in Ontario children’s aid: Editorial

A thorough housecleaning is needed in Ontario children’s aid following CAS failures revealed in a scathing report from the provincial auditor general.


Toronto Star
Safeguarding future generations ranks among government’s essential duties, and protecting vulnerable children is a matter of simple decency. That’s what makes the chronic bungling evident at Ontario’s 47 children’s aid societies so shocking. Young people who deserve to be shielded and sheltered have, instead, been left in serious risk.
It’s not clear which is more depressing: the litany of children’s aid failures revealed by Auditor General Bonnie Lysyk this past week, or the Liberal government’s inadequate response.
In a particularly egregious misstep, CAS officials failed to make mandatory checks of the Ontario Child Abuse Register to examine the prior history of individuals involved with the kids. The auditor found such inquiries weren’t conducted in more than half the cases where they were required. Some societies didn’t screen for the presence of domestic violence in a child’s family, or even examine their own records. This is, frankly, inexcusable.
As reported by the Star’s Jim Rankin and Sandro Contenta, the Ontario Association of Children’s Aid Societies says some of its members rely on a different database, called Fast Track, to look into child abuse histories. And societies want discussions with the government on whether a check of Ontario’s registry should continue to be mandatory.
Lysyk’s report aptly describes the seriousness of what’s at stake: “Failure to conduct these crucial history checks puts children in serious risk of being placed or left in the care of individuals with a history of abusing children.”
Given that risk it makes no sense to ignore Ontario’s registry, regardless of what other databases may exist. The province’s response to the ignoring of its directive on this hardly inspires confidence. Children and Youth Services Minister Tracy MacCharles has vowed to issue a new directive “very soon.”
NDP Leader Andrea Horwath had it right in noting that, unless the government ensures these orders are obeyed, “they’re not worth the paper they’re written on.”
There are other hazards, too, including concern that child protection cases are being wrapped up prematurely. A survey of closed cases that had to be reopened found almost half involved the same risk factors that led to the CAS being summoned in the first place.
Some were closed by CAS workers “after only one telephone conversation and without any contact with the child.” One case, for example, involved a child in protection due to a mother’s drug abuse. The matter was resolved without verifying that the mother had gone clean, only to have the case re-opened when school officials expressed concern about the woman’s continued drug use.
Lysyk’s other findings include the following:
  • CASs are failing to meet deadlines for starting an inquiry into abuse allegations, and not one (none!) of the child protection investigations reviewed by the auditor was completed within 30 days as required. On average, they took more than seven months.
  • Forty per cent of inspections in group homes and foster care operations found the same problems recurring year after year.
  • The government has introduced a new funding model for children’s aid, paying these agencies a total of $1.47 billion in the last fiscal year. But the auditor found the supposedly improved system “still does not allocate funding to societies based on their actual service needs.”
  • The deep-seated problems revealed by the auditor are evidence of profound dysfunction in Ontario children’s aid. This won’t be fixed with fresh batch of government “directives.” A thorough housecleaning is in order. For a start, CAS board members and managers who persist in these failures should no longer be entrusted with protecting society’s most precious resource — its children.
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