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Bush had famously called for a “kinder, gentler” America and was exactly that kind of public and private person.
RIP, President George H. W. Bush.
Recently I just got a 5.1 speaker of Sony DAV-DZ175. All wires are plugged in on their places. When I plugged in to my pc, i didn't get all 5 speakers worked properly even though I already changed my setup to 5.1 speakers in my realtek manager and checked the "speaker fill" option, so I tested out by playing youtube from my phone and all 5 speakers worked properly.
Magically, when I plugged in back to my pc, all 5 speakers worked well. But still, when I tried to test it from realtek audio manager, only 1 speaker that passed the test, the other 4, they did nothing. But now the problem is, sometimes the other 4 speakers can go off by itself, and turn back on by itself without me changing anything. I'm wondering what's the problem here. Do I miss something since my speaker receiver is 7.1 and I should do something else to get my 5.1 speakers work properly? Thank you.
......... what is the audio connection you're using between the PC and the dvd player?
I'm just using the given 3.5mm audio jack that came when I bought the product. Do I need to use different connection cable?
So you're connecting this 3.5mm cable to the players front "Audio In" ? If so, please look and I'm guessing the 3.5mm cable is Left and Right audio only, not 5.1.
Hmm, I have just checked the online manual and as you said, it doesn't come with a 3.5 mm jack. Well, I got this from my friend though, maybe he lost the HDMI cable i think. Yes, I plug in to the front "Audio in" and plug the other end to the "Front Speaker" out which I guess it won't give me 5.1 sound since i only have 1 audio jack to be plugged in? How do you check if the cable is L R audio only, not 5.1? Even though it's L R only, is it supposed to be working with ipod? Because i tried with my ipod and all 5 speakers worked (even sometimes all 5 speakers work in my pc). Thanks.
Last edited by creeps; 01-20-2014 at 06:01 AM.
Go to "Sound Effects" in the manual to discover why you hear 5.1 from a 2-channel input.
The 3.5mm 2ch L+R plug, it should have three distinct contact surfaces separated by two non-conductive "rings'. Left, Right, and Ground.
I think at this point I'd like you to provide a pic of both ends of the cable you are using. Internet links of it will suffice.
On this motherboard you only have 3.5mm jacks with which to connect and transfer audio out. It does not have Digital Optical SPDIF or Digital Coax connections. On the DAV-DZ175 you will only be able to connect one of them, that being Front Speakers(the green 3.5mm jack on the PC). The Front Speaker jack ONLY provides 2-channel, L+R, audio.
The "Sound Effect" I mentioned earlier of the DAV-DZ175 can convert 2-channel audio to psuedo 5.1-channel.
That is the correct cable to connect to the green Front Speakers jack of the motherboard with, with the other end plugged into the front Audio In of the DAV.
Mike Starn, right, and his brother Doug Starn, second from right, work within their installation, “Big Bambu: This Thing Called Life,” at the Museum of Fine Arts, Houston.
The bridge made of tightly bundled bamboo poles gave slightly as we stepped onto it to cross a 30-foot “ravine” of terrazzo, feeling a little off-balance but as giddy as kids heading into a Robinson Crusoe-ish adventure.
As we approached the center of “Big Bambú: This Thing Called Life,” the structure began to reveal itself as more than a tangle of about 3,000 bamboo poles gone haywire at the tips. The Museum of Fine Arts, Houston’s summer experience is like an elaborate treehouse that might exist somehow within a giant, roiling ocean wave.
Family Programs Manager Angela Kennedy talks about "Rodeo! The Exhibition" which explores the origins of Texas rodeos and stock shows.
By the time the public begins to explore it on Sunday, the poles will all be securely tied. Visitors will sign waivers and follow a few rules; and in the vein of amusement park rides for big kids, they must be least 42 inches tall to enter.
“This Thing Called Life” is the latest work in a series of “Big Bambú” projects by the internationally-known artists Mike and Doug Starn that are constructed with the help of 12 rock climbers (half of whom are local). Each version responds to its particular environment. The Houston version, the first one designed indoors since the initial prototype 10 years ago, imagines a wave cresting through the modernist interior of Mies van der Rohe’s Cullinan Hall.
Museum visitors have been watching “Big Bambú” form since early May, from the ground up, as the climbers lashed poles vertically then horizontally, repeating the pattern intuitively. They begin from a floor plan that suggests the direction it should take, but the Starns give them great latitude; it’s purposefully collaborative and spontaneous. Detail work will continue on the piece for another week or so, even though it is open.
On Wednesday, because the path wasn’t yet finished, we had to watch where we stepped and what we grabbed as we walked through. Above us, some of the crew dangled in harnesses like so many Spider-Men, their movements as improvised as the heady jazz playing through the gallery’s sound system.
It’s not exactly a Jungle Jim: Visitors enter from the Brown Pavilion balcony to traverse that bridge, following a path that winds around the installation’s vortex-like center. After they descend bamboo-covered steps, they can linger underneath, along the forest floor, so to speak.
The point is not just to feel wild for a few minutes, although one might think that upon first encountering the artists, who are in their late 50s. The Starns have the aura of veteran rock dudes, the kind of guys who party late and don’t brush their long gray hair the next morning. And music is an important part of the “Big Bambú” building culture.
The subtitles for the projects usually reference lyrics, and music plays constantly during the construction to help create the right vibe. “This Thing Called Life” refers to a line of Prince’s “Let’s Go Crazy,” but the words “have so many more meanings,” suggested curator Alison de Lima Greene.
All the “Big Bambú” installations spring from the Starn brothers’ philosophy that nothing in the world is monolithic.
Mike Starn may have said some of that. The artists, who are identical twins, add to but don’t exactly finish each others’ sentences because their thoughts, like their art, are a continuum.
They came to appreciate the intersecting forces of nature as surfers, growing up near the Jersey shore in Absecon, New Jersey. Encouraged by their parents to explore art, they took up photography together at 13. They weren’t conventional thinkers: During visits to the Philadelphia Museum of Art, they liked the conceptual works of Claes Oldenburg, Robert Rauschenberg and Andy Warhol.
They went to the School of the Museum of Fine Arts, Boston on a shared portfolio, and they became an art world sensation almost overnight after they graduated, when a critic raved over their first New York show. That body of works pushed photography into a physical realm with taped-together grids of prints that were torn, torqued and distressed.
The Starn twins’ imagery captured magical organic networks — the multitude of veins in decaying leaves, the branchy landscapes of dense tree canopies, the designs of snowflakes. But their art was always sculptural, too, about combining pieces to make something larger, never simply a big print produced by a lab, but handmade, piece by piece, in their studio, and cobbled together with Scotch tape.
Eventually they also embraced video, painting, furniture design and architecture as well as sculpture. They conceived the “Big Bambú” project as a break from their first big public art commission for a New York City subway station — a project that took two years and involved hundreds of people, including glass makers in Munich. They needed to do something that felt more free-spirited.
They had previously made a giant sphere, a kind of exoskeleton structure of black pipe, and also considered vinyl materials. “We knew we were looking for these vector shapes that could be randomly placed and attached to five or ten other randomly-placed poles, to create a stable structure,” Mike Starn said.
They chose to use bamboo because it was organic and flexible, and because they once got lost in a bamboo forest in Kyoto, Japan, and the experience stuck with them. They source the bamboo in three sizes from a farm in Dudley, Georgia. They are limited to 52-feet lengths, because that’s the size of the delivery trucks.
Gary Tinterow, who was a curator at the time, saw the “Big Bambú” prototype in the artists’ Beacon, N.Y., studio and commissioned the brothers to create the first public version for the roof of the Metropolitan Museum of Art in 2010. More than 600,000 people visited, and the piece evolved the entire time, gradually un-built as the show dates wound down. The artists insisted they had to be able to “live” in the piece, which had large viewing platforms that offered views of the city.
Since then, the Starn brothers have taken “Big Bambú” teams to the Venice Biennale; Rome (where their tower peaked at 140 feet); Naoshima, Japan; Jerusalem; and — concurrent with the Houston project, Copenhagen. They no longer feel the need to be there for the duration.
Tinterow said he envisioned a four-story tall “Big Bambú” for the opening of the Glassell School of Art a few weeks ago, but given the security and weather issues, instead led the artists into the air-conditioned museum. They were skeptical, but understood once they saw Cullinan Hall.
Three huge photo grids hang on the walls around the installation like curtains hanging askew, further emphasizing the concepts about chance and chaos.
“Big Bambú” projects are in great demand, but the Starn brothers have yet to become bored with their signature process. They’re negotiating even more audacious versions, they said.
The labor of building isn’t as easy for them as it was a decade ago, but they don harnesses and hang alongside the rock climbers. Their thoughts about the meaning of it all — the process as well as the finished installations — haven’t changed.
PUERTO CABEZAS, Nicaragua – U.S. Navy Petty Officer 2nd Class Vincent Moody, a trumpet player attached to the Military Sealift Command hospital ship USNS Comfort for Continuing Promise 2015, said he is proud of the way he and his fellow musicians are able to contribute to the mission by building relationships through music.
"Our first performance was the opening ceremony in Belize, and there was a Belizean military band there, and it was great speaking with them," Moody said. "They're always so happy to have American musicians there, because jazz is an American art form."
Originally from Severn, Maryland, Moody has been in the Navy for 12 years and is assigned to the U.S. Fleet Forces Band "Uncharted Waters." As the Comfort travels to Central America, South America and the Caribbean, he has had the opportunity to interact with citizens of each host nation.
In Nicaragua, Moody and his fellow musicians had the opportunity to host a workshop and perform with students from several local high schools. They performed public concerts in Bilwi Central Park here and in the village of Tupai, where members of the Miskito tribe showed the band how to play music on indigenous instruments made from tortoise shells and cow jaw bones.
"It is great to be able to get out to different parts of the local communities like the schools or orphanages," said Moody. "When we perform for the locals, I think it helps expand the impact that this mission has."
Band leader U.S. Navy Ensign Joel Davidson describes Moody as a great sailor who displays a passion for being a musician. He also praised his ability to adapt the instrumentation of the group for different events the band takes part in during the ongoing civil-military deployment, which is known as CP-15.
In addition to New Orleans style jazz, "Uncharted Waters" also covers music by popular artists, blending hip-hop and rhythm and blues with the brass band sound.
Moody received a master's degree in music education from the State University of New York at Fredonia and regularly uses his talents in musical arrangement to tailor popular music to fit the brass band style, incorporating the trombone, saxophone, trumpet or tuba.
"The unique thing about our band is we play popular songs, but there's no actual sheet music made for brass bands. We have to write that on our own," explained Moody. "The brass band is kind of close to my heart, because I've done a lot of writing for them, merging popular music with the brass band sound."
As a Navy musician, Moody has had the opportunity to perform at presidential inaugurations, special ceremonies for foreign dignitaries and international parades. But he also enjoys immersing himself in the culture of each new place he visits. His Navy career has taken him to 45 different countries and three continents, he said.
As a sailor and musician aboard a hospital ship, Moody said he understands he is part of a team that is working to not only provide medical assistance to host nations in Central America, South America and the Caribbean, but also to build stronger partnerships and demonstrate U.S. commitment to the region.
"Having a band at an event sometimes opens up doors to other forms of communication, it's a different perspective people aren't used to seeing," said Moody. "Each country we visit and play in is an outreach opportunity, and it's just a great experience to be that bridge of communication."
Continuing Promise is a U.S. Southern Command-sponsored and U.S. Naval Forces Southern Command/U.S. 4th Fleet-conducted deployment to conduct civil-military operations including humanitarian-civil assistance, subject matter exchanges, medical, dental, veterinary and engineering support and disaster response to partner nations and to show the United States' continued support and commitment to Central and South America and the Caribbean.
“An utter disappointment and abysmal failure” (Orange County Web Design Blog). “Consumers seem genuinely baffled by why they might need it” (Businessweek). “Insanely great it is not” (MarketWatch). “My god, am I underwhelmed” (Gizmodo).
Good heavens! What a critical drubbing! Whatever it is must be a real turkey. What could it be?
Only the fastest-selling gadget in the history of electronics: the AppleiPad.
All right, let’s not pile onto the tech critics. The thing is, they were right, at least from a rational standpoint. The iPad was superfluous. It filled no obvious need. If you already had a touch-screen phone and a laptop, why on earth would you need an iPad? It did seem like just a big iPod Touch.
But as it turns out, the iPad’s appeal is more emotional than rational. Once you get it in your hands, you get caught up in the fascination of manipulating on-screen objects by touching them. Apple sold 15 million iPads in nine months, created a mammoth new product category and started an industry of copycats. Apparently, it doesn’t pay to bet against Steve Jobs’s gut instinct.
On Friday the iPad 2 goes on sale, for the same price as the old one (from $500 for the Wi-Fi-only model with 16 gigabytes of storage, to $830 with 64 gigabytes and both Wi-Fi and cellular Internet connections). And if you thought there was an intellectual/emotional disconnect before, wait till you see this thing.
On paper, Apple didn’t do much. It just made the iPad one-third thinner, 15 percent lighter and twice as fast. There are no new features except two cameras and a gyroscope. I mean, yawn, right?
And then you start playing with it.
The iPad 2 is now 0.34 inches thick. Next to it, the brand-new Motorola Xoom — the best Android competitor so far — looks obese. Yet somehow, the new iPad still gets 10 hours of battery life on a charge.
Some of the iPad’s new features play industry catch-up. There’s a camera on the back (no flash) that can record hi-definition video. If you’ve never used a tablet as a camera, you’re in for a treat; the entire screen is your viewfinder. It’s like using an 8-by-10 enlargement to compose the scene. Bafflingly, though, the stills are only 0.7 megapixels.
There’s also a low-resolution front camera that’s useful for video calls, like clear, sharp Wi-Fi calls to iPhone 4, Touch, iPad 2 and Mac owners using Apple’s FaceTime software.
You can now connect the iPad to a hi-def TV, thanks to a single H.D.M.I. adapter ($40) that carries both audio and hi-def video. What you see on the TV mirrors whatever is on the iPad, which makes it a great setup for teaching, slide shows, presentations, YouTube and movies. It works automatically and effortlessly.
The more expensive iPad 2 models can also go online using either AT&T’s or Verizon’s cellular networks, but figuring out the right pricing plan requires a graduate degree in forensic accounting. With AT&T, for example, you can pay $15 a month for 250 megabytes of data, or $25 for two gigabytes. Verizon’s plans are 1 gigabyte for $20, 3 for $35, 5 for $50 or 10 for $80. O.K., but how are you supposed to know how many megabytes a bunch of Web pages and YouTube videos are going to consume?
On the bright side, both AT&T and Verizon let you sign up for cell service right from the iPad, only when you need it — no two-year contract. You can turn on service only when you’ll be traveling, for example.
Now, about Apple’s new iPad screen cover. Ordinarily, devoting time to a technology review of a screen cover would indicate that the columnist was a few sandwiches shy of a picnic. But Apple’s new cover is a perfect symbol of its fondness for high-tech magic tricks.
You attach this single sheet by drawing it across the iPad’s face as though you’re making a bed. With a satisfying clicking sound, hidden magnets anchor the thing solidly to the iPad’s face.
“I know,” I replied sagely. “But this is Apple.” And then I showed him how opening the cover turns the iPad on automatically, and closing it again puts the thing back to sleep.
This cover ($40 for polyurethane in five colors, or $70 for leather in five other colors) is not for protecting the screen, whose hardened glass doesn’t need much help. It’s for fashion, for cleaning (Apple says that the cover’s microfibers mop away dust) and for propping up the iPad. Clever hinges in the cover’s rigid panels prop up the iPad at two different angles, so you can watch movies or freely use the on-screen keyboard with both hands.
David Pogue and his sons discuss the merits of Apple's newest device.
There’s a gyroscope in the iPad, too, just as in the iPhone 4. You notice it only when you play games that have been written to exploit it. For example, you can look behind you in the Nova 2 shoot-’em-up environment by moving the iPad around you, or “walk around” the tower of wood blocks in Jenga.
Now, the coming months will bring a blizzard of tablets that are meant to compete with the iPad. And they’ll offer some juicy features that the iPad still lacks. On an Android tablet, you can speak to enter text into any box that accepts typing. You also get an outstanding turn-by-turn navigation app — and GPS maps are a different experience on a 10-inch screen. It’s like being guided to your destination by an Imax movie.
Furthermore, new Android tablets will be able to play Flash videos and animations on the Web, something that both Apple and Adobe (maker of Flash) assure us will never come to the iPad (or iPhone). Flash on a tablet or phone can be balky and battery-hungry, but it’s often better than nothing. Thousands of news and entertainment Web sites still rely on Flash, and the iPad, iPhone and iPod Touch simply can’t display them.
But you know what? The iPad will still dominate the market, because it dominates in all the most important criteria: thinness, weight, integration, beauty — and apps.
Oh, yes, the apps: there are 65,000 apps already available for the iPad (not including the 290,000 iPhone apps that run at lower resolution on the iPad’s screen). But Google’s programming kit for tablets just came out, so there are very few apps written for larger Android screens.
The kicker, though, may be the price. Apple is at the top of its game these days — and at the top of the industry. The rap, of course, is that you often pay extra for Apple elegance.
But the shocker here, though, is that the iPad 2 actually costs less than its comparably equipped Android rivals, like the Xoom and the Samsung Galaxy Tab. That twist must have something to do with Apple’s huge buying clout — when you order five million of some component at a time, you can usually persuade the vendor to cut you a deal.
But that price detail may turn a lot of heads. It means that for the first time, your heart can succumb to the iPad mystique — without having to ignore the practical input from your brain.
The State of the Art column on Thursday, about the new Apple iPad 2, erroneously included a quotation from Bloomberg News in a string of excerpts from negative reviews of the first iPad. That quotation referred to the iPhone, not the iPad. The column also misstated, in some editions, the resolution of the iPad 2 still camera. It is 0.7 megapixels, not 5 megapixels.
This workshop will be held at the Walter A. Buehler Alumni Center, an ADA-certified facility centrally located on campus at the University of California, Davis. Please review the campus map to locate the Alumni Center off of Mrak Hall Drive in the Gateway District.
Parking is available in Visitor Parking Lots 1 and 2 and the Gateway Structure. Guests may purchase a daily visitor parking permit ($9) from yellow kiosks located at the entrance of any of these lots.
Click here to book your room at the conference rate.
Call the hotel at 530-756-0910 to book your room. Mention "Aligning the Food System for Food Safety in Food Waste Solutions" to access the discounted rate.
Room blocks for both hotels expire on April 15, 2019. After that date, discounted room rates can no longer be reserved.
Visitors have multiple options for getting into and around the city of Davis. Unitrans, owned and operated by UC Davis, provides public bus transportation throughout the campus and in surrounding areas of Davis.
By Air: The Sacramento International Airport is a 30-minute drive to and from campus, with frequent service from cabs and rideshare agencies. Shared shuttles are available through Super Shuttle and the Davis Airporter.
By Train: The Davis Amtrak station is located in downtown Davis. Campus is accessible via a 15-minute walk or 10-minute drive, and Unitrans provides service to and from the station.
By Car: UC Davis is easily accessible by I-80, I-5, and other major highways. Click here for customized driving directions from your location to the Alumni Center.
Bottom Line: Although larger networks will probably look at more robust solutions from Tivoli or OpenView, small to medium-size, Microsoft-centric shops will find On iPatch a helpful tool.
Bottom Line: VMware Workstation 5 adds significant new features and performance enhancements. Multiple snapshots let you return to previous or alternate configurations. The Clone feature allows easy duplication of existing virtual machines. You can simulate an entire real-world network on a sufficiently powerful host system by using the Team feature. And VMware's virtual hardware now handles isochronous USB devices such as webcams.
Bottom Line: Search and Recover 2 succeeds as a file-recovery tool. It also provides good multimedia capabilities and can securely wipe away data that you really want to be gone.
'I felt it was necessary,' Atlanta-based rapper says of writing the song.
On "The O'Reilly Factor" Wednesday (January 21), host Dennis Miller mocked [artist id="1243444"]Young Jeezy[/artist] and [artist id="1269"]Jay-Z[/artist]. Bill O'Reilly, host of the show and noted hip-hop hater, also called Jeezy and Jay-Z's performance of "My President" at Club Love in Washington, D.C., "a rant that offended people" (although the audience at the concert screamed in approval afterward).
We already know how both Jay-Z and Jeezy feel about O'Reilly — we've heard it in their music. On Monday (January 19), before performing "My President" at the Warner Theater, Jeezy talked to MTV News about the importance of the record and what he was trying to express.
"Music is how you feel," Jeezy said about being inspired to write "My President." "But if I can say one word, I'll say 'necessary.' I felt it was necessary. I never ever paid attention to any election. Not really [into] politics or anything like that. It never benefited us. This time around, it's not a black-or-white thing — you got somebody in there for us that's well-spoken and gonna handle their business. I just wanted to do my part and let them know we need change, we need help, it's rough out there."
Jeezy said that he plans on releasing the remix for "My President," and that Jay-Z's was just the first verse of the remix we heard.
"The song was powerful already with Nas — now Jay is on there, we got a few more people on the remix. It's not even the song [that's important], it's the message. You still get bits and pieces out of there. You get your 'president is black, Lambo is blue,' but it's bits and pieces in there. You gotta listen. I ain't talking fast, y'all just listening slow."
The Atlanta rapper also described his time in Washington, D.C. over the past few days as an amazing experience.

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