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An advertisement for a Westinghouse dishwasher in which Fred, from the cast of the TV show "I Love Lucy," washes dishes with Little Ricky. Little Ricky asks Fred why he doesn't use a dishwasher. Fred complains. Then Westinghouse spokesperson, Betty Furness, speaks about the portable dishwasher and ends by saying, "You can be sure, if it's Westinghouse."
An advertisement for Westinghouse in which spokesperson, Betty Furness, starts by interviewing a woman with children outside of a grocery store in Pearl River, NY. The woman says she does not have enough space to keep her groceries and meat cold for more than a few days. Then the spokesperson in a kitchen demonstrates then large storage capacity of the Westinghouse refrigerator, including the meat keeper which keeps meat fresh for 7 days and ends by saying, "You can be sure, if it's Westinghouse."
An advertisement for a Westinghouse refrigerator in which Fred and Ethel, from the cast of the TV show "I Love Lucy," discuss the frost in their freezer. Then they go to a sound stage to check out the new Westinghouse refrigerator with spokesperson Betty Furness. Fred inspects the new freezer with a magnifying glass then waits and waits before inspecting it again revealing it's frost free. Betty Furness ends by saying, "You can be sure, if it's Westinghouse."
Poster presented at the Indiana University Medical Student Program for Research and Scholarship (IMPRS) Research Symposium held on July 27-28, 2023 in Indianapolis, Indiana.
This week, we’ll hear from Nancy Wexler, a leading geneticist and neuropsychologist whose research led to the identification of the Huntington’s disease gene. Her research has also led to the discovery of the genes responsible for familial Alzheimer’s disease, kidney cancer, two types of neurofibromatosis, amyotrophic lateral sclerosis and dwarfism.
In spring 2016, Wexler received the inaugural Hermann J. Muller Award, which is named for a renowned geneticist, a Nobel Laureate, a social activist and an esteemed IU Bloomington faculty member (1945-67). The Muller award and lecture series recognizes luminary international geneticists whose discoveries, like Muller’s, have or are making a significant impact on the field of genetics and society.
George Walker interview with David Ebbinghouse about the Grunwald Gallery exhibition "Core Samples: A Retrospective," which features Ebbinghouse's work. It includes an in-depth description of the show from Ebbinghouse.
From the records of the Grunwald Gallery of Art. Since 1983, the Grunwald Gallery of Art, formerly the School of Fine Arts Gallery (SoFA), has presented contemporary works by both professional and student artists in a special exhibition format. Recordings found in the collection include audio-cassettes, video-cassettes, and DVDs of lectures, exhibitions, and interviews related to the Gallery.
Poster presented at the Indiana University Medical Student Program for Research and Scholarship (IMPRS) Research Symposium held on July 27-28, 2023 in Indianapolis, Indiana.
Indiana University announced the Media Digitization Preservation Initiative (MDPI) in October 2013 with the goal of digitally preserving and providing access to all significant audio, video, and film recordings on all IU campuses by the IU Bicentennial in 2020. Digitization began in mid-2015 and has now digitized more than 320,000 objects using more than 10 petabytes of storage. After digitization, every object in MDPI has to be verified to be stored correctly, checked for format conformance, processed into derivatives, and finally, distributed to a streaming video server. Conceptually, the process is straightforward, but like many things, the devil is in the details. The post-digitization processing has continually evolved since its inception in early 2015. Initially implemented to handle a couple of audio formats and processing a few terabytes of data per day, over the last few years it has been enhanced to handle peak transfers of more than 35 terabytes daily with more than 20 formats across audio, video, and film. This presentation details how some of the implementation decisions have held up over time, such as using a tape library as primary storage and using an object state machine for object tracking, as well as some of the growing pains encountered as the system was scaled up. In addition, there is a discussion covering some of the surprises that have been encountered along the way.
The MDPI project posed a tremendous technical challenge: digitize and process around 280,000 audio and video assets by the University’s bicentennial. The first objects began processing in June 2015 and by the summer of 2016, the major problems had been worked out and the processing was proceeding smoothly.
Then the discussions of film processing began.
In theory, processing film is the same as audio and video. On paper, it seems easier: even though the time allotted is less than A/V, there are only 25,000 reels to process.
In reality, however, it is a very different beast. An hour of film scanned at 2K resolution is 20x larger than an hour of video. When a film is scanned at 4K, it is 80x larger than video. Additionally, the film preservation master consists of not just a few files, like we see in audio or video, but thousands of files: a picture for every frame. Like all preservation masters, these files must be validated.
This session will address the challenges and solutions that were needed for the back end processing to be able to process film efficiently.
The process of converting the digitized MDPI media into something that can be used for web delivery is conceptually simple: transcode each one into derivatives and transfer them to the delivery system. However, like most things, the devil is in the details. Data corruption, tape latency, and managing large amounts of data are just a few of the problems which must be overcome.
This session will follow the steps that MDPI digital objects take during processing and explore the solutions used to create a system which must reliably process hundreds of hours of audio and video content daily.
An advertisement for White Owl cigars set in a French street cafe with French music. The scene depicts an American couple at a table who are interrupted by a French man who is taken by the smell of the White Owl cigar the man is smoking, the woman had initially thought the French man was coming onto her.
A couple are sitting at a French café when a Frenchman begins to eye them causing the wife to be unsettle. When the Frenchman approaches the table the thing, he was eyeing was the White Owl cigars the man was smoking.
