All about waves - Matoumba

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House of the Dead: Overkill Bonus

Gallery: The First Decades of Seeing the Unseen

Wired Top Stories

- 17 hours and 40 minutes ago

img src='http://www.wired.com/images/slideshow/2008/11/gallery_earlyscience/1_t.jpg'/img: Photo courtesy San Francisco Museum of Modern ArtpWhat are the social consequences when science allows us to see things that had previously been invisible?/pp Scientists have revealed microscopic life, nanoscale molecules and galaxies billions of light-years away. These images have revolutionized the disciplines in which they were made, but they also transformed the public's imagination, giving common people new things to think and dream about. /pp The intertwined social, scientific and artistic impacts of 19th century photography is the subject of a new exhibit, Brought to Light Photography and the Invisible, 1840-1900, at San Francisco's Museum of Modern Art. /pp This gallery looks at some of the more astounding images and stories from the exhibit. /p pstrongLeft: br / Hermann Schnauss, Electrograph of a brass wire gauge, 1900/strong As the men of industry attempted to harness electricity for profit, the public â€” which knew electricity primarily as lightning â€” had to be persuaded that this powerful, invisible force was something to invite into their homes. Electrographs like this one, produced by exposing a photographic negative with electricity, helped the public visualize and understand the mysterious electromagnetic waves that scientists were discovered populating the air. /pp "This is a moment where [scientists] are trying to harness electricity for practical purposes, but the general public was kind of skeptical," said Corey Keller, curator of the Brought to Light exhibit. "Their experiences with electricity were generally through lighting, which they knew could burn things down and kill you, if you weren't careful. So a great deal of time and money was spent trying to make electricity understandable and approachable." /p img src='http://www.wired.com/images/slideshow/2008/11/gallery_earlyscience/3_t.jpg'/img: Photo courtesy SFMOMApIn the early history of photography, capturing motion was out of the question. The photographic negatives of the time were not sensitive enough to light to be exposed over the short time periods required to capture fast action. /pp "If you look at 19th century cityscapes, you would think that Armageddon had taken place. You don't see any people," Keller said. "It's not that they aren't there, it's just that they don't show up because they walked through too quickly." /pp But by the end of the 1870s, more sensitive negatives brought motion within reach. Edward Muybridge was one of the first photographers to take advantage of the new abilities. /pp In this photo, we see one of Muybridge's motion studies: two men boxing in jock straps. Historians note that despite the scientific trappings, Muybridge's work was just art; it did not produce good scientific evidence about bodies' movements. /p img src='http://www.wired.com/images/slideshow/2008/11/gallery_earlyscience/4_t.jpg'/img: Photo courtesy SFMOMApThe ability to capture motion in photography opened up a previously invisible source of scientific data. Etienne-Jules Marey was a scientist trying to understand biomechanics, or the motion of the body, and he used photography to acquire information he couldn't get any other way, as in this photograph of a man on a stationary bicycle. /pp "What happens in this picture is that each split second exposure is layered on top of each other, so you get the sense of the full arc of the motion," Keller said. "And he's put a piece of tape down the arm and torso and the leg where the joints articulated, so as the leg went around and around the whole pedal stroke is outlined." /pp This wasn't just to create beautiful pictures; Marey was on a committee in France to improve the ergonomics of the newly popular bicycle. /pp "So by studying the motion of the leg, he would have been able to improve the engineering of the bicycle," Keller concluded. /p img src='http://www.wired.com/images/slideshow/2008/11/gallery_earlyscience/5_t.jpg'/img: Photo courtesy SFMOMApWhile forward-looking scientists like Marey were using photography to understand, for example, how animals moved, as in this photo, others were less enthused about this new technology. /pp In particular, photographers' ability to capture images beyond what the human eye could perceive called into question an important tenet of 19th century science. /pp "What's amazing is that this is a moment where empirical observation in science is the most important thing, that idea of objective observation. And this kind of photography proved how completely useless a human observer was," said Keller. "So you end up with this photographic data that cant' be corroborated in any other way. It exists independently of any kind of perceptual experience." /pp Technology's ability to capture detail and motion more accurately than our eyes has only accelerated, of course, as anyone who has seen a href="http://blog.wired.com/wiredscience/2008/04/water-falling-a.html"incredible ultra-slow-motion YouTube videos can attest/a. /p img src='http://www.wired.com/images/slideshow/2008/11/gallery_earlyscience/6_t.jpg'/img: Photo courtesy SFMOMApWhen William Roentgen announced his discovery of X-rays, a photo of his wife's hand accompanied his paper as it made its way into the scientific community. /pp Over the next few years, images like this one of a skeletal hand with the ring came to symbolize X-rays. Practically, the hand is relatively flat and therefore easy to X-ray, but it was the aesthetics and grim-reaper symbolism that Keller said hit a nerve with the upper classes. /pp "It became fashionable to have an X-ray portrait taken of your hand," she said, calling attention to x-ray hand portraits of the last tsar of Russia and his wife. /p img src='http://www.wired.com/images/slideshow/2008/11/gallery_earlyscience/7_t.jpg'/img: Photo courtesy SFMOMApThe discovery of X-rays also touched off a lower-brow commercial craze. Within three months, DIY X-ray kits were available on the market. Photographers, who had access to most of the tools needed to make the images, began to train this new form of light on just about anything that might be beautiful. /pp "They were X-raying everything just to see what it looked like," Keller said. /pp One stunning example is this X-ray of a foot in a shoe from 1897. In fact, the connection between X-rays and extremities has remained strong. Even into the 1960s, shoe stores kept X-ray machines in their lobbies, both as marketing tools and to help their salesmen fit their patrons' feet correctly. /p img src='http://www.wired.com/images/slideshow/2008/11/gallery_earlyscience/8_t.jpg'/img: Photo courtesy SFMOMApThroughout the second-half of the 19th century, photographers strived to unite the camera with the telescope. The moon, in particular, held a lasting fascination for astronomers and artists alike. /pp Imaging the moon, after all, was an immensely difficult task. The Earth rotates and the moon is actually a relatively faint object. It wasn't until John Adams Whipple and George Phillips Bond figured out how to rotate their camera ever so slightly to cancel out Earth's movement that simple images of our only satellite became possible. /pp What's interesting is that despite the fascination with creating pictures of the moon, like this striking image created in Spain, the images didn't add much for science beyond what detailed drawings could already do. /p img src='http://www.wired.com/images/slideshow/2008/11/gallery_earlyscience/9_t.jpg'/img: Photo courtesy SFMOMApIf you wanted close-up photos of the moon any time before the Apollo missions, you were pretty much out of luck. Unless, of course, you built incredibly detailed plaster models of lunar craters and then snapped carefully lit pictures of them. And that's exactly what an engineer and astronomer did in 1874 to tremendous acclaim. /pp James Nasmyth, the inventor of the steam hammer, and James Carpenter, then at the Royal Observatory in Greenwich, England, released a hugely successful book, The Moon: Considered as a Planet, a World, and a Satellite, illustrated by their incredible moon mock-ups. The august journal Nature gave the book a rapturous review. /pp "No more truthful or striking representations of natural objects than those here presented have ever been laid before his readers by any student of Science," the reviewer wrote. /pp But what's really appealing about the images isn't their "truthfulness" but their "truthiness." /pp "Astronomers were perfectly aware of what they were looking at," Keller said. "But they felt that because they were photographed, it added a layer of authenticity to the undertaking that simple drawings didn't have." /p img src='http://www.wired.com/images/slideshow/2008/11/gallery_earlyscience/10_t.jpg'/img: Photo courtesy SFMOMApAt the other end of the scale of size from the moon, other photographers were pushing their discipline into the microscopic realm. They had to devise new emulsion chemistries and types of equipment to capture clear images of tiny things. /pp Leading the charge was Auguste-Adolphe Bertsch, who worked to overcome any challenge that scientists threw at him. Unfortunately, he died during social unrest in France in 1871, and his images lay in a photographic archive until Keller brought them to the US for the exhibition. /p img src='http://www.wired.com/images/slideshow/2008/11/gallery_earlyscience/11_t.jpg'/img: Photo courtesy SFMOMApEven as they solved technical challenges, the photomicrographers faced social resistance. The idea of representing a specific living thing instead of a generalized abstraction of an organism forced scientists to let go of long-held notions about their discipline. /pp "Prior to the 19th century, the scientific illustrations tend to represent a type, an ideal. So if you were going to do a picture of a flower, for example, the illustrator would look at 20 flowers and then take the common features and make an ideal flower," said Keller. "So, if that particular one happens to have a defective petal or something peculiar to it, you never really know: Does that photograph substitute then for that type of flower in general, or does it only represent that one specimen?" /pp While it may have posed a challenge for scientists of the 19th century, it's the unique nature of each photograph taken during this early period that wows us, even now. /pbr style="clear: both;"/ a style='font-size: 10px; color: maroon;' href='http://www.pheedo.com/hostedMorselClick.php?hfmm=v3:cbbf63f1fb7e67b9e527dab439e4ba21:vhnm7352PkhDZ3b08Y2sMp4jzO%2FvufrreaVV1%2FrMy42ouvVreaTTDJcKqzYRuG4%2FgvMTMWdfcoiISQ%3D%3D'img border='0' title='Add to Facebook' alt='Add to Facebook' src='http://www.pheedo.com/images/mm/facebook.gif'//a a style='font-size: 10px; color: maroon;' href='http://www.pheedo.com/hostedMorselClick.php?hfmm=v3:3cf235586c06605892691e6a3cc9a6cb:7YUWc87MfIHrwmN9P9TT7ITHhbOVnGVHD5aVfAni2CwHKV3OjhBRXoUQPCYhFP0YAqd3k1E%2BIINZ'img border='0' title='Add to Reddit' alt='Add to Reddit' src='http://www.pheedo.com/images/mm/reddit.png'//a a style='font-size: 10px; color: maroon;' href='http://www.pheedo.com/hostedMorselClick.php?hfmm=v3:699763cdf092463708984ca1c5702e58:bEbuTfq1BfCFGUCGXcjZyzj2%2BUs8JYt6eLxbw%2BRZPyloK9TZCe4fvvSwrlZP%2BZzee5meVRIX8gW2'img border='0' title='Add to digg' alt='Add to digg' src='http://www.pheedo.com/images/mm/digg.gif'//a a style='font-size: 10px; color: maroon;' href='http://www.pheedo.com/hostedMorselClick.php?hfmm=v3:452d5247e5154eb1c537fb798e02025d:keBjN8UUXzm6OdqnEZk2bgxHIa%2FOmVXDvgbaX7IYXrGoPzG2vgzcUEAVnZm%2FCv8f61qPB2Dqa28%2B'img border='0' title='Add to Google' alt='Add to Google' src='http://www.pheedo.com/images/mm/google.png'//a br style="clear: both;"/ a href="http://www.pheedo.com/click.phdo?s=cdc22e1d5623ce9533eb24f0beb19af9p=1"img alt="" style="border: 0;" border="0" src="http://www.pheedo.com/img.phdo?s=cdc22e1d5623ce9533eb24f0beb19af9p=1"//a img src="http://www.pheedo.com/feeds/tracker.php?i=cdc22e1d5623ce9533eb24f0beb19af9" style="display: none;" border="0" height="1" width="1" alt=""/ pa href="http://feeds.wired.com/~a/wired/index?a=CwnoSm"img src="http://feeds.wired.com/~a/wired/index?i=CwnoSm" border="0"/img/a/pimg src="http://feeds.wired.com/~r/wired/index/~4/461399892" height="1" width="1"/

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Wife's call saves sailor after nights on liferaft

Guardian Unlimited

- 18 hours and 1 minutes ago

divimg alt="" src="http://hits.guardian.co.uk/b/ss/guardiangu-feeds/1/H.15.1/37567?ns=guardianpageName=UK+news%3A+Wife%27s+call+saves+sailor+after+nights+on+liferaftch=UK+newsc3=The+Guardianc4=UK+news%2CSpain+%28News%29%2CWorld+newsc5=Not+commercially+usefulc6=Giles+Tremlettc7=2008_11_22c8=1122256c9=articlec10=GUc11=UK+newsc12=Spainc13=c14=h2=GU%2FUK+news%2FSpain" width="1" height="1" //divpA British sailor survived on a liferaft for three nights in a storm-tossed sea without food or drinking water after his boat sank off Spain's Balearic Islands./ppJayesh Patel, 43, said he had a miraculous escape from the 44ft (13-metre) yacht Umbalika as it went down at night after taking on water near Mallorca. He and a Belgian colleague were thrown into the sea before they struggled aboard their liferaft and begun a three-day battle against fear, hunger, thirst and the storms that continued to lash the Mediterranean Sea./pp"It was a very, very frightening experience. There were 40-50mph winds, waves of two to three metres," he said. "We had no food. /pp"The boat went down so fast - in a matter of minutes. We didn't have time to grab anything. We made a Mayday call but for some reason it didn't get through."/ppPatel, an experienced yachtsman with a commercial captain's licence, said he was putting out the Mayday call when it became clear that the water was about to fill up the cabin on the Umbalika. "I had to swim out along the cabin roof," he said. /ppWhen he had finally fought his way out, he was forced up to the surface and found himself beside the man who had been helping him sail the boat towards mainland Spain. They grabbed a liferaft before jumping ship but had no time to find flares, food, water or extra clothes. /pp"We were in the sea for about 15 to 20 minutes because we had problems getting the liferaft inflated," said Patel./ppPatel said he realised that it would take a while before rescue services were warned. "We were due in [mainland] Spain on the Thursday and I didn't think anyone would raise the alarm for at least 20 hours when we hadn't arrived," he said./ppAttempts to attract a passing helicopter failed and Patel tried to propel the liferaft to a nearby island. The men also tried to row using a pair of trainers as oars./ppOn the third night Patel began to get worried as winds were driving them away from the area where passing ships might find them. He began dreaming about food and water./ppHis wife Louise, who lives in London, became worried when he had not called to say he had arrived safely./pp"No one was aware of the problem until the sailor's wife dialled 999," a spokeswoman for the Maritime and Coastguard Agency said yesterday. "They were eventually rescued after four days and three nights in the liferaft and after an air-sea search covering 20,000 sq km."/ppMrs Patel raised the alarm on November 13. The men were rescued two days later. /ppHer husband was barely able to move his legs when the Spanish rescue ship pulled alongside. Once on board the vessel,he dragged himself up to the bridge so he could call and let his family, including his two children Balram, 15, and Ulrika, 12, know that he was safe./pdiv style="float: left; margin-right: 10px; margin-bottom: 10px;"ullia href="http://www.guardian.co.uk/world/spain"Spain/a/li/ul/divdiv class="guRssAdvert"a href="http://ads.guardian.co.uk/click.ng/richmedia=yessite=Newscountry=(none)spacedesc=rsssystem=rsstransactionID=1227321420780112202420450257"img src="http://ads.guardian.co.uk/image.ng/richmedia=yessite=Newscountry=(none)spacedesc=rsssystem=rsstransactionID=1227321420780112202420450257" border="0" //a/diva href="http://www.guardian.co.uk"guardian.co.uk/a copy; Guardian News Media Limited 2008 | Use of this content is subject to our a href="http://users.guardian.co.uk/help/article/0,,933909,00.html"Terms Conditions/a | a href="http://www.guardian.co.uk/webfeeds/1,,1309488,00.html"More Feeds/a

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Music Flow Music-As-Water Concept Stretches My Brain [Design]

Gizmodo

- 18 hours and 10 minutes ago

pimg src="http://cache.gawker.com/assets/images/gizmodo/2008/11/Music_Flow.jpg" align="left" hspace="4" vspace="2" width="468" height="374" style="display:block;" /Do you think of your MP3 player as the well from whence music springs forth like so much cool, pure H2O? Neither do I, but that didn't stop some brainy (that is, totally insaney) designers from coming up with a painfully elaborate music-player concept based on just such an analogy./p pOver at Yanko Design you can see the Music Flow concept by Min-Kyung Kang, Tae-Seung Kim and Jeong-Min Og. As you can see, you turn the faucet knob to initiate the musical stream, which "flows" into the headphones connected to the spigot. With me so far? OK, so the headphone cable is a garden hose, of sorts, and it uses a capacitive sensor to detect pinching: If you pinch the hose, the watery music momentarily ceases to flow! Feel free to take your bong hit now, cuz it's only getting weirder...br img src="http://cache.gawker.com/assets/images/gizmodo/2008/11/Music_Flow_2.jpg" align="left" hspace="4" vspace="2" width="468" height="326" style="display:block;" / bull; The remote "looks like waves" and controls the player without the faucet knob.br bull; The faucet knob is actually also a disguised speaker.br bull; And the spigot, being the player itself, houses a battery that you charge up before attaching to "a wall or window."br bull; None of these pieces, save the spigot and the presumably prohibitively expensive headphones, come together./p pIt's definitely more, uh, creative than that a href="http://gizmodo.com/5095409/have-a-cow-with-creatives-zen-moo-moo+sic-player"goofy cow MP3 player/a, but that doesn't mean it makes any sense. I almost forgot the kicker: It's not waterproof. [a href="http://www.yankodesign.com/2008/11/21/bend-the-beats-to-stop-the-flow-of-the-beats/"Yanko/a]/p br style="clear: both;"/ a href="http://www.pheedo.com/click.phdo?s=88cbb7ad32148f9fbe19461672232659p=1"img alt="" style="border: 0;" border="0" src="http://www.pheedo.com/img.phdo?s=88cbb7ad32148f9fbe19461672232659p=1"//a img src="http://www.pheedo.com/feeds/tracker.php?i=88cbb7ad32148f9fbe19461672232659" style="display: none;" border="0" height="1" width="1" alt=""/div class="feedflare" a href="http://feeds.gawker.com/~f/gizmodo/full?a=jaG0jq6B"img src="http://feedproxy.google.com/~f/gizmodo/full?d=120" border="0"/img/a a href="http://feeds.gawker.com/~f/gizmodo/full?a=ItbvJXpW"img src="http://feedproxy.google.com/~f/gizmodo/full?d=41" border="0"/img/a a href="http://feeds.gawker.com/~f/gizmodo/full?a=y8px42es"img src="http://feedproxy.google.com/~f/gizmodo/full?i=y8px42es" border="0"/img/a a href="http://feeds.gawker.com/~f/gizmodo/full?a=MJHIaW6a"img src="http://feedproxy.google.com/~f/gizmodo/full?i=MJHIaW6a" border="0"/img/a /divimg src="http://feedproxy.google.com/~r/gizmodo/full/~4/rPxf5-nheHM" height="1" width="1"/

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Furthernoise issue November 2008.

Rhizome.org Calendar

- 1 days and 5 hours ago

[b]Furthernoise issue November 2008.[/b]br / br / Welcome to the November issue of Furthernoise. In what has been a truly momentous year for all sorts of reasons, we are proud to finish it off with a brand new issue stacked to the gunwales with new releases and an audio player restocked with new tunes to take you through into the new year. Furthernoise is the sister site of www.furtherfield.orgbr / br / Furthernoise issue November 2008br / http://www.furthernoise.org/index.php?iss=71br / br / "The Birth of Primary Cinema from the Spirit of Sound - Feature Article by Frank Rothkamm" (feature) Primary Cinema remains cinema, it is not painting or staged photography. It is comprehended as a sequence of images with sound which ultimately constructs its meaning. It de-emphasizes change and reduces bright-ness and distributes events on a galactic scale, but despite its apparent emptiness it remains true cinema as the marriage of projected images and sound in space and time.br / http://www.furthernoise.org/page.php?ID=273br / feature by Frank Rothkammbr / br / "The Gyres, Between Nowhere and Goodbye, The End of Everything" (feature)br / Cathal Rodgers moonlights from his grubby guitarings with Irish doom-mongers Wreck Of The Hesperus as Wereju. Moonlight is apposite in application to Wereju, less evil more eerie twin, drawing out long rays of wild half-lit nightshade shimmer over grey evacuated fields, a sound described by the artist as "ageless drifting melancholia of an abandoned planet".br / http://www.furthernoise.org/page.php?ID=261br / feature by Alan Lockettbr / br / "A Ritual Which is Incomprehensible (to the smile of Pauline Oliveros) - Claudio Parodi" (review) The second in an ongoing series of conceptual works by Claudio Parodi sourcing and manipulating music from Tiziano Milano's Suoni CD (2005), not so much to remix but as staple material for processing in the studio. This time as with the last, the album is dedicated to a well known sound artist, and Pauline Oliveros is the chosen one on this occasion.br / http://www.furthernoise.org/page.php?ID=272br / review by Roger Millsbr / br / "Bedside Stories - Taub" (review)br / Bedside Stories is the new release by Taub, aka Me Raabenstein and Harold Nono. It is a work of haunting sonic landscapes and fragmented realities, glued together with precision and beauty. It will lull you into worlds of spacious minimal sounsdcapes and sonic cinematic journeys, which constantly resolve back to a single sound event or just quiet.br / http://www.furthernoise.org/page.php?ID=271br / review by Roger Millsbr / br / "Document 2 - Sevenhourgerm" (review)br / Document 2 by Sevenhourgerm aka Matthew Atkins is a CDR including nine experimental tracks released on the Minimal Resource Manipulation label. Found sounds and noise are crafted into varying degrees of coherency, with rhythm and melody flirting at the edge of perception.br / http://www.furthernoise.org/page.php?ID=276br / review by Alex Youngbr / br / "Electronic Drifting: The Music of Richard Lainhart" (review)br / Many contemporary musicians take their inspiration from natural processes. Richard Lainhart's musical models come from clouds, flames and waves, whose nebulous and ever shifting formations are the catalyst for his beautiful electronic works.br / http://www.furthernoise.org/page.php?ID=262br / review by Caleb Deupreebr / br / "Imperfect Silence - Various" (review)br / Imperfect Silence is a radical collaboration between artists working together purely online. Global boundaries and cultural differences make way for free jazz and diverse sonic improvisation, as Phil Hargreaves edits together the material to provide a personal narrative of Cadavre Esquis.br / http://www.furthernoise.org/page.php?ID=275br / review by Alex Youngbr / br / "Italian Noise Label Dokura Serves up 3 Mini Cdrs" (review)br / Dokura is an Italian noise label that releases limited edition tapes, 3 inch CDRs and the occasional vinyl lp from a variety of international artists. With 10 releases to date, the little label seems to be aiming at noise of the instrumental variety swinging closer to the lo-fi dark ambient drone.br / http://www.furthernoise.org/page.php?ID=269br / review by Derek Mortonbr / br / "Lost Hilde - Stray Ghost" (review)br / The releases on Highpoint Lowlife switch genres like someone channel surfing through alternative music TV. Lost Hilde adds yet another station to the programming, and an engrossing one at that. Everything begins as a smooth midnight cruise through glitched and looped synthetic sounds.br / http://www.furthernoise.org/page.php?ID=270br / review by Max Schaeferbr / br / "Sympathetic Vibration - Marcus Jones" (review)br / Often, recordings exist as complete works in themselves, or as documents or mementos of a live performance. Sympathetic Vibration is one of a rapidly expanding body of works that do not fit easily into either category, blurring the boundaries between recorded materials and live event. Stacey Sewell chats to its creator, phonographer and sound designer Markus Jones.br / http://www.furthernoise.org/page.php?ID=274br / review by Stacey Sewellbr / br / Roger Millsbr / Editor, Furthernoiseimg src="http://rhizome.org/syndicate/nothing.gif?f=announce" border="0"img src="http://feeds.feedburner.com/~r/rhizome-announce/~4/460844550" height="1" width="1"/

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[App Store Release] Phull

Ultrasone HFI-15G Headphones

Ubergizmo

- 1 days and 15 hours ago

div style="FLOAT: right"img title="Ultrasone HFI-15G Headphones" alt="Ultrasone HFI-15G Headphones" hspace="5" src="http://www.ubergizmo.com/photos/2008/11/hfi15g.jpg" vspace="5" border="0" //div pUltrasone of Germany has unveiled its smallest pair of headphones in its collection, the HFI-15G. This pair comes with an open-back supra-aural design that boasts a decentralized driver position which is touted to widen the sound-stage simply by directing the waves to the outer ear - taking a different route that most normal headphones do by directing said waves straight into the ear canal. Features of the HFI-15G include :- /p p ul liFrequency range of 20Hz to 20kHz/li liSound pressure level of 96dB/li li40mm Mylar drivers /li liImpedance of 32 Ohms./li li85 grams (minus cord)/li/ul p/pAccording to Ultrasone, their proprietary S-Logic technology is able to reduce sound pressure levels by up to 40% for a similar perceived loudness, helping reduce fatigue during long listening sessions. You can pick up the HFI-15G for $110 if you're interested. pa href="http://www.ubergizmo.com/15/archives/2008/11/ultrasone_hfi15g_headphones.html#comments"Add a comment/a | From: a href="http://www.ubergizmo.com/15/archives/2008/11/ultrasone_hfi15g_headphones.html"Ultrasone HFI-15G Headphones/a | Visit a href="http://www.ubergizmo.com"Ubergizmo/a | a href="http://www.uberbargain.com/"Good deals/a/p pmap name="google_ad_map_081120193821" area shape="rect" href="http://imageads.googleadservices.com/pagead/imgclick/081120193821?pos=0" coords="1,2,367,28"/ area shape="rect" href="http://services.google.com/feedback/abg" coords="384,10,453,23"//map img usemap="#google_ad_map_081120193821" border="0" src="http://imageads.googleadservices.com/pagead/ads?format=468x30_aff_imgamp;client=ca-pub-7335032025195922amp;channel=9684588219amp;output=pngamp;cuid=081120193821amp;url=http%3A%2F%2Fwww.ubergizmo.com%2F15%2Farchives%2F2008%2F11%2Fultrasone_hfi15g_headphones.html"//p pa href="http://feedads.googleadservices.com/~a/jhIs_De1HxRujfhvuMc_IZe0ykg/a"img src="http://feedads.googleadservices.com/~a/jhIs_De1HxRujfhvuMc_IZe0ykg/i" border="0" ismap="true"/img/a/pdiv class="feedflare" a href="http://feedproxy.google.com/~f/ubergizmo?a=R54lsDVH"img src="http://feedproxy.google.com/~f/ubergizmo?d=41" border="0"/img/a a href="http://feedproxy.google.com/~f/ubergizmo?a=CV9oeI9W"img src="http://feedproxy.google.com/~f/ubergizmo?i=CV9oeI9W" border="0"/img/a a href="http://feedproxy.google.com/~f/ubergizmo?a=jbrvruaT"img src="http://feedproxy.google.com/~f/ubergizmo?d=52" border="0"/img/a a href="http://feedproxy.google.com/~f/ubergizmo?a=AwN3KPvi"img src="http://feedproxy.google.com/~f/ubergizmo?i=AwN3KPvi" border="0"/img/a a href="http://feedproxy.google.com/~f/ubergizmo?a=aZs276s6"img src="http://feedproxy.google.com/~f/ubergizmo?i=aZs276s6" border="0"/img/a /div

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