Laurene Powell Jobs, Philanthropist and Widow of Steve Jobs, Just Took Over The Atlantic Today, in unexpected news, The Atlantic announced that the Emerson Collective has taken a controlling stake in the magazine. That may sound like humdrum media news until you realize that the president of the Emerson Collective is none other than Laurene Powell Jobs, the widow of Apple founder Steve Jobs. So now, one of America’s oldest media properties could gain some Apple DNA—sort of. That Apple connection may be a bit of a stretch, for now.

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1. The classic US stereotype of attempted Iranian ideological indoctrination via chants of “Death to America” and such has been old hat for quite some time.
2. Kodi (formerly XBMC) is a free and open-source media player software application developed by the XBMC Foundation, a non-profit technology consortium.

It would be safe to say that the Emerson Collective has developed a tradition of supporting progressive causes, like education and immigration reform, since its founding in 2. Powell Jobs and her team will take control from David Bradley, a longtime DC power broker who bought the magazine in 1.

That Apple connection may be a bit of a stretch, for now. It would be safe to say that the Emerson Collective has developed a tradition of supporting progressive.

Bradley told The Atlantic staff that his team made a list of over 6. Powell Jobs was the only one they approached.

As The Atlantic reports in its coverage of the news, there was always a deeper connection between Powell Jobs and the magazine: In a statement, Powell Jobs noted that Ralph Waldo Emerson, a co- founder of The Atlantic, inspired the name and the mission of her organization. She praised The Atlantic for the breadth and scope of its purpose: to “bring about equality for all people; to illuminate and defend the American idea; to celebrate American culture and literature; and to cover our marvelous, and sometimes messy, democratic experiment.”The story goes on to explain that the Emerson Collective’s controlling stake over The Atlantic does not include Atlantic Media properties like Quartz and National Journal. Eventually, Powell Jobs could take full control of the magazine and decide to spin off those properties altogether. And so, another Silicon Valley scion joins the Washington media elite. Back in 2. 01. 3, we saw Amazon founder Jeff Bezos—the erstwhile richest man in the world—buy The Washington Post. A year earlier, Facebook co- founder Chris Hughes bought The New Republic, although that didn’t last long. Hughes sold The New Republic in 2.

It’s unclear what the fate of The Atlantic will look like. The company says it’s profitable and growing. An influx of capital and the cachet that Powell Jobs, her Emerson Collective team, and that subtle nod to Apple provide could ultimately help The Atlantic reach new heights at a time when many media companies are heading in the opposite direction.

About that Apple connection, though. It’s unclear if Powell Jobs’s new role at The Atlantic will affect the magazine’s relationship with the computerphone company. We’ve reached out to The Atlantic for more information and will update this post if we hear back.

Full disclosure: I worked as a staff writer for The Atlantic’s news website, The Atlantic Wire, from 2. Editor’s note: The original headline of this post only identified Laurene Powell Jobs as the widow of her late husband Steve. She is a person in her own right with an accomplished history of philanthropy. We regret the error.

The Uncanny Sound Illusion That Creates Suspense in Christopher Nolan's Movies. Ever notice how Christopher Nolan’s movies (Interstellar, Inception, The Prestige) feel like an anxiety attack? Hd Movies Ipod Pirates Of The Caribbean 5 (2017) here. Well, maybe that’s overstating things a bit.

But the director does have a knack for creating an unnerving degree of tension. Turns out he’s using a little bit of musical magic to do it. The magic is actually a science- based audio illusion called a Shepard tone. Named after psychologist Roger Shepard, a pioneer in our understanding of spatial relation, the effect sounds like an infinitely ascending or descending scale. The tones are constantly moving upwards or downwards, but they never seem to reach a pinnacle or nadir. This is accomplished by stacking scales on top of each other—typically one treble scale, one midrange, and one bass—with an octave in between, then playing them in a continuous loop.

A Shepard tone is sometimes referred to as the barber pole of sound. You can even see the similarity, when you hear it and look at the spectrum view of a Shepard tone. Don’t listen to this too long, or you might lose your mind: Anyways, Christopher Nolan just loves this. With longtime collaborator Hans Zimmer, the acclaimed director has used a Shepard tone in almost every one of his films in the last decade. He even writes his scripts to match the effect. In a recent interview, Nolan explained how he used Shepard tones in his newest film, Dunkirk: The screenplay had been written according to musical principals. There’s an audio illusion, if you will, in music called a “Shepard tone” and with my composer David Julyan on “The Prestige” we explored that and based a lot of the score around that.

And it’s an illusion where there’s a continuing ascension of tone. It’s a corkscrew effect. It’s always going up and up and up but it never goes outside of its range. And I wrote the script according to that principle. I interwove the three timelines in such a way that there’s a continual feeling of intensity. Increasing intensity.

So I wanted to build the music on similar mathematical principals. Knowing this, you gain a deeper understanding of films like Interstellar, Inception, and The Prestige. It also explains why these films seem somehow inconclusive. A Shepard’s tone creates a conflict that can’t be resolved, just like Nolan’s plots.