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OsmoTECH XT was designed to expand upon the freezing capabilities of freezing point depression technology to accurately and precisely measure a broad range of sample types, according to Byron Selman, President and CEO of Advanced Instruments. "We are working in close partnership with the industry and have launched the OsmoTECH XT with next generation freezing technology to meet the demands of today's most challenging testing. Sample types that were difficult to freeze are no longer a challenge with the OsmoTECH XT."
NORWOOD, Mass., Sept. 29, 2020 /PRNewswire/ -- Advanced Instruments—an innovative developer of scientific and analytical instruments and related services for the biotech industry—announced the latest release to its biotech instrument portfolio, the OsmoTECH XT Single-Sample Micro-Osmometer.
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Nineteenth-Century British Theatrical Culture, by its very nature, will be both an interdisciplinary and a cross-disciplinary series – a home for ambitious work that puts British theatre on the global stage. It invites and encourages submissions from the western academy and the post-colonial world.
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OsmoTECH XT is not for patient diagnostic use. Advanced Instruments certifies that the technical features needed for 21 CFR Part 11 and EU Annex 11 compliance are built into OsmoTECH XT. It is your responsibility to implement the necessary controls in your laboratory to comply with 21 CFR Part 11 and EU Annex 11 requirements.
The London Stage in the 19th-century World is series of biennial conferences held at New College, Oxford. The ‘London Stage’ is interpreted inclusively as possible, and the conference includes such topics as criticism, dance, the staging of the natural environment, theatrical technology, colonial politics, and international influences on London theatre. The meeting provides an opportunity to take stock of the range of research currently being undertaken in the field as well as a chance to consider the place of London in the broader theatrical and political world.
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The OsmoTECH XT integrates the advanced data management capabilities and security features of the entire OsmoTECH Product Family. These features, which support 21 CFR Part 11 and EU Annex 11, are necessary for any GMP environment. Critical to ensure compliance with 21 CFR Part 11, the OsmoTECH XT provides traceability, audit trail and most importantly electronic signature to ensure even greater control of your data. Users can choose from several configuration settings to evolve during R&D, preclinical research, clinical testing and GMP compliance stages. The OsmoTECH XT is also designed to meet osmolality testing pharmacopeia guidelines and provides user friendliness, thanks to an intuitive touch screen and factory-calibrated readiness.
Paper Selection: Michael Burden (Oxford), Jim Davis † (Warwick), Jonathan Hicks (Aberdeen), Kate Newey (Exeter), David Francis Taylor (Oxford), and Susan Valladres (Durham)
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Volume contributors: Victoria Ascheim, Michael Burden, Wendy Heller, Jonathan Hicks, David Kennerley, Ellen Lockhart, James Steichen, David Stuart, Susan Valladares
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Advisory Board: Tracy C. Davis (Northwestern University); Bruno Forment, (Orpheus Instituut, Ghent); Michael Gamer (University of Pennsylvania); Kate Holmes (University of Exeter); Kate Newey (University of Exeter); Daniel O’Quinn (University of Guelph); Patricia Smyth (University of Warwick); David Taylor (St Hugh’s College, Oxford)
Bioproduction is seeing a rise in the complexity and concentration of sample types, including more difficult to freeze samples such as high concentration protein drug formulations, cryo-preservatives used in cell and gene therapy applications, RNA therapeutics, and buffer concentrates for in-line buffer dilutions, just to name a few. Highly concentrated, viscous sample types that previously presented a challenge to freezing point depression technology are now easily measured with the OsmoTECH XT, which provides the broadest range of osmolality measurement up to 4,000 mOsm/kg H2O. Designed with new, intelligent freezing technology, the OsmoTECH XT was built to handle the most complex sample types with the same consistent precision and accuracy you've come to expect from Advanced Instruments.
The London Stage Project is an envelope title for a number of research projects under the direction of Michael Burden, with Jonathan Hicks as co-director.
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About Advanced InstrumentsAdvanced Instruments is a global provider of scientific and analytical instruments for the biotechnology, clinical, and food-and-beverage industries. Since 1955, the company's innovations have helped organizations improve quality of results, achieve reliable outcomes, and increase workplace productivity. For more information, visit aicompanies.com.
Oxford-Princeton Partnership: Michael Burden, Wendy Heller, Jonathan Hicks, Ellen Lockhart with Victoria Ascheim, Micaela Baranello, David Kennerley, James Steichen, David Stuart
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This book series publishes original and innovative studies, typically located at the intersection of research in theatre and music, history, science, the visual arts, the press, performance, and politics. Topics range from high cultural relationships between art and theatre to popular forms such as pantomime or melodrama. The series editors encourage a broad approach to theatrical culture, embracing studies of amusements and entertainments such as panoramas, dioramas, and peep shows as well as dance, circus, pleasure gardens, and opera.
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The Italian Aria in London project provides a mechanism by which Italian aria texts can be traced through different libretti as they were moved from one opera to another by impresarios, conductors, and singers. It is based on the surviving libretti, both printed and manuscript, for operas in Italian performed in London. The hard copy version of the project is currently planned to appear in three volumes: Volume I: The catalogue of libretti; Volume II: The list of arias; and Volume III: Supplementary tables – Opera criticism – Bibliography – Indices.
The Staging History project began in 2013 with the award of an Oxford-Princeton Collaborative Partnership to Michael Burden (Oxford) and Wendy Heller (Princeton). The initial aim of the project was twofold: firstly, to explore the influence of historical events on the writing and staging of drama – musical drama in particular – in the late eighteenth and early nineteenth centuries; secondly, to investigate the interaction (or lack thereof) between the stages of London and New York, investigating the transfer of dramas, themes, and casts across the Atlantic.
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The London Stage Calendar 1800-1844 is an electronic calendar of performances on the London Stage. Its creation responds to an internationally identified need for a major reference work of performances cross the widest possible range of London theatres. The need – plus its projected effect on and beyond the academic field – can be gauged by the existing London Stage 1660-1800, 11 vols. (Carbondale, 1960-1970). For over 40 years this scholarly work has aided and stimulated research into the drama, staging, management and politics of the 18th-century London theatre. The success of this tool, however, has caused a cut-off point in published scholarship, with many studies ending – as the calendar – does in 1800. The London Stage 1800-1844 will not merely ‘fill a gap’ in the historical record but will respond to changes in research priorities since the old London Stage was conceived by including popular or ‘illegitimate’ performance venues as well as better known ‘west-end’ houses.
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