Podcasts about Rolf

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Embedded Systems take center stage in this week's podcast! My guest is Rolf Segger from SEGGER! Rolf and I dive deep into their extensive embedded solutions portfolio. This includes a close look at their RTOS, debuggers, IoT offerings, and their distinctive approach to licensing and support. We will also explore the fascinating concept of emApps, which represents an intriguing vision for embedded system design and is poised to shape the future of smart device development.

Kipferl, Waffeln, Baumstrietzeln - Leckereien, die eine Regensburger Stadttaube genauso liebt wie die Menschen. Besonders in der Vorweihnachtszeit, wo Gurrletta die warmherzige Atmosphäre als Inbegriff wohliger Sicherheit empfindet. Allerdings: Wird sich das lange Warten auf eine Schupfnudel nach Wochen der Entbehrung für sie lohnen?

Es beginnt oft schleichend, wie bei dem sprichwörtlichen Frosch im immer heißer werdenden Wasser. Wir wollen helfen, übernehmen Verantwortung, decken Fehler ab – und plötzlich stecken wir tief in der Co-Abhängigkeit. Unsere Hörerin Jenny hat genau das erlebt: Sie ist mit einer alkoholkranken Mutter aufgewachsen und kämpft als Erwachsene bis heute mit seelischen Folgen wie Kontrollzwang und tiefen Schuldgefühlen. In dieser sehr ernsthaften und ehrlichen Folge beleuchten Claudia und Rolf die toxische Dynamik hinter der Co-Abhängigkeit. Erfahrt, warum sich diese Abhängigkeit nicht nur bei Alkohol oder Drogen, sondern auch bei massiver Arbeitssucht zeigen kann.Hört in dieser Folge unter anderem, warum ihr, wie im Flugzeug, erst euch selbst retten müsst, bevor ihr anderen helft und auch, wie ihr euch abgrenzt, wenn der Süchtige euch plötzlich die Schuld für seinen Konsum in die Schuhe schieben will.Ihr habt eine Frage oder ein Thema, für das ihr euren persönlichen Psychohack braucht? Dann schreibt an: podcast@psychohacks.de.*** Anzeige: ***Hol dir jetzt den exklusiven NordVPN-Deal unter https://nordvpn.com/psychohacks. Völlig risikofrei mit der 30-Tage-Geld-zurück-Garantie! Hosted on Acast. See acast.com/privacy for more information.

Click to Subscribe: https://bit.ly/Youtube-Subscribe-SoapDirt Days of Our Lives spoilers this week focus mostly on the mysterious happenings around EJ DiMera's secret lab, where Stephanie Johnson, played by Abigail Klein, is being held captive. Owen Kent, portrayed by Wes Ramsey, alleges he isn't on EJ's payroll, but his actions suggest otherwise. Dr. Wilhelm Rolf, played by William Utay, is known to have Owen working for him, and EJ, portrayed by Dan Feuerriegel, and Gwen Rizczech, played by Emily O'Brien, are assumed to be funding this project. However, the kidnapping of Stephanie and trapping of Jeremy Horton, played by Trevor Donovan, seems to be Owen's rogue operation. DOOL spoilers look into the dark past when EJ hired Owen to kidnap Stephanie for leverage against Victor Kiriakis, enacted by John Aniston, who had kidnapped Stefano DiMera, played by Joseph Mascolo. Owen's obsession with Stephanie escalated to a point where he stopped following EJ's orders, which resulted in a rescue operation led by Phillip Kiriakis, Brady Black, Melanie Jonas and Hope Brady. Now, Stephanie's disappearance again raises questions about EJ's possible involvement. Days of our Lives spoilers indicate that Owen's dubious actions, like using EJ's name to send a bugged photo frame to Stephanie and Alex Kiriakis, suggest he might be setting up EJ as a scapegoat. Meanwhile, Jeremy is being understanding and patient, determined to rescue Stephanie. Owen's plans to smuggle Stephanie out of Salem using the pod, presumably housing Lexi Carver, once she wakes up, adds another sinister layer to the plot.  DOOL spoilers hint that while EJ's involvement in Stephanie's kidnapping remains uncertain, the focus is on whether he's aware of Dr. Rolf hiring Owen. EJ, who's distracted by his attempt to resurrect his sister Lexi and dealing with Johnny DiMera, might have overlooked Rolf's hiring decisions. The suspense around EJ's possible involvement and Owen's next move keeps the viewers on edge. This episode was hosted by Belynda Gates-Turner for Soap Dirt. Visit our Days of our Lives section of Soap Dirt: https://soapdirt.com/category/days-of-our-lives/ Listen to our Podcasts: https://soapdirt.podbean.com/ And Check out our always up-to-date Days of our Lives Spoilers page at: https://soapdirt.com/days-of-our-lives-spoilers/ Check Out our Social Media... Twitter: https://twitter.com/SoapDirtTV Facebook: https://www.facebook.com/SoapDirt Pinterest: https://www.pinterest.com/soapdirt/ TikTok: https://www.tiktok.com/@soapdirt Instagram: https://www.instagram.com/soapdirt/

In dieser Folge von Learn to Lead spricht Silke mit Rolf Küstner, Geschäftsführer des Autohofs Thiersheim und Unternehmer aus Leidenschaft. Aufgewachsen im Familienbetrieb, hat er früh gelernt, was es bedeutet, Verantwortung zu übernehmen und Führung im Alltag zu leben.Rolf gibt Einblicke in seine ganz persönliche Führungsphilosophie: nahbar sein, Verantwortung übertragen und gemeinsam mit dem Team wachsen. Dabei erzählt er offen von den Herausforderungen eines Familienunternehmens, von mutigen Entscheidungen und davon, warum echte Führung oft weniger mit Hierarchien und mehr mit Vertrauen zu tun hat. 

In 1996, Swiss Prof. Rolf M. Zinkernagel, together with Australian Peter C. Doherty, received the Nobel Prize for the discovery of so-called MHC restriction — a key mechanism by which T cells recognize virus-infected cells. 30 years after this achievement Zinkernagel talks about scientific curiosity, responsibility in polarized times and the future of immunology. - 1996 erhielt der Schweizer Prof. Rolf M. Zinkernagel gemeinsam mit dem Australier Peter C. Doherty den Nobelpreis für die Entdeckung der sogenannten MHC-Restriktion – ein Schlüsselmechanismus, mit dem T-Zellen virusinfizierte Zellen erkennen. Ein Gespräch zu wissenschaftlicher Neugier, Verantwortung in polarisierten Zeiten und die Zukunft der Immunologie.

Click to Subscribe: https://bit.ly/Youtube-Subscribe-SoapDirt Days of our Lives 2-week spoilers for March 02 - 13, 2026 bring the drama with EJ DiMera (Dan Feuerriegel) facing a tense situation, Phillip (John-Paul Lavoisier) in a state of concern, and a mysterious pod lady stirring up intrigue. Julie Williams (Susan Seaforth Hayes) is deeply worried about Jeremy Horton (Trevor Donovan), convinced he kidnapped Stephanie Johnson (Abigail Klein). Owen Kent, the real culprit, has framed Jeremy so convincingly that even Julie believes him. Meanwhile, Dr. Wilhelm Rolf (Richard Wharton) is about to resurrect the enigmatic pod lady.  DOOL spoilers suggest Phillip, guilt-ridden over Stephanie's kidnapping, finds comfort in Gabby Hernandez's (Cherie Jimenez) presence. Stephanie is shocked to find herself and Jeremy held captive by Owen. In another turn of events, EJ and Gwen Rizczech (Emily O'Brien) visit Rolf and the pod lady, stirring suspicions that the woman could be Lexi Carver (Renee Jones).  Spoilers for Days of our Lives reveal Johnny DiMera (Carson Boatman) receives an offer from Theo Carver (Tyler Joseph Andrews), possibly concerning the DiMera Enterprises. As the week progresses, Holly Jonas' (Ashley Puzemis) erratic behavior raises concerns, leading Sarah Horton (Linsey Godfrey) and Maggie Horton Kiriakis (Suzanne Rogers) to suspect she's back on drugs.  More DOOL spoilers divulge that EJ finds himself cornered by Paulina Price (Jackee Harry) who is certain he's hiding something. In the meantime, Xander Cook (Paul Telfer) and Sarah share a warm moment, hinting at a possible thaw in their frosty relationship the weeks of 03/02- 03/13, 2026. The Soap Dirt podcast made the Top 100 List for Apple Podcast's Entertainment News Category. Visit our Days of our Lives section of Soap Dirt: https://soapdirt.com/category/days-of-our-lives/ Listen to our Podcasts: https://soapdirt.podbean.com/ Check out our always up-to-date Days of our Lives Spoilers page at: https://soapdirt.com/days-of-our-lives-spoilers/ Check Out our Social Media... Twitter: https://twitter.com/SoapDirtTV Facebook: https://www.facebook.com/SoapDirt Pinterest: https://www.pinterest.com/soapdirt/ TikTok: https://www.tiktok.com/@soapdirt Instagram: https://www.instagram.com/soapdirt/

Mit fremden Federn sich schmücken? Das kann eine Taube auch - will sagen: ein Täuberich. Mit einem regelrechten Scharlatan hat es Gurrletta Steinhöfl diesmal zu tun. Allzumenschliches im Regensburger Taubenkosmos, und dazu gehören auch Gurrlettas melancholische Anwandlungen bei der Betrachtungeines Friedhofs im November.

Jason and Lindsey sift through some of today's headlines which includes Governor Tim Walz's comments on the anti-fraud package moving through Minnesota's legislature, the number of ICE agents left in Minnesota as Operation Metro Surge powers down and FedEx's potential plan to reimburse customers for tariffs. For the In Depth segment, Will Rolf joins Jason to talk about a new special he's offering at Sweeney's Saloon. If a Republican and Democrat come in together they can get a Poor Man's Special on the house which features new options every day. Jason asks about Will's inspiration for the idea, Will speaks to the tonic that sharing a meal can have over political tensions between parties. Sweeney's Saloon is located on Dale Street in Cathedral Hill.

I am Rolf Claessen and together with my co-host Ken Suzan I welcome you to Episode 172 of our podcast IP Fridays. Today's interview guests are Co-Founder & CEO of Inception Point AI, Jeanine Whright, and Mark Stignani, who is Partner & Chair of Analytics Practice at Barnes & Thornburg LLP. https://www.linkedin.com/in/jeaninepercivalwright https://www.linkedin.com/in/markstignani Inception Point AI But before the interview I have news for you: The Unified Patent Court (UPC) ruled on Feb 19, 2026, that specialized insurance can cover security for legal costs. This is vital for firms, as it eases litigation financing and lowers financial hurdles for patent lawsuits by removing the need for high liquid assets to enforce rights at the UPC. On Feb 12, 2026, the WIPO Coordination Committee nominated Daren Tang for a second six-year term as Director General. Tang continues modernizing the global IP system, focusing on SMEs, women, and digital transformation. His confirmation in April is considered certain. An AAFA study from Feb 4 reveals 41% of tested fakes (clothing/shoes) failed safety standards. Many contained toxic chemicals like phthalates, BPA, or lead. The study highlights that counterfeiters increasingly use Meta platforms to sell unsafe imitations directly to consumers. China's CNIPA 2026 report announced a crackdown on bad-faith patent and trademark filings. Beyond better examination quality, the agency will sanction shady IP firms and stop strategies violating “good faith” to make China’s IP system more ethical and innovation-friendly. Now, let's hear the interview with Jeanine Whright and Mark Stignani! How AI Is Rewiring Media & Entertainment: Key Takeaways from Ken Suzan's Conversation with Jeanine Wright and Mark Stignani In this IP Fridays interview, Ken Suzan speaks with two repeat guests who look at the same phenomenon from two angles: Jeanine Wright, Co-Founder & CEO of Inception Point AI, as a builder of AI-native entertainment, and Mark Stignani, Partner and Chair of the Analytics Practice at Barnes & Thornburg LLP, as a lawyer advising clients who are trying to use AI without stepping into a legal (or ethical) crater. What emerges is a clear picture: generative AI is not just “another tool.” It is rapidly becoming the default infrastructure for creative work—while the rules around ownership, consent, and accountability lag behind. 1) What “AI-generated personalities” really are (and why that matters) Jeanine's company is not primarily “cloning” real people. Instead, Inception Point AI creates original, fictional personalities—characters with backstories, ambitions, and evolving arcs—then deploys them into the world as podcast hosts and content creators (and eventually actors and musicians). Her key point: the creative work still starts with humans. Writers and creators define the concept, tone, audience, and story engine. What AI changes is speed, cost, and iteration—and therefore what is economically feasible to produce. 2) The “generative content pipeline” isn't a magic button A recurring misconception Ken raises is the idea that someone “pushes a button” and content pops out. Jeanine explains that real production looks more like a hybrid studio: A creative team defines character, voice, format, and storyline. A technical team builds what she calls an “AI orchestration layer” that combines multiple models and tools. The “stack” differs by format: the workflow for a long-form audio drama is different from a short-form beauty clip. This matters because it reframes AI content not as a single output, but as a pipeline decision: which tools, which data sources, which QA, and which governance steps are used—and where human review happens. 3) The biggest legal questions: origin, liability, ownership, and contracts Mark doesn't name a single “top issue.” He describes a cluster of problems that repeatedly show up in client conversations: Training data and “origin story” Clients keep asking: Can I legally use AI output if the tool was trained on copyrighted works? Even if the output looks new, the unease is about whether the tool's capabilities are built on unlicensed inputs. Liability for unintended harm Mark flags risk from AI content that inadvertently infringes, defames, or carries bias. The legal exposure may not match the creator's intent. Ownership and protectability He points to a big gap: many jurisdictions are still reluctant to grant classic IP rights (copyright or patent-style protection) to purely AI-generated material. That creates uncertainty around whether businesses can truly “own” what they produce. Old contracts weren't written for AI A final, practical point: many agreements—talent contracts, author clauses, data licenses—predate generative AI and simply don't address it. That leads to disputes about scope, permissions, and—crucially—indemnities. 4) Are we at a tipping point? The “gold rush” vs. “next creative era” views Jeanine frames AI as “the world's most powerful creative tool”—comparable to previous step-changes like animation, special effects, and CGI. For her, the strategic implication is simple: creators who learn to use AI well will expand what they can build and test, faster than ever. Mark's metaphor is more cautionary: he calls the moment a “gold rush” where technology is sprinting ahead of law. Courts are getting flooded with foundational disputes, while legislation is fragmented—he notes that states may move faster than federal frameworks, and that labor agreements (e.g., union protections) will be a key pressure point. 5) Democratization: more creators, more niche content, more experimentation One of the most concrete themes is access. Jeanine argues AI will: Lower production barriers for independent filmmakers and storytellers. Reduce the need for “hit-making only” economics that dominate Hollywood. Make micro-audience content commercially viable. Her example is intentionally niche: highly localized, specialized content (like a “pollen report” for many markets) that would never have made financial sense before can now exist—and thrive—because the production cost drops and personalization scales. 6) Likeness, consent, and “digital performers”: what happens when AI resembles a real actor? Ken pushes into a sensitive area: what if someone generates a performance that closely resembles a living actor without consent? Mark outlines the current (imperfect) toolbox—because, as he emphasizes, most laws weren't built for this scenario. He points to practical claims that may come into play in the U.S., such as rights of publicity and false endorsement-type theories, and notes that whether something is parody or “too close” can become a major fault line. Jeanine explains her company's operational approach: They focus on original personalities, designed “from scratch.” They build internal checks to avoid misappropriating known names, likenesses, or recognizable identities. If they ever work with real people, the model would be licensing their likeness/voice. A subtle but important business point also appears here: Jeanine expects AI-native characters themselves to become licensable assets—meaning the entertainment economy may expand to include “celebrity rights” for fully synthetic personalities. 7) Ethics: the real line is “deception,” not “AI vs. human” The ethical core of the conversation is not “AI is bad” or “AI is good.” It's how AI is used—especially whether audiences are misled. Mark highlights several ethical risks: Misuse of tools to manipulate faces and content (“AI slop” and political misuse). Displacement of creative workers without adequate transition support. A concern that AI often optimizes toward “statistical averages,” potentially flattening originality. Jeanine agrees ethics must be designed into the system. She describes regular discussions with an ethicist and emphasizes a principle: transparency. Her company discloses when content or personalities are AI-generated. She argues that if people understand what they're engaging with and choose it knowingly, the ethical problem shifts from “AI exists” to “Are we tricking people?” Mark adds a real-world warning: deepfakes are now credible enough to enable serious fraud—he references a case-like scenario where a synthetic video meeting deceived an employee into authorizing a payment. The point is clear: authenticity and verification are no longer optional. 8) The “dead actor” hypothetical: legal permission vs. moral intent Ken raises a provocative scenario: an actor's estate authorizes an AI-generated new performance, but the actor opposed such technology while alive. Neither guest offers a simplistic answer. Jeanine suggests that even if the estate holds legal rights, a company might choose to avoid such content out of respect and because the ethical “overhang” could damage the storytelling outcome. She also notes the harder question: people who died before today's capabilities may never have been able to meaningfully consent to what AI can now do—raising questions about how we interpret legacy intent. Mark underscores the practical contract problem: many rights are drafted “in perpetuity,” but that doesn't automatically settle the ethical question. 9) Five-year forecast: “AI everywhere,” but audiences may stratify Ken closes with a prediction question: in five years, how much entertainment content will significantly involve AI—and will audiences care? Jeanine predicts AI becomes the default creative layer for most content creation. Mark is slightly more conservative on the percentage, but adds an important nuance: the market will likely stratify. Low-cost, high-volume content may become saturated with AI, while premium segments may emphasize “human-made” as a differentiator—especially if disclosure norms become standard. Bottom line for business leaders and creators This interview lands on a pragmatic conclusion: AI will change how content is made at scale, and the competitive edge will go to teams that combine creative taste, operational discipline, and legal/ethical governance. If you're building, commissioning, or distributing content, the questions you can't dodge anymore are: What's the provenance of the tools and data you rely on? Who is responsible when output harms, infringes, or misleads? What rights can you actually claim in AI-assisted work? Do your contracts and disclosures match the new reality? Ken Suzan: Thank you, Rolf. We have two returning guests to the IP Friday’s podcast. Joining me today is Janine Wright and Mark Stignani. Our topic for discussion, how is AI transforming the media and entertainment industries today? We look at the issues from differing perspectives. A bit about our guests, Janine Wright is a seasoned board member, CEO, global COO and CFO. She’s led organizations from startup to a $475 million plus revenue subsidiary of a public company. She excels in growth strategy, adopting innovative technologies, scaling operations and financial management. Janine is a media and entertainment attorney and trial litigator turned technologist and qualified financial expert. She is the co-founder and CEO of Inception Point AI, a growing company that is paving new ground with AI-generated personalities and content through developing technology and story. Mark Stignani is a partner with Barnes & Thornburg LLP and is based in Minneapolis, Minnesota. He is the chair of the data analytics department with a particular emphasis on artificial intelligence, machine learning, cryptocurrency and ESG. Mark combines the power of artificial intelligence and machine learning with his skills as a corporate and IP counsel to deliver unparalleled insights and strategies to his clients. Welcome, Janine and Mark to the IP Friday’s podcast. Jeanine Whright: Thank you. Thank you. Thank you so much for having me and fun to be back. It feels nostalgic to be here. Ken Suzan: That’s right. And you both were on the program. So it’s fantastic that you’re both back again. So our format, I’m going to ask a question to Janine and or Mark and sometimes to both of you. So that’s going to be how we proceed. Let’s jump right in. Janine, your company creates AI-generated actors. For listeners who may not be familiar, can you briefly explain what that means and what’s now possible that wasn’t even two years ago? Jeanine Whright: Sure. Yeah, we are creating AI-generated personalities. So new characters, new personalities from scratch. We design who these personalities are and will be, how they will evolve. So we give them complex backstories. We give them hopes and dreams and aspirations. We every aspect of them, their families, how they’re going to evolve. And in the same way that, say, you know, Disney designs the character for its next animated feature or, you know, an electronic arts designs a character for its next major video game. We are doing that for these personalities and then we are launching them into the world as podcast hosts, content creators on social platforms like YouTube, Instagram and TikTok. And even in the future, you know, actors in feature length films, musicians, etc. Ken Suzan: Very fascinating. Mark, from your practice, what’s the single biggest legal question or dispute you’re seeing clients wrestle with when it comes to AI and media creation? Mark Stignani: Well, I think that, you know, it’s not just one thing, it’s like four things. But most of them tend to be kind of the origin story of AI data or AI tools that they use because, you know, but for the use of AI tools trained on copyrighted materials, the tools wouldn’t really exist in their current form. So a lot of my clients are wondering about, you know, can I legally use this output if it’s built upon somebody else’s IP? The second ask, the second flavor of that is really, is there liability being created if I take AI content that inadvertently infringes or defames or biases there? So there’s the whole notion of training bias from the training materials that comes out. The third phase is really, you know, can I really own this? Because much of the world does not really give IP rights into AI-generated inventions, copyrighted materials. It’s still kind of a big razor. Then at the end of the day, you know, if it’s an existing relationship, does my contract even contemplate this? So everything from authors contracts on up to just use of data rights that predate AI. Ken Suzan: And Janine and Mark, a question to both of you. How would you describe where we are right now in the AI revolution in media and entertainment? Are we approaching a tipping point? And if so, what are the things we need to watch for? Jeanine Whright: Yeah, I definitely think that we’re at a phase where people are starting to come to the realization that AI is the world’s most powerful creative tool. But that, you know, storytelling and point of view is what creates demand and audiences. And AI doesn’t threaten or change that. But it does mean that as people evolve in this medium, they’re very likely going to need to adopt, utilize and figure out how to hone their craft with these AI-generated content and these AI-generated toolings. So this is, you know, something that people have done certainly in the past in all sorts of ways in using new tools. And we’ve seen that make a significant change in the industry. So you look at, you know, the dawn of animation as a medium. You look at use of special effects, computer-generated imagery in the likes of Pixar. And this is certainly the next phase of that evolution. But because of the power of the tool and what will become the ubiquity of the tool, I think that it’s pretty revolutionary and all the more necessary for people to figure out how to embrace this as part of their creative process. Ken Suzan: Thank you, Janine. Mark, your thoughts? Mark Stignani: Yeah, I mean, I liken this to historically to like the California gold rush right now, because, you know, the technology is so far outpaced in any of the legal frameworks that are available. And so we’re just trying to shoehorn things in left and right here. So, I mean, the courts are beginning to start to engage with the foundational questions. I don’t think they’re quite there yet. I just noticed Anthropic got sued again by another group of people, big music group, because of the downloaded works they’ve done. I mean, so the courts are, you know, the courts are certainly inundated with, you know, too many of these foundational questions. Legislatively, hard to tell. I mean, federal law, the federal government is not moving uniformly on this other than to let the gold rush continue without much check and balance to it. Whereas states are now probably moving a lot faster. Colorado, Illinois, even Minnesota is attempting to craft legislation and limitations on what you can do with content and where to go with it. So, I mean, the things we need to watch for any of the fair use decisions coming out here, you know, some of the SAG-AFTRA contract clauses. And, you know, again, the federal government, I just, you know, I got a big shrug going as to what they’re actually going to come up with here in the next 90 to 100 days. So, but, you know, I think they’ll be forced into doing something sooner than later. Ken Suzan: Okay, let’s jump into the topic of the rise of generative content pipelines. My first question to Janine. Studios and production companies are now building what some call generative content pipelines. This is where AI systems produce everything from scripts to visual effects to voice performances. What efficiencies and creative possibilities does this unlock for the industry? Jeanine Whright: Yeah, so this is quite a bit of what we do. And if I could help pull the curtain back and explain a little bit. Ken Suzan: That’d be great. Jeanine Whright: Yeah, there’s this assumption that, you know, somebody is just sitting behind a machine pushing a button and an out pops, you know, what it is that we’re producing. There’s actually quite a bit of humans still in the loop in the process. You know, we have my team as creators. The other half of my team is the technologists. And those creators are working largely at what we describe as the the tip of the sphere. So they’re, of course, coming up with the concepts of who are these personalities? What are these personalities, characters, backgrounds going to be a lot of like rich personality development? And then they’re creating like what are the formats? What are the kind of story arcs? What is the kinds of content that this this character wants to tell? And what are the audiences they’re desiring to reach and what’s most going to resonate with them? And then what we built internally is what we refer to as an AI orchestration layer. So that allows us to pull from basically all of the different models and then all of these different really cool AI tools. And put those together in such a way and combine those in such a way that we can have the kind of output that our creative team envisions for what they want it to be. And at the end of the day, what you what the stack looks like for, say, a long form audio drama, like the combination of LLMs that we’re going to use in different parts of scripting and production and, you know, ideating and all of that. And the kinds of tooling that we use to actually make it and get it to sound good and have the kinds of personality characteristics that we want to be in an authentic voice for a podcast is going to be different than the tech stack and the tool stack that we might use for a short form Instagram beauty tip reel. And so there’s a lot of art in being able to pull all of these tools together to get them to do exactly what you want them to do. But I think the second part of your question is just as interesting as the first. I mean, what is what possibilities is this unlocking? So of course you’re finding efficiencies in the creative production process. You can move faster. You can do things were less expensive, perhaps, and you were able to do it before. But on the creator side, I think one thing that hasn’t been talked about enough is how it is really like blown wide the aperture of what creators can do and can envision. Traditionally, you know, Hollywood podcasting, many of these businesses that become big businesses have become hit making businesses where they need to focus on a very narrow of wide gen pop content that they think is going to get tens of millions, hundreds of millions in, you know, fans and dollars in revenue for every piece of content that they make. So the problem with that is, is that it really narrows the kinds of things that ultimately get made, which is why you see things happening in Hollywood, like the Blacklist, which is, you know, this famous list of really exceptional content that remains unpredited, unproduced, or why you see things like, you know, 70 to 80% of the top 100 movies being based on pre-existing IP, right? Because these are such huge bets that you need to feel very confident that you’re going to be able to get big, big audiences and big, big dollars from it. But with AI, and really lowering the barrier to entry, lowering the costs of production and marketing, the experimentation that you can do is really, really phenomenal. So, you know, my creative team, if they have an idea, they make it, you know, they don’t have to wring their hands through like a green lighting process of, you know, should we, shouldn’t we, like we, we can make an experiment with lots of different things, we can do various different versions of something. We can see what would this look like if I placed it in the 1800s, or what if I gave this character an Australian accent, and it’s just the power of being able to have this creative partner that can ideate with you and experiment with you at rocket speed. With the creators that are embracing it, you can see how it is really fun for them to be able to have this wide of a range of possibility. Ken Suzan: Mark, when you hear about these generative pipelines, what are the immediate red flags or concerns that come to mind from a legal standpoint? How about ethics underlying all of this? Well, Mark Stignani: that was not, that’s the number one red flag because I mean, we are seeing not just that in the entertainment industry, but it literally at political levels, and the kind of the phrase, to turn the phrase AI slop being generated, we’re seeing, you know, people’s facial expressions altered. In some cases, we’re seeing AI tools being misused to exploit various groups of individuals and genders and age groups. So I mean, there’s a whole lot of things ethically that people are using AI for that just don’t quite cover it. Especially in the entertainment industry, I mean, we’re looking at a fair amount of displacement of human workers without adequate transition support, devaluation of the creative labor. I mean, the thing though that I’m always from a technical standpoint is AI is simply a statistical average of most everything. So it kind of devalues the benefit of having a human creator, a human contribution to it. That’s the ethical side. But on the legal side, I see chain of title issues. I mean, because these are built on very questionable IP ownership stages, I mean, in most of these tools, there has been some large copying, training and taking of copyrighted materials. Is it transformational? Maybe. But there’s certainly not a chain of title, nor is there permission granted for that training. I mentioned SAG-AFTRA earlier, I think there’s a potential set of union contract aspects to this that if you know many of these agreements and use sub-licenses for authors and actor agreements, they weren’t written with AI in mind. So that’s another red flag. And also I just think in indemnification. So if we ultimately get to a point where groups are liable for using content without previous license, then who’s liable? Is the tool maker the liable group or the actual end user? So those are probably my top four red flags. But I think ethics is probably my biggest place because just because we can do something from an ethical standpoint doesn’t mean we should. Jeanine Wright: Yeah, if I can respond to both of those points. I mean, one from a legal perspective, just to be very clear, I mean, we are always pulling from multiple different models and always pulling from multiple different sources. And we even have data sources that we license or use for single source of truth on certain pieces of information. So we’re always pulling things together from multiple different sources. We also have built into our process, you know, internal QAing and checking to make sure that we’re not misappropriating the name or likeness of any existing known personality or character. We are creating original personalities there. We design their voice from scratch. We design their look from scratch. So we’re not on our personality side, we’re not pulling or even taking inspiration from existing intellectual property that’s already out there in creating these personalities. On the ethical side, I agree. I mean, when we came out of stealth, we came out of stealth in September. There was certainly quite a bit of backlash from folks in my—I previously co-founded a company in the audio space. I mean, there’s been many rounds of layoffs in audio and in many other parts of the entertainment industry. So I’m very sensitive to the feedback around, like, is this job displacement? I mean, I do think that the CEO of NVIDIA said it right when he said, you’re likely not going to lose your job to AI, but you will lose your job to somebody who knows how to use AI. I think these tools are transforming the way that content is made and that the faster that people can embrace this tooling, the more likely they’re going to be having the kinds of roles that they want in, you know, in content creation and storytelling in the future. And we are hiring. I’m hiring AI video creators, AI audio creators. I’m hiring AI developers. So people who are looking for those roles, I mean, please reach out to me, we would love to work with you and we’d love to grow with you. We also take the ethics very seriously. For the last few months or so, I’ve met regularly with an ethicist, we talk about all sorts of issues around, you know, is designing AI-generated people, you know, good for humanity? And what about authenticity and transparency and deception, and how are we in building in this space going to avoid some of the problems that we’ve seen with things like social media and other forms of technology? So we keep that very top of mind and we try to build on our own internal values-based system and, you know, continue to elevate and include the humanity as part of the conversation. Ken Suzan: Thank you, Janine. Janine, some argue that AI content pipelines will level the field for filmmaking, giving independent creators access to tools that were once available only to major studios. Is that the future you envision? Jeanine Wright: I do think that with AI you will see an incredible democratization of access to technology and access to these capabilities. So I do think, you know, rise of independent filmmakers, you won’t have as many people who are sitting on a brilliant idea for the next fantastic script or movie that just cannot get it made because they will be able to with these tools, get something made and out there, at least to get the attention of somebody who could then decide that they want to invest in it at a studio kind of level in the future. The other thing that I think is really interesting is that I think, you know, AI will empower more niche content and more creators who can thrive in micro-communities. So it used to be because of this hit generation business model, everything needed to be made for the masses and a lot of content for niche audiences and micro-communities was neglected because there was just no way to make that content commercially viable. But now, if you can leverage AI—we make a pollen report podcast in 300 markets, you know, nobody would have ever made that before, but it is very valuable information, a very valuable piece of content for people who really care about the pollen in their local community. So there’s all sorts of ways that being able to leverage AI is making it more accessible both to the creator and to the audience that is looking for content that truly resonates with them. Ken Suzan: Mark, let’s talk about the legal landscape right now. If someone creates an AI-generated performance that closely resembles a living actor without their consent, what legal recourse does that actor have? Mark Stignani: Well, I mean, I think we can go back to the OpenAI Scarlett Johansson thing where, you know, if it’s simply—well, the “walks like a duck, quacks like a duck” type of aspect there. You know, I think it’s pretty straightforward that they need to walk it back. I mean, the US doesn’t have moral rights, really, but there’s a public visage right, if you will. And so, one of the things that I find predominantly useful here is that these actors likely have rights of publicity there, we probably have a Lanham Act false endorsement claim, and you know, again, if the performance is not parody, and it’s so close to the original performance, we probably have a copyright discussion. But again, all of these laws predate the use of AI, so we’re going to probably see new sets of law. I mean, we’re probably going to see “resurrection” frameworks, we’ll probably have frameworks for synthetic actors and likenesses, but the rules just aren’t there yet. So, unfortunately, your question is largely predictive versus well-settled at this point. Ken Suzan: Janine, your company works with AI actors. How do you navigate the questions of consent and likeness compensation when creating digital performers? Jeanine Wright: I mean, if we—so first of all, if we were to work with a person who is an existing real-life person or was an existing real-life person, then we would work with them to license their name and likeness or their voice or whatever aspects of it we were going to use in creating content in partnership with them. Not typically our business model; we are, as I said, designing all of our personalities from scratch and making all of our content originally. So, we’ve not had to do that historically. Now, you know, the flip side is: can I license my characters as if they’re similar to living characters? Like will I be able to license the name and likeness and voice of my AI-generated personalities? I think the answer is yes and we’re already starting to do that. Ken Suzan: Let’s just switch gears into ethics and AI because I find this to be a really fascinating issue. I want to look at a hypothetical. And this is to both of you, Janine and Mark: an AI system creates a new performance by a beloved actor who passed away decades ago, and the actor’s estate authorizes it, but the actor was known to have expressed opposition to such technology during their lifetime. Is this ethical? Jeanine Wright: This feels like a Gifts, Wills, and Trusts exam question. Ken Suzan: It sounds like it, that’s right. Jeanine Wright: Throwing me back to my law school days. Exactly. What are your thoughts? It’d be interesting to see like who has the rights there. I mean, I think if you have the legal rights, the question is around, you know, is it ethical to go against what you knew was somebody’s wishes at the time? I guess the honest answer is I don’t know. It would depend a lot on the circumstances of the case. I mean, if we were faced with a situation like that where there was a discrepancy, we would probably move away from doing that content out of respect for the deceased and out of a feeling that, you know, if this person felt strongly against it, then it would be less likely that you could make that storytelling exceptional in some way—it would color it in a way that you wouldn’t want in the outcome. And I feel like there’s—I mean, certainly going forward and it’s already happening—there are plenty of people I think who have name, likeness, and voice rights that they are ready to license that wouldn’t have this overhang. Ken Suzan: Mark, your thoughts? Mark Stignani: Yeah, I mean, again, I have to kind of go back to our property law—the Rule Against Perpetuities. You know, from a property standpoint to AI rights and likenesses—since most of the digital replica contracts that I’ve reviewed generally do talk about things in perpetuity. But if it’s not written down for that actor and the estate is doing this—is it ethical? You know, that is the debate. Jeanine Wright: Well, gold star to you, Mark, for bringing up the Rule Against Perpetuities. There’s another one that I haven’t heard for many years. This is really taking me back to my law school days. Ken Suzan: It’s a throwback. Jeanine Wright: The other thing that’s really interesting is that this technology is really so revolutionary and new that it’s hard to even contemplate now what it is going to be in a decade, much less for people who have passed away to have contemplated what the potential for it could be today. So you could have somebody who is, perhaps, a deceased musician who expressed concerns about digital representations of themselves or digital music while they were alive. But now, the possibility is that you could recreate—certainly I could use my technology to recreate—that musician from scratch in a very detailed way, trained on tons of different available data. Not just like a digital twin or a moving image of them, but to really rebuild their personality from scratch, so that they and their music could be reintroduced to totally new generations in a very respectful and authentic way to them. It’s hard to know, with the understanding that that is possible, whether or not somebody who is deceased today would or would not agree to something like that. I mean, many of them might want, under those circumstances, for their music to live on. These deceased actors and musicians could live forever with the power of AI technology. Mark Stignani: Yeah, I really just kind of go to the whole—is deep-faking a famous actor the best way to preserve them or keep them live? Again, that’s a bit more of an ethical question because the deep fakes are getting good enough right now to create huge problems. Even zoom meetings in Hong Kong where a CFO was on a call with five synthetic actors who all looked like his coworkers and they sent a big check out based upon that. So again, the technology is getting good enough to fool people. Jeanine Wright: I think that’s right, Mark, but I guess I would just highlight the same way that it always has been: the ethical line isn’t AI versus human, the ethical line is about deception. Like, are you deceiving people? And if people know what it is that they’re getting and they’re choosing to engage with it, then I think it isn’t about the power of the technology. In our business, we have elected—not everybody has—but we have elected to be AI transparent. So we tell people when they listen to our show, we include it in our show notes, we include it on our socials. Even when we’re designing our characters to be very photo-realistic, we make an extra point to make sure that people know that this is AI-generated content or an AI personality. Like, our intention is not to deceive and to be candid. From a business model perspective, we don’t need to. I mean, there’s already people who know and understand that it is AI, and AI is different than people. Because it is AI, there’s all sorts of things that you can do with it that you would not be able to do with a real person. You know, we get people who ask us on the podcast side, we get all sorts of crazy funny requests. You know, people who say, “Can I text with this personality? Can I talk to them on the phone? Can they help me cook in the kitchen? Can they sing me Happy Birthday? Can they show up at my Zoom meeting today because I think my boss would love it?” You know, all sorts of different ways that people are wanting to engage with these characters. And now we’re in the process of rolling out real-time personalities so people will be able to engage with our personalities live. It is a totally different way that people are able to engage with content, and people can, as they choose, decide what kind of content they want to engage with. Ken Suzan: Jeanine and Mark, we’re coming to the end of this podcast. I would love to keep talking for hours but we have to stay to our timetable here. Last question: five years from now, what percentage of entertainment content do you predict will involve significant AI generation, and will audiences care about that percentage? Jeanine? Jeanine Wright: I mean, I would say 99.9%. I mean, already you’re seeing—I think YouTube did a survey—that it was like 90% of its top creators said that they’re using AI as material components of their content creation process. So, I think this will be the default way that content is created. And content that is not made with AI, you know, there’ll be special film festivals for non-AI generated content, and that will be a special separate thing than the thing that everybody is doing now. Ken Suzan: Mark, your thoughts? Mark Stignani: Yeah, I go a little lower. I mean, I think Jeanine is right that we’re seeing, especially in the low-quality content creation and like the YouTube shorts and things like that, you know, there’s so much AI being pushed forward that the FTC even acquired an “AI slop” title to it. I do think that disclosure will become normalized, that the industries will be pushed to say when something is AI and what is not. And I think it’s very much like, you know, do you care about quality or not? If you value the human input or the human factor in this, there will be an upper tier where it’s “AI-free” or low AI assistant. I think that it’s going to stratify because the stuff coming through the social media platforms right now—I can’t be on it right now just because there’s so much nonsense. Even my children, who are without much AI training at all, find it just too unbelievable for them. So, I think it will become normalized, but I think that we’re going to see a bunch of tiers. Ken Suzan: Well, Jeanine and Mark, this has been a fantastic discussion of an ever-evolving field in IP law. Thank you to both of you for spending time with us today on the IP Friday’s podcast. Jeanine Wright: Thank you so much for having me. Mark Stignani: Appreciate your time. Thank you again.

Frankenberger, Rolf www.deutschlandfunkkultur.de, Studio 9

Frankenberger, Rolf www.deutschlandfunkkultur.de, Studio 9

Click to Subscribe: https://bit.ly/Youtube-Subscribe-SoapDirt Days of Our Lives spoilers for March 2 - 6, 2026 indicate significant plot developments are underway. Abe Carver (James Reynolds) is scheming, while Steve Johnson (Stephen Nichols) is in a state of panic. In the wake of Arianna "Ari" Grace Horton's (Marissa Reyes) unexpected encounter with Liam, Holly Jonas (Ashley Puzemis) is struggling with Ari's harsh words and her own public humiliation. Meanwhile, EJ DiMera (Dan Feuerriegel) makes a proposition to Liam that could significantly alter the ongoing DiMera kidnapping case. DOOL spoilers suggest the storyline involving Gabi Hernandez (Cherie Jimenez), Phillip Kiriakis (John-Paul Lavoisier), and their budding relationship continues to evolve, with Phillip's support potentially exacerbating Gabi's guilt. Elsewhere, Rafe Hernandez (Galen Gering) and Cat Greene (AnnaLynne McCord), also known as Fabby, join the search for Stephanie Johnson (Abigail Klein), leading to a potential discovery of a secret lab.  Spoilers for Days of our Lives give a twist as Leo Stark (Greg Rikaart) tries to convince Dimitri von Leuschner DiMera (Peter Porte) to abandon his pursuit of evidence in Alamania, while Sophia Choi (Rachel Boyd) manipulates Rachel Black (Alice Halsey). Then he focus shifts towards Holly's potential overdose, Ari's growing feelings for Liam, and Rolf's (Richard Wharton) new serum experiment. The anticipated reading of Stefano DiMera's will could bring shocking revelations, and as Owen Kent (Wes Ramsey) returns to Salem, the truth about Stephanie's kidnapper may finally be revealed the week of 03/02 - 03/06/2026. This episode was hosted by Belynda Gates-Turner for Soap Dirt. Visit our Days of our Lives section of Soap Dirt: https://soapdirt.com/category/days-of-our-lives/ Listen to our Podcasts: https://soapdirt.podbean.com/ Check out our always up-to-date Days of our Lives Spoilers page at: https://soapdirt.com/days-of-our-lives-spoilers/ Check Out our Social Media... Twitter: https://twitter.com/SoapDirtTV Facebook: https://www.facebook.com/SoapDirt Pinterest: https://www.pinterest.com/soapdirt/ TikTok: https://www.tiktok.com/@soapdirt Instagram: https://www.instagram.com/soapdirt/

Ein wunderschönes Wochenende am Gardasee, man hat sich viel Mühe gegeben, alle sitzen zusammen – und trotzdem wird nur gemeckert, weil es im Restaurant zieht oder man eine Treppe steigen muss. Besonders bei älteren Menschen scheint die Dankbarkeit oft zu verschwinden und Platz für chronisches Nörgeln zu machen. Aber woran liegt das? Und wie verhindern wir, dass wir selbst irgendwann zu solchen "Muffkoppen" werden?Claudia und Rolf klären, warum Dankbarkeit eine erlernbare Kompetenz ist, die sogar unser Gehirn zur. Hört, warum ein klassisches Dankbarkeitstagebuch bei Schreibmuffeln genau das Gegenteil bewirken kann und wie Sprachnachrichten an sich selbst oder ein "Dankbarkeitswecker" viel besser im Alltag funktionieren.Ihr habt eine Frage oder ein Thema, für das ihr euren persönlichen Psychohack braucht? Dann schreibt an: podcast@psychohacks.de.*** Anzeige: ***Hol dir jetzt den exklusiven NordVPN-Deal unter https://nordvpn.com/psychohacks. Völlig risikofrei mit der 30-Tage-Geld-zurück-Garantie! Hosted on Acast. See acast.com/privacy for more information.

Ein zweiteiliges Gespräch mit Tropenmediziner Rolf Jansen-Rosseck über Parasiten – von Grundlagen und globaler Bedeutung bis hin zu Symptomen, Praxisfällen und Prävention.

Ein zweiteiliges Gespräch mit Tropenmediziner Rolf Jansen-Rosseck über Parasiten – von Grundlagen und globaler Bedeutung bis hin zu Symptomen, Praxisfällen und Prävention.

1500 Frauen. Weißer Anzug. Rolls-Royce auf dem Ku’damm. Rolf Eden war Berlins schillerndster Playboy. Doch hinter den rauschenden Nächten im „Big Eden“, hinter Miss-Wahlen, Promis und Poolpartys steckt eine ganz andere Geschichte. Ein jüdischer Junge, der vor den Nazis flieht. Ein Soldat im Unabhängigkeitskrieg, der knapp dem Tod entkommt. Und ein Mann, der von sich sagte: Ich habe keine Freunde. Wer war dieser Rolf Eden wirklich? Das verraten Tim Koschwitz und Lydia Mikiforow in dieser Folge. Folge 318 des rbb 88.8-Podcasts „100 % Berlin“.

Trupputtagningarna är här! Sempan är tränare i U23 och Wangerheim är kvar i U23. I A-landslaget snackar vi Sofia Reidy, Rolfö, Kosse & Stina samt Vinberg och Kafaji.Det väntar en VIKTIG match mot Italien tisdag 3 mars, följt av Serbien på lördagen samma vecka. Dessutom har Pia Sundhage blivit ny förbundskapten för Haiti.I Champions League är kvartsfinalerna klara – och det är verkligen mötenas möten: Arsenal mot Chelsea. Det går knappt att ta in.Vi rör oss vidare till Europa Cup och FA-cupen, där det bjöds på dramatik i mötet mellan Chelsea och United. Kerr gjorde 1–0 i den 78:e minuten, United kvitterade i den 81:a – och Girma avgjorde i den 99:e. Och ja – LCL och Tottenham spelar idag.Ett avsnitt fullt av landslagssnack, dramatik och Champions League-feber.

Der Schweizer Regisseur Rolf Lyssy gehört mit seinem beeindruckenden Œuvre aus Spiel- und Dokumentarfilmen zählt Rolf Lyssy zu den herausragenden Filmemachern der Schweiz. So gehört sein Meisterwerk DIE SCHWEIZERMACHER bis heute zu den erfolgreichsten Schweizer Filmen. Weitere grosse Erfolge feierte er mit Dialektkomödien wie TEDDY BÄR und LEO SONNYBOY. Gleichzeitig widmete er sich gesellschaftlichen Brennthemen, mit DIE LETZTE POINTE etwa dem selbstbestimmten Leben im Alter. In seiner ZFF Masters aus dem Jahr 2020 sprach Lyssy über Hochs und Tiefs seiner Karriere und seinen Spielfilm EDEN FÜR JEDEN.

Oh, guck mal, Plugin-Time! Schon wieder eine olle Kamelle durch den Wolf, äh, Rolf gejagt und voilà, neue Massstäbe. Mitsamt Waldorf-CEO Wöhrmann schnacken wir ein wenig über den runderneuerten Attack 3 Percussion Synthesizer, gutes Plugin-Design, eventuelle Lehren für die Hardware-Entwicklung, die Drum-Plugin-Einbindung in modernen DAWs und irgendwann auch über Entwicklungsländer und den so genannten wachsenden Markt. Ausserdem; kleines Bonus-Segment wegen pünktlich zur Aufnahme gedroppter Arturia FX-Collection 6 und darüber, dass meine Kollegen pawlowsche Wauwaus sind (ich darf das so schreiben, die lesen das hier eh nicht)

Eine Stadttaube als Opernbesucherin? 'Rätselhafte Aida'... Nicht minder seltsam ist Gurrlettas Begegnung mit einem Jungtäuberich, der sich in Szene setzt als Vertreter der Sparte 'Kunst am Bau'. Eine Tauben-Story zum Schmunzeln.

"Ich will, dass wir uns immer alles sagen!", Das klingt in der Theorie romantisch, doch in der Realität kann radikale Ehrlichkeit ganz schön verletzend sein. Egal, ob es um die extra Kilos auf den Rippen, die smarte Kollegin oder den unverhofften Karnevalsflirt geht: die Wahrheit auf den Tisch zu legen, birgt immer auch Konfliktpotenzial.Hört in dieser Folge, warum Rolf davor warnt, dem Partner die Wahrheit "wie einen nassen Lappen ins Gesicht zu schlagen", anstatt ihm hinein zu helfen wie in einen wärmenden Mantel. Claudia und Rolf sprechen über die "Jeans-Ehrlichkeit" und klären auf, warum dauerhafte Konfliktvermeidung wie ein "Beziehungskrebs" wirkt. Ihr habt eine Frage oder ein Thema, für das ihr euren persönlichen Psychohack braucht? Dann schreibt uns an podcast@psychohacks.de.*** Anzeige: ***Hol dir jetzt den exklusiven NordVPN-Deal unter https://nordvpn.com/psychohacks. Völlig risikofrei mit der 30-Tage-Geld-zurück-Garantie! Hosted on Acast. See acast.com/privacy for more information.

In der heutigen Folge sprechen Alex und Rolf darüber, wie Religionen in Science Fiction Serien und Filmen funktionieren und natürlich ist auch wieder Matrix ein Thema. Außerdem greifen wir das Gedankenexperiment auf, ob unsere gesamte Welt nur eine Simulation ist. Zum Schluss geben wir euch noch einen Ausblick, was euch auf unseren Kanälen sowie auf Sci Fi erwartet und Alex teilt seine Eindrücke zu Star Trek: Resurgence.

Lijsttrekkers Bloemendaal - Rolf Harder VVD - Marielys Roos HvB - Attiya Gamri PvdA by Haarlem105

Text us your questions to answer on a future episode (if you want me to contact you, please include your email)Rolf and Irene Meyer sit down with Jennie to talk about how to decide if an RV rental is right for you as well as some of their favorite places to travel with an RV in in Alaska and the Yukon.GoNorth RV and Car Rental (use code GONOA for a mileage package)Join the Alaska Planning Club on Patreon and ask me anything!Book an Alaska planning session with JennieSign up for Jennie's free weekly email newsletter - Alaska InsiderHave Jennie plan your trip for youJennie's digital workshops and planners (save 10% with code: podcast)Follow Jennie on InstagramSupport the show

Wer am Ball ist, hat gut lachen. Wer Oberwasser hat, dessen Mühlen mahlen gut. Freuen Sie sich auf zwei Stunden mit unserem Sprach-Experten Rolf-Bernhard Essig und vielen, durchweg sprichwörtlichen Redensarten. Er ist bei Bettina Ahne zu Gast.

Concept artists and illustrator Rolf Mohr joined Games Workshop in the late 80s to illustrate amazing space ships and 40k backgrounds.During his time at GW Rolf worked on Space Fleet, Space Marine, White Dwarf and more. As well as illustrating science fiction book covers, later in his career Rolf worked on concept art for films, toys, and video games including Superman, Batman, and the Guardians of the Galaxy.In this interview Rolf Mohr and Jordan Sorcery talk about working for Games Workshop, and creating incredible science fiction art.Rolf Mohr in conversation with Jordan Sorcery._____________________________ Support My Work: ELEMENT GAMES AFFILIATE LINK:https://elementgames.co.uk/?d=11216PATREON:https://www.patreon.com/jordansorceryKO-FI:https://ko-fi.com/jordansorceryDISCORD:https://discord.gg/vtjKzTGevDINSTAGRAM:https://www.instagram.com/jordansorcery/ BLUESKY:https://bsky.app/profile/jordansorcery.bsky.social WEBSITE:https://jordansorcery.com/_____________________________ Art, Music, and Copyright: Images used belong to their respective copyright owners Jordan Sorcery Theme by Joylin Music Jordan Sorcery Heraldry by Becka Moor Jordan Sorcery Heraldry and Theme copyright @jordansorcerySupport the show

Bli med backstage før Gluecifer-konsert i Köln og møt Rolf Yngve Uggen aka Raldo Useless. Altså, her er det historier fra Turbonegros første turné i USA med soving i jordkjellere og totalt kaos og den vakre beretningen om scandirockens tilblivelse på 90-tallet. Og Maiden? Jadda, mer Maiden enn man skulle tro. Det er jo en gammal platesjappe-ansatt vi snakker med her!I tillegg til albumaktuelle Gluecifer og tidlig Turboneger er Rolf Yngve kjent fra band som Astroburger, The Lust-O-Rama, Kung Fu Girls m.fl. Han har også spilt med Stein Torleif Bjella og jobber vanligvis på Nasjonalmuseet i Oslo.

Idyllische Augenblicke und allzumenschliche Schattenseiten - das Leben der Stadttaube Gurrletta Steinhöfl umspannt beide Pole. 'Das Mädchen mit den Rosen', 'Die dunklen Geschäfte rund um Emil Breitschnabel' sowie 'Das schusselige Täubchen'.

Click to Subscribe: https://bit.ly/Youtube-Subscribe-SoapDirt Days of our Lives spoilers for Feb 16-20, 2026 suggest Dimitri von Leuschner DiMera (Peter Porte) faces heightened tension, while Xander Cook (Paul Telfer) seems to be moving on. As Valentine's Day unfolds in Salem, Gwen Rizczech (Emily O'Brien) observes a change in EJ DiMera's (Dan Feuerriegel) demeanor, possibly influenced by Stefano DiMera's original Phoenix ring. Marlena Evans (Deidre Hall) and Leo Stark (Greg Rikaart) have a heart-to-heart, while Kristen DiMera (Stacy Haiduk) extends an intriguing offer to Brady Black (Eric Martsolf). Meanwhile, Dimitri is determined to secure his freedom, falsely accused of the DiMera kidnapping.  DOOL spoilers reveal Chad DiMera (Billy Flynn) plans to depart Salem temporarily, taking his kids to Arizona for quality time. As Valentine's Day continues, Stephanie Johnson (Abigail Klein) and Jada Hunter (Elia Cantu) surprise Alex Kiriakis (Robert Scott Wilson) with a real-deal elopement. Cat Greene (AnnaLynne McCord) receives an intriguing dinner invitation from EJ, and Xander seems to be enjoying single life with Gwen. Spoilers for Days of our Lives suggest Maggie Horton Kiriakis (Suzanne Rogers), Marlena, and Julie Williams (Susan Seaforth Hayes) reminisce about past Valentine's Days, each mourning their late sweethearts. Brady has a heartfelt talk with Tate Black (currently Leo Howard), while Xander and Sarah Horton (Linsey Godfrey) share a poignant moment of nostalgia. Holly Jonas (Ashley Puzemis) unnerves Tate with an outburst at the Brady Pub, an alarming behavior possibly influenced by drugs slipped by Sophia Choi (Rachel Boyd). More DOOL spoilers imply that Gwen and Xander's relationship may progress past a one-night stand. Chad prepares to leave Salem, marking Billy Flynn's last air date, and Gabi Hernandez (currently Cherie Jimenez) continues to deal with the aftermath of Dimitri's arrest. As Stephanie's stalker makes a move, Steve Johnson (Stephen Nichols) mistakenly blames Jeremy Horton (Trevor Donovan) for her kidnapping. Finally, Rolf (now played by Richard Wharton) and EJ are on the brink of reviving the tube person, leaving Paulina Price (Jackee Harry) in shock when she discovers who it is the week of 02/16 - 02/20/2026. The Soap Dirt podcast made the Top 100 List for Apple Podcast's Entertainment News Category. Visit our Days of our Lives section of Soap Dirt: https://soapdirt.com/category/days-of-our-lives/ Listen to our Podcasts: https://soapdirt.podbean.com/ Check out our always up-to-date Days of our Lives Spoilers page at: https://soapdirt.com/days-of-our-lives-spoilers/ Check Out our Social Media... Twitter: https://twitter.com/SoapDirtTV Facebook: https://www.facebook.com/SoapDirt Pinterest: https://www.pinterest.com/soapdirt/ TikTok: https://www.tiktok.com/@soapdirt Instagram: https://www.instagram.com/soapdirt/

Frankenberger, Rolf www.deutschlandfunkkultur.de, Studio 9

Einmal den heimischen Gemäuern entfliehen, dem sonnigen Süden zu - die Stadttaube Gurrletta Steinhöfl träumt von einer Reise nach Verona.

Hausmeisterei Video zur Episode Text-/Audio-/Videokommentar einreichen HS-Hörer:innen im Slack treffen Aus der Preshow MysterySpecialGuest, Lehne zum Lümmeln, Dimmen aus der Ferne HS Workshops Workshops HS Workshop-Newsletter Statt Werbung DANKE an alle Spender HSFeedback #hshi von Volker: Nordfoto.de für gute Filmpreise #hshi von Anonym zur digital independence: Wollt ihr mal von Slack weg? #hsfeedback von Rolf: … „#929 – Milchtütenkonfetti“ weiterlesen

Am 3. Januar 2026 ist der Komponist Rolf Riehm im Alter von 88 Jahren gestorben. Riehm lebte seit den 70er Jahren ins Frankfurt und war 26 Jahre lang Professor für Tonsatz und Komposition an der Musikhochschule Frankfurt. (Wdh. von 2010)

Click to Subscribe: https://bit.ly/Youtube-Subscribe-SoapDirt Days of Our Lives spoilers show that Theo Carver (Tyler Joseph Andrews), has family secrets about to unravel. Theo's grandfather, Stefano DiMera's (Joseph Mascolo) bones, have been confirmed as the remains found in the crypt. However, another secret about the death of Theo's mother, Lexi Carver (Renee Jones), still lurks in the shadows. As Theo recovers from his hospital stay, his father Abe Carver (James Reynolds) and Paulina Price (Jackee Harry) agree to keep the truth about Stefano's role in Lexi's death from him.  DOOL spoilers reveal that the secret may not stay hidden for long, especially with the possibility of Lexi being the test subject Dr. Wilhelm Rolf (Richard Wharton) is about to revive. Stefano and Theo shared a close relationship, and it was Stefano's influence that led Theo to his love for chess. However, Lexi worked to shield Theo from Stefano's darker side, leading to a complicated relationship.  Days of our Lives spoilers indicate that Theo's mother, Lexi, succumbed to inoperable brain tumors after being held captive in the DeMera tunnels, filled with toxic fumes, by Andre DiMera (Thaao Penghlis). Stefano felt responsible for Lexi's death, as his family's schemes indirectly led to her illness. Before her death, Lexi forgave Stefano, leaving a lasting impact on him.  DOOL spoilers hint that Rolf's human test subject could lead to Lexi's return to Days, a possibility that could see Theo learning about Stefano's indirect role in his mother's death. The upcoming memorial for Stefano could set the stage for this revelation, potentially leading to a family bonding moment or further divisions within the DeMera clan. As February sweeps approach, fans are eagerly waiting to see if Lexi will be revived. The Soap Dirt podcast made the Top 100 List for Apple Podcast's Entertainment News Category. Visit our Days of our Lives section of Soap Dirt: https://soapdirt.com/category/days-of-our-lives/ Listen to our Podcasts: https://soapdirt.podbean.com/ And Check out our always up-to-date Days of our Lives Spoilers page at: https://soapdirt.com/days-of-our-lives-spoilers/ Check Out our Social Media... Twitter: https://twitter.com/SoapDirtTV Facebook: https://www.facebook.com/SoapDirt Pinterest: https://www.pinterest.com/soapdirt/ TikTok: https://www.tiktok.com/@soapdirt Instagram: https://www.instagram.com/soapdirt/

Gurrletta Steinhhöfl hat es diesmal mit einem waschechten Kriminalfall zu tun. 'Der Tote unter der Pommesbude': Ihre Recherche führt Gurrletta in die Katakomben der Regensburger Uni...

„Wir haben eine neue Welt-Unordnung. Wir haben eine vier Brillen-Betrachtung die USA, China, Russland und die kleinste Brille ist Europa. Donald Trump macht die Welt unterwürfig und wir haben einen Kanzler ohne Kreuz. Seine Rede in Davos war ja unterirdisch. Europa ist zurzeit der große Verlierer. Wir haben enorm an Wettbewerbsfähigkeit verloren. Es gibt aktuell keine Partei, die Wirtschaft kann. Man hat ja dem Merz unterstellt, dass er Wirtschaft kann, aber ich fühle nicht. Ich würde gerne für eine Brandmauer auf der linken Seite plädieren. In Berlin sind permanent die Narren los. Da herrscht Dauerfrost”, sagt Rolf B. Pieper. Der CEO der TRI Concept AG weiter: „Das Vertrauen in die Finanzwirtschaft, in die Politik und die Währungen ist weg und die Leute gehen halt in die Edelmetalle. Wir haben eine Trump-Gold-Korrelation. Wie es aussieht werden wir wieder ein Jahr der Edelmetalle haben. Und wir brauchen auch maximale Diskretion.” Pieper empfiehlt die Triversifikation als Strategie. In den kommenden zwei Wochen ist der Finanzexperte zudem wieder auf Investoren-Reise in Thailand. Alle Infos - auch zum neuen Buch und dem Kongress (28.2. „Pieper und Friends" in Würzburg) - im Interview von Inside Wirtschaft-Chefredakteur Manuel Koch und auf https://rolf-pieper.com

Click to Subscribe: https://bit.ly/Youtube-Subscribe-SoapDirt Days of our Lives spoilers prepare for an exciting week as Dr. Wilhelm Rolf (Richard Wharton), Gwen Rizczech (Emily O'Brien), and EJ DiMera (Dan Feuerriegel) anticipate potential human trials of a new life-restoring serum. The serum has already successfully brought lab rats back to life, and the question now is who will be its first human test subject?  DOOL predictions suggest possible resurrections of Shawn Brady (Brandon Beemer), Peter Blake (Dan Gauthier), and a mystery person in a cryogenic tube. This could lead to significant financial gain and changes in relationships, particularly for EJ and Gwen.  Spoilers for Days of our Lives reveal the kidnapping storyline of Stephanie Johnson (Abigail Klein) continues to escalate, with Owen Kent revealed as the villain. With possible resurrections and life-saving surgeries on the horizon, the drama in Salem is set to reach new heights. Will Dr. Rolf's serum prove successful, and who will ultimately benefit from it?   Visit our Days of our Lives section of Soap Dirt: https://soapdirt.com/category/days-of-our-lives/ Listen to our Podcasts: https://soapdirt.podbean.com/ Check out our always up-to-date Days of our Lives Spoilers page at: https://soapdirt.com/days-of-our-lives-spoilers/ Check Out our Social Media... Twitter: https://twitter.com/SoapDirtTV Facebook: https://www.facebook.com/SoapDirt Pinterest: https://www.pinterest.com/soapdirt/ TikTok: https://www.tiktok.com/@soapdirt Instagram: https://www.instagram.com/soapdirt/

Click to Subscribe: https://bit.ly/Youtube-Subscribe-SoapDirt Days of Our Lives spoilers for the weeks of January 29 through February 6 reveal Dimitri von Leuschner DiMera (Peter Porte) finds himself in danger while Dr. Wilhelm Rolf (Richard Wharton) experiences a major breakthrough. Kristen DiMera (Stacy Haiduk) issues a stern warning to Sarah Horton (Linsey Godfrey) while EJ DiMera (Dan Feuerriegel) expresses his anger towards Gwen Rizczech (Emily O'Brien) for bringing Dimitri back from Alamania. Meanwhile, Chanel Dupree (Raven Bowens) and Johnny DiMera (Carson Boatman) continue their romantic escapades. DOOL spoilers suggest Abe Carver (James Reynolds) finds himself working with the secretive Liam while Gwen is startled at Rolf's success in resurrecting dead rats. Rafe Hernandez (Galen Gering) and Kat's joint effort in investigating EJ's lab and the DiMera kidnappings takes a shocking turn when the FBI manages to identify the bones found in the crypt as Stefano DiMera's (Joseph Mascolo).  Spoilers for Days of our Lives reveal Marlena Evans (Deidre Hall) and Kayla Brady (Mary Beth Evans) celebrate significant milestones while Abe receives distressing news from Rafe about Liam. Meanwhile, Steve Johnson (Stephen Nichols), Stephanie Johnson (Abigail Klein), Alex Kiriakis (Robert Scott Wilson), and Jada Hunter (Elia Cantu) devise a plan to expose and arrest a stalker.  Days of our Lives see that as February sweeps commence, Johnny brings good news for Bonnie while Gabby Hernandez (Cherie Jimenez) warns Ariana "Ari" Grace Horton (Marissa Reyes) about the sorority rush. The intrigue continues when Gwen enlists the help of Vivian Alamain (Louise Sorel) to deal with Dimitri, and Belle Black (Martha Madison) and Kristen prepare Rachel Black (Alice Halsey) for her confession in front of a judge.  More Days of our Lives spoilers divulge that the DiMera family unites to discuss the confirmation of Stefano's death, while Gwen and Xander Cook (Paul Telfer) initiate a surprise hookup. Additionally, Sophia plots her escape, and Steve and Jada's plan to capture the stalker hits a snag. This episode was hosted by Belynda Gates-Turner for the #1 Soap Opera Channel, Soap Dirt. Visit our Days of our Lives section of Soap Dirt: https://soapdirt.com/category/days-of-our-lives/ Listen to our Podcasts: https://soapdirt.podbean.com/ Check out our always up-to-date Days of our Lives Spoilers page at: https://soapdirt.com/days-of-our-lives-spoilers/ Check Out our Social Media... Twitter: https://twitter.com/SoapDirtTV Facebook: https://www.facebook.com/SoapDirt Pinterest: https://www.pinterest.com/soapdirt/ TikTok: https://www.tiktok.com/@soapdirt Instagram: https://www.instagram.com/soapdirt/

Ein Streit um fairen Kaffeehandel gefährdet die Nachbarschaft zwischen dem Stadttaubenpärchen Obermüller und Gurrletta Steinhöfl. Doch unsere Protagonistin versteht sich auf Diplomatie ...

"He had ulcerative colitis." We're diving into the tales of Atticus Sappington. Learn more about your ad choices. Visit podcastchoices.com/adchoices

Plötzlich "geht einem ein Licht auf", und man "sieht klar", dass der "Schleier der Vergangenheit" behindert hatte. In "Habe die Ehre!" geht es mit Rolf-Bernhard Essig um Sprichwörtliches rund ums dunkle Vergessen und die helle Erkenntnis. Er ist bei Bettina Ahne zu Gast.

In this episode of the Independent Thinking Show for ⁠⁠@FifthWrist⁠⁠ Radio, hosts Roman (⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠@TimesRomanAU⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠) and Claus (⁠⁠@tapir_ffm⁠⁠) are joined by CEO of Oris Watches (@oris) - Mr Rolf Studer (@rolf_studer_). We discuss Oris' unique approach to horology, the company's proud history since 1904, and the significance of maintaining independence.The conversation covers the brand's philosophy on practical complications, humour in watchmaking, and the value of community engagement. We hope you enjoy listening to this episode as much as we enjoyed making it!Make sure to check out  Oris Watches on @oris and www.oris.ch Follow us on Instagram: ⁠⁠@FifthWrist ⁠⁠#fifthwrist #fifthwristradio #fifthwristradiopodcastIndependent Thinking Show is a place dedicated to showcasing the great people doing interesting and cool things in the world of horology.  To join our crew group chat then please email us at contact@fifthwrist.com and if you have time please leave us a review wherever you listen to our podcast.We remain fiercely independent with no commercial partners, or sponsored content. We only speak to people we respect and like - and that's a pretty rare thing these days! Thank you for joining us.Theme Music:  ⁠⁠TheWrong Time by Silent Partner⁠⁠ (via YouTube Free Music Channel)

Join the lively crew of Systematic Geekology as they dive into the delightful fusion of humor, pop culture, and faith at Theology Beer Camp 2025 in St. Paul, Minnesota. In this spirited panel, hosts Will Rose, TJ Blackwell, and Leah Robinson chat with the insightful Rolf Jacobson and Kristy Whaley about how humor serves as a vital coping mechanism in our often heavy lives. They explore the idea that laughter can connect us, even in the most serious discussions of faith and existence. From dissecting the absurdities of life to the role of comedy in fostering community, the conversation flows like a fine ale—rich and refreshing. So, kick back and enjoy as they uncover how humor can illuminate the human experience and perhaps teach us a thing or two about ourselves along the way.Will Rose, the self-proclaimed geekologist, pulls the audience into a lively discussion on humor at Theology Beer Camp 2025, where pop culture meets theological musings over a cold one. Joined by a stellar panel consisting of Ralph Jacobson, Kristy Whaley, Leah Robinson, and TJ Blackwell, the conversation flows as easily as the beer. They explore how humor serves as a lens through which to view the absurdities of life, faith, and pop culture. Will's lighthearted anecdotes about being the class clown transition into deeper reflections on the nature of humor and its role in processing life's challenges.The panelists share their personal experiences, with Ralph highlighting how comedians use humor to reflect on societal issues, while Kristy discusses humor's therapeutic potential in dealing with trauma. The conversation takes a turn as they contemplate the community-building aspect of humor, especially in settings like Theology Beer Camp. Leah adds her Southern flair, emphasizing how laughter can create connections among diverse groups, while TJ contributes with his youthful perspective on humor in today's digital landscape. They dive into the importance of context, discussing how humor varies across cultures and generations, which adds a layer of complexity to their discourse.The panelists also touch on the role of humor in sacred texts, suggesting that the Bible itself has elements of comedy that are often overlooked. With laughter echoing through the conversation, they explore how humor can disarm tension and foster understanding in serious discussions, ultimately reinforcing the idea that laughter is a vital aspect of the human experience. As the panel wraps up, they reflect on iconic examples of humor in pop culture, including the Rocky Horror Picture Show, which serves as a metaphor for liberation and self-expression. They emphasize that humor is not just about making people laugh; it's a powerful tool for empathy and connection in a world that can often feel divided. With witty banter and thoughtful insights, the panel leaves the audience with a renewed appreciation for the role of humor in their lives, encouraging them to embrace laughter as a way to navigate the complexities of existence.Takeaways:The panel at Theology Beer Camp 2025 explored how humor can bridge gaps between faith and pop culture, showing that laughter is indeed a universal language.TJ, Will, Leah, Rolf, and Kristy shared their personal experiences of finding humor in serious subjects, emphasizing that comedy can be a tool for coping with life's absurdities.Rolf noted that both humor and theology engage with the incongruities of existence, highlighting the importance of humor in processing complex emotions and beliefs.The discussion revealed how cultural context shapes our understanding of humor, pointing out that what's funny in one...

On December 22, 1990, sisters Linae and Tricia Tiede were held hostage by two men when their family was spending Christmas at their Utah cabin. Their mother, father, and grandmother were shot and the two men planned to burn the house down. The sisters owe their survival to their heroic father, Rolf. This classic "48 Hours" episode last aired on 3/9/2013. Watch all-new episodes of “48 Hours” on Saturdays, and stream on demand on Paramount+. To learn more about listener data and our privacy practices visit: https://www.audacyinc.com/privacy-policy Learn more about your ad choices. Visit https://podcastchoices.com/adchoices

Today John sits down with Rolf Geyling, President of the Santa Barbara Rescue Mission, for an honest and moving Advent-conversation about suffering, generosity, and what it really means to be present. From powerful stories of life transformation to Rolf's own journey through profound loss, this episode reminds us that Christmas is not about fixing pain, but about Emmanuel. God with us. Especially when life hurts.