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Thursday, August 23, 2007
Every once in a while, someone writes an article that inspires me to write a blog entry that explores a topic in more detail. In this case, the credit goes to the infamous George Ou for his blog entry entitled: Vista puts Mac OS X font rendering to shame. Mind you, when an article is well written and presented with facts, there isn't much controversy and hence, not much more to expand upon.
Rather than go into the detail of Ou's blog, it's safe to just summarize his article by saying he doesn't like the font rendering technology in OS X, but not surprisingly, he does like Microsoft's font rendering technology. Mind you, Ou has no credibility in the publishing field and he has even less credibility in basically anything IT related. Further, his blog article misses many key points which are critical in this discussion. While I'm not writing this article for the purpose of character assassination, it is worth putting the validity of Ou's blogs in context. Based on the history of his blogs, he's very biased against Apple. He's probably most famous for his support for David Maynor in his botched attempt to demonstrate a bug in Apple's WiFi drivers, but that's a story for another day. The point is, Ou has an established history of being consistently incorrect and drawing conclusions from misinformation. He strives to be controversial. Writing outrageous articles which neglect the facts are his modus operandi. For this reason, I won't bother dissecting his post. Instead, I'll just give him credit for giving me a reason to write about this issue.
What is subpixel rendering and why is it used?
Have you ever noticed that fonts and drawings, etc. tend to have jagged edges, particularly around curves or diagonal lines? Yet, when you print the same text or drawing to a printer, it looks sharp and much clearer? That's because vector based images (like Postscript, Truetype or Opentype fonts) use mathematical calculations to draw their shapes. More specifically, the typical screen resolution is in the 72 – 96 dpi (ppi) range and printers are at least in the 300 dpi range. As the resolution of the print/display medium increases, so does the accuracy of drawing.
Anti-aliasing is a means of tricking the human eye into believing you are viewing an image at a higher resolution. For example, a white diagonal line displayed against a black background will look jagged when displayed from a computer screen. The same (vector based) line, when calculated at a higher resolution (like when it's output to a printer) will look smooth. However, there is a technique for displaying grey dots between the white edges of the line and the black background. The effect on the human eye is to have a smooth line displayed on a low resolution display.
In summary, with respects to fonts displayed on the computer screen, anti-aliasing is used to make jagged fonts appear smooth. Subpixel rendering, like anti-aliasing, is a method for font smoothing.
How does it work?
The smallest element (dot) on a computer screen is called a pixel. Each pixel, particularly on LCD screens, is comprised of a red, green and blue stripe. By varying the intensity of these different stripes, the LCD panel is able to make the pixels (dots) brighter or dimmer in addition to changing colors. Subpixel rendering basically allows the vector calculations used to draw the font to go down to the subpixel level (red, green and blue components of a pixel) in order to achieve the effect of displaying the font at a higher resolution. This method effectively triples the horizontal resolution of an LCD display. Subpixel rendering does not have the same effect on CRT displays.
History of subpixel rendering…
Manipulating the screen at the subpixel level is nothing new. This technology actually dates back to the old Apple ][ days where Steve Wozniak manipulated sub pixel data as a means of displaying more colors than the hardware was designed to. Although it was used for a different purpose, the concept is the same.
Quote from Steve Wozniak:
"Back in 1976, my design of the Apple II's high resolution graphics system utilized a characteristic of the NTSC color video signal (called the 'color subcarrier') that creates a left to right horizontal distribution of available colors. By coincidence, this is exactly analogous to the R-G-B distribution of colored sub-pixels used by modern LCD display panels. So more than twenty years ago, Apple II graphics programmers were using this 'sub-pixel' technology to effectively increase the horizontal resolution of their Apple II displays."
In 1998, Microsoft announced its brand of subpixel rendering, called Cleartype. This feature was optional, but left off by default on windows XP (circa 2001). It is turned on by default in Windows Vista (circa 2007).
Apple has provided font smoothing technologies in OS X since its first consumer release in 2001. The main difference is that Apple's font smoothing technologies employs different algorithms based on the desired setting. That is, it will use subpixel rendering for the LCD setting, anti-aliasing for CRT settings, etc.
A difference in philosophy.
Both Apple and Microsoft adopted different philosophies to address the jagged font issue. Since the philosophies are different, so are the implementations. It's not necessarily a matter of being right or wrong as both implementations have their respective strengths and weaknesses. All the same, everyone is entitled to their opinion.
This difference in philosophy is best described in the link below.
Font smoothing, anti-aliasing, and sub-pixel rendering
"Apple generally believes that the goal of the algorithm should be to preserve the design of the typeface as much as possible, even at the cost of a little bit of blurriness.
Microsoft generally believes that the shape of each letter should be hammered into pixel boundaries to prevent blur and improve readability, even at the cost of not being true to the typeface."
That is, Apple's method keeps fonts true to their design at the potential loss of sharpness on very small font sizes. Microsoft's method attempts to keep fonts as clear as possible, at the expense of the accuracy of the font.
In Joel's example, the dot on the "i" in the word "Rendering" was slightly clearer with Cleartype. However, that came at the expense of the inaccurate difference between plain text and bold text. Cleartype messes up the "g" and the "e" characters as it forces alignment to a subpixel grid. The "R" is slightly exaggerated and the "o" is shaped as an oval instead of a circle with the Cleartype implementation. In short, Cleartype actually changes the font to the point that the font displayed is not what was intended by the font designer.
At the web site below, Damein Guard illustrates the difference in scaling between Microsoft's Cleartype and Apple's font smoothing. Cleartype is all over the place and Apple's font smoothing is nice and linear. There may be a difference on a CRT, but on a quality LCD, I wouldn't even consider Cleartype to be smoother in this example.
Damien goes on to note:
"Windows does not scale fonts linearly as the rough line points out.
Windows scales the height and width but not the weight of the font."
My own test…
Since I am a multi-platform user, I decided to conduct my own test. That and I don't want to run into any copyright issues by posting images created by someone else. Here's what I found:
In my test above, I created the Windows version with Word and the Mac version with Pages. I used the same font, Arial on both. The line in blue is 12pt and the black text starts at 8pt and moves up to 16pt in 1pt increments. Note: You should be using an LCD to view this image. Here's what I observed:
When you're given a choice between choosing slightly crisper text or more accurate fonts, it's understandable why some would prefer going with the crisper text. If your needs are basic such as writing an e-mail, or simple word processing, Microsoft's method might be better for you. But, if you're doing any sort of professional work where font accuracy and spacing is important, Apple's implementation is the better choice.
In some respects, it's not just a matter of personal choice. For example, if you are doing content creation using Cleartype, these font inaccuracies are then propagated to other forms of media such as web page graphics, DVDs, etc.
This discussion is focused on the difference in philosophies. However, many facts were presented along the way. The facts suggest that Microsoft's Cleartype can appear to be clearer than Apple's font smoothing under certain circumstances. My opinion is that the difference in clarity is negligible. The facts also show that Microsoft's Cleartype is considerably less accurate than Apple's font smoothing technologies. Cleartype rendered fonts are not displayed in the manner the font designer intended and the fonts don't scale properly, especially when compared to Apple's implementation.
As a matter of subjective opinion, I certainly agree that some people may prefer the look of Cleartype rendered fonts over fonts rendered with Apple's technology. However, my anecdotal evidence also indicates that people who prefer Cleartype are generally less knowledgeable about fonts in general. Personally, I share the opinion that it is not Microsoft's place to purposely distort a font, even if the intention is for better clarity on LCD monitors.
As others have mentioned before me, if screen clarity is the primary objective, then screen optimized fonts such as Verdana, Lucida Grande, Georgia, etc. should be used. Similarly, these screen based fonts have little character when output to print. Likewise, consideration for using the appropriate font for the appropriate occasion should be exercised. Finally, I believe font rendering technology should render fonts as accurate as possible to the intended design.
Finally, although there is a difference between Apple's Quartz renderer and Microsoft's Cleartype renderer, I don't see that the difference is really worthy of all the fuss some people seem to make of it. Both methods have advantages and disadvantages. Both Apple and Microsoft have taken different philosophies. But, is that such a terrible thing? Generally speaking, Microsoft and Apple serve different markets. I realize that the George Ou's of the world are just looking for attention. I'm not sure what else would prompt such lopsided arguments. In any case, Windows users seem happy with Cleartype and Mac users seem happy with Quartz. They are both optimized for different purposes. Neither is perfect for all occasions and we're all entitled to our own opinions and preferences. As stated, my opinion is that the distortion of a font is not acceptable for any reason. Whatever your opinion is on this issue, hopefully, this post helps you consider the pros and cons of both implementations of subpixel font rendering.

subset: commoncrawl


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Ever feel like it's holding you down, keeping you from reaching your full potential on, say, the golf course or the trout stream? Here are tips for cutting down on the cutting down and, in the process, bringing a more verdant and sustainable approach to maintaining your landscape. Garden Gloves By Michael S. Ameigh & Jim Sollecito • May 25, 2012 That ugly green sheen on your favorite weekend boat shoes... 'grass' stain from walking behind the mower, right? Not so. Grass does not stain. Weeds do. Here are handy tips for getting gardening stain off your hands. And, when weeding, be SURE to wear gardening gloves. You never know when you might find yourself pulling pigweed, poison ivy or other noxious plants. Plastic is Forever By Michael S. Ameigh & Jim Sollecito • May 25, 2012 Remember that old adage that diamonds are forever? Well so are styrofoam cups, plastic liners, disposable diapers, even cigarette butts. Paper and wood products break down in a matter of weeks, returning to the soil from which they came. Plastics are a different matter. Here's a sobering commentary on the importance of staying natural. Slugging It Out By Michael S. Ameigh & Jim Sollecito • May 25, 2012 Slugs. They creep while you sleep, often wreaking havoc on garden plants along the way. Fortunately there are ways to fight back. Maybe a slug mug filled with beer or a solution of ammonia and water that kills slugs on impact while fertilizing your plants at the same time. Learn how you can slug it out with slugs and snails. Light and Shade By Michael S. Ameigh & Jim Sollecito • May 25, 2012 Which is better, morning sun or afternoon sun? And where does mid-day sun fit into the growing cycle? Well... it all depends. To learn how and why, grab your polarized sunglasses and tune in as Jim sheds light on the many shades of sunlight. Water Those Plants By Michael S. Ameigh & Jim Sollecito • May 25, 2012 As the summer roles on, landscape and garden soil becomes drier from constant sun at its most intense. Many plants go dormant, but that does not mean they are dead. They are very much alive and will appreciate your occasional offer of liquid refreshment. Water your plants during the cool part of the day to keep them happy. Oh Deer By Michael S. Ameigh & Jim Sollecito • May 25, 2012 Question: Name a woodland creature that will leap a six foot chain link fence in a single bound to get to that luscious-looking vegetable garden on the other side but will not leap a four-foot slat-sided fence through which it cannot see. If you said 'hippopotamus,' please review your field notes more thoroughly before attempting our next quiz. If you answered 'deer,' you are correct. Deer are smart - but you can outsmart them. Here's how.


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SEOUL/WASHINGTON (Reuters) - North Korea sentenced an American citizen to 15 years of hard labor on Thursday for what it said were crimes against the state, prompting the United States to call for his immediate release to keep him from becoming a bargaining chip between the two countries.
Kenneth Bae, 44, was born in South Korea but is a naturalized U.S. citizen and studied psychology for two years at the University of Oregon. His sentencing comes after two months of saber-rattling that saw North Korea threaten the United States and South Korea with nuclear war.
Pyongyang has previously tried to use American prisoners as negotiation assets in talks with Washington. Washington is not looking for an envoy to try to secure Bae's release as it has sometimes done, said a U.S. official who spoke on condition of anonymity.
The official said the United States has sought in recent years to break out of a pattern of having to resolve repeated crises with North Korea through transactional deals.
"We urge the DPRK (North Korea) to grant Mr. Bae amnesty and immediate release," State Department deputy spokesman Patrick Ventrell said. It was not clear if Bae had been taken immediately to jail.
Bruce Klingner, a former CIA North Korea analyst, dismissed the idea that Bae's release would trigger the renewal of long-stalled diplomacy.
"Previous arrests of U.S. citizens didn't lead to changes in North Korean policy, resumption of bilateral dialogue or breakthroughs in U.S.-North Korean relations," said Klingner, a senior fellow at Washington's Heritage Foundation think tank.
Human rights activists in South Korea say Bae may have been arrested for taking pictures of starving children.
Bae is "a committed Christian," said David Ross, director of a missionary training center at Antioch World Ministries Inc in Monroe, Washington.
"He has feelings for orphans and has done some ministry work feeding orphans," added Ross, who said he has been a casual acquaintance of Bae since they met four years ago through church affiliations in Hawaii. "He has a missionary heart," Ross said.
Bae's mother, Myung-Hee Bae, told Reuters in a brief telephone interview that she had last spoken to her son on April 23 and that he told her during the call that he was well. Myung-Hee Bae, who lives in the Seattle area, said it was the only call she had received from her son since he was detained.
His sister, Terri Chung, told CNN in an interview that he had been working as a tour guide bringing people from China into North Korea and that he had never before run into trouble doing so.
"We can't really know for sure why he would be arrested. He's only had the biggest heart for the people and the nation of North Korea," she said. "We are baffled just like anybody else about why a man like my brother could be arrested."
"We just pray and ask for leaders of both nations to please just see him as one man caught in between and we just ask that he be allowed to come home," Chung said.
Bae was one of five tourists who visited the northeastern North Korean city of Rajin in November and has been held since then. The State Department recommends that U.S. citizens avoid travel to North Korea, although it does not block trips.
"U.S. citizens crossing into North Korea, even accidentally, have been subject to arbitrary arrest and long-term detention," reads the department's travel warning, updated in March.
Bill Richardson, a former U.S. ambassador to the United Nations who has made numerous trips to North Korea that included efforts to free detained Americans, said Bae's case should not become entangled in the current U.S.-North Korea impasse.
"Now that the sentencing and the North Korean legal process has been completed, it is important that negotiations begin to secure Kenneth Bae's release on humanitarian grounds or a general amnesty," said Richardson, who visited North Korea in January with Google Inc CEO Eric Schmidt.
White House spokesman Jay Carney said any negotiations with North Korea were "dependent upon the North Koreans demonstrating a willingness to live up to their international obligations."
North Korea is the subject of U.N. Security Council resolutions calling for an end to its nuclear and missile tests, as well as punitive U.N. sanctions.
Some media reports have identified Bae as the leader of the tour group. NK News, a specialist North Korea news website, said he was the owner of a company called Nation Tours that specialized in tours of northeastern North Korea.
The reports could not be verified and North Korean state news agency KCNA did not list any specific charge other than crimes against the state, and used a Korean rendering of Bae's name, Pae Jun-ho, when it reported the Supreme Court ruling.
"North Korea has shown their intention to use him as a negotiating card as they have done in the past," said Cheong Seong-chang, senior fellow at the Sejong Institute, a think tank in Seoul.
North Korea appears to use the release of high-profile American prisoners to extract a form of personal tribute, rather than for economic or diplomatic gain, often portraying visiting dignitaries as paying homage.
Former U.S. President Jimmy Carter, who has traveled to North Korea before to try to free a detained American, has no plans to do so for Bae, Carter's spokeswoman said.
According to North Korean law, the punishment for hostile acts against the state is between five and 10 years' hard labor.
"I think his sentencing was hefty. North Korea seemed to consider his acts more severe," said Jang Myung-bong, honorary professor at Kookmin University in Seoul and a North Korea law expert.
North Korea is one of the most isolated states on earth. Its official policy of "Juche," or self-reliance, is a fusion of Marxism, extreme nationalism and self-sufficiency centered on the cult of the ruling Kim family.
Bae likely will not be incarcerated in one of the North's notorious slave labor camps, such as the one where defector Kwon Hyo-jin was locked up. There, Kwon said, prisoners were worked to death and often survived only by eating rats and snakes.
"If an American served jail together with North Korean inmates, which won't happen, he could tell them about capitalism or economic developments. That would be the biggest mistake for North Korea," said Kwon, a North Korean sentenced to a camp for seven years until 2007. He defected to South Korea in 2009.
"(Bae) would be sent to a correctional facility that only houses foreigners and was set up as a model for international human rights groups."
Bae's sentencing brought bad back memories for Euna Lee, one of two U.S. journalists sentenced to 12 years in 2009 and released only after a visit to Pyongyang by former President Bill Clinton. She cried out loud in the courtroom when her labor camp sentence was handed down.
"The word 'labor camp' took the tiny hope I had away from me. I was physically and mentally weak and I really thought I would not make it home," South Korea-born Lee said via email.
Lee, then a journalist for Current TV, said her 12-year sentence included two years for illegal border crossing and 10 for the "hostile act" of making a documentary on North Koreans who risk their lives fleeing their country for nearby China.
Bae was given counsel by the Swedish Embassy in Pyongyang because the United States does not have diplomatic relations with North Korea. The embassy has declined to comment on the case and Ventrell said the Swedes did not attend Bae's trial.
(Additional reporting by Christine Kim in Seoul, Matt Spetalnick and Arshad Mohammed in Washington, Laura L. Myers in Seattle and Dan Whitcomb in Los Angeles; Editing by Alistair Bell, David Brunnstrom and Mohammad Zargham)


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Tech Honors Employees For Service Milestones
SOCORRO, N.M. December 14, 2009 -- New Mexico Tech administrators hosted a special banquet Wednesday, Dec. 16, at Macey Center to recognize employees for their milestones.
University president Dr. Daniel H. Lopez welcomed employees and retirees, thanked them for their service to Tech and applauded their contributions. Lopez said New Mexico Tech continues to offer excellent education and research because of the dedicated employees.
|The 2009 retirees who were honored at a special Service Award Banquet at Macey Center on Wednesday, Dec. 7.
"The real quality of an institution is clearly defined in difficult economic times," Lopez said. "New Mexico Tech, over the past 18 months, through the active support of all employees, has demonstrated that we have a real team.
New Mexico Tech is a quality institution because of the staff and faculty, Lopez said. In each department and division, people do their part to contribute to the quality programs in education and in research, he said.
"This banquet is to say, 'Thank you,' for your years of service," he said. "We owe our thanks to all employees, but we particularly want to recognize those who are passing these milestones."
JoAnn Salome, director of human resources gave awards for length of service and honored the 2009 retirees.
The Service Award Honorees
|The Tech employees who celebrated 10 years of service during 2009.
|The Tech employees who celebrated 15 years of service during 2009.
|The Tech employees who celebrated 20 years of service during 2009.
|The Tech employees who celebrated 25 years of service during 2009.
Ten Years of Service
- Monika Apodaca, Senior Accounting Technician, Travel Department
- Dr. Ivan Avramidi, math professor
- Sandra Acevedo
- Ernest Baca
- Melissa Begay, Director of Physical Recreation
- Andrew Carrillo, Irrigation Specialist, Facilities Management
- Anita Cates, Manager of Photo Lab, EMRTC
- Edward Chavez
- Yvonne Chavez
- Dr. Thomas Engler, Associate Professor, Petroleum Engineering
- Michael Fort
- Leo Gabaldon, Senior Cartographer, Bureau of Geology
- Shawn Gonzales, Building Maintenance Associate, Facilities Management
- Patricia Griego, Office Manager, Field Scheduler, IRIS PASSCAL
- Dr. Bhaskar Majumdar, professor of materials engineering
- Stephany Moore
- Arsenior Ortega
- Alan Perryman
- Gregory Sanchez, Mechanics and Carpentry, Bureau of Geology
- Peter Scholle, Director, Bureau of Geology
- Melissa Tull, Grants and Contracts Manager, EMRTC
- Pete Ulbricht, Staff Scientist for Seismic Sensors, IRIS
- Steve Wallace
- Scott Zeman, Associate Vice President of Academic Affairs
Fifteen Year Awards
- Dr. Robert Bond, Associate Professor of Electrical Engineering
- James Chavez
- Dr. Her-Yuan Chen, professor of chemical engineering
- James Harrison
- Chris Hefner, assistant state mine inspector, Bureau of Geology
- Lynn Heizler, Senior Lab Associate, Bureau of Geology
- Dr. Frank Huang, Associate Professor of Environmental Engineering
- Dr. Rafael Lara-Martinez, Professor of Humanities
- Dr. Virgil Lueth, assistant director, Bureau of Geology
- Daniel Lunceford, Manager Network Services, ISD
- Dr. Subhasish Mazumdar, Professor of Materials and Metallurgical Engineering
- Karla Moore, Assistant Director of the Center for Student Success
- Gigi Ngo
- Lisa Peters
- John Shipman
- Dr. Lawrence Teufel
Twenty Year Awards
- Isaac Chavez
- Bernadette Crespin, Buyer II, Purchasing Office
- Glen Jones, Assistant Director of Computers, Bureau of Geology
- Ernest Lopez, Instrument Technician III, EMRTC
- Lonnie Marquez, Vice President of Administration and Finance
- Anna McLain
- George Murillo, Associate Director, Campus Police
- Cecilia Saavedra
- Dr. Hamdy Soliman, Professor of Computer Science
- Dr. Ron Thomas, Professor of Electrical Engineering (and retiree)
- Dr. David Westpfahl, Professor of Physics
Twenty-Five Year Awards
- Gilbert Anaya
- Ted Gonzales
- Leroy Lawson, Test Range Gunner, EMRTC
- Patrick Murillo, Supervisor of Plumbing and Mechanical Systems, Facilities Management
- Dr. William Rison, Professor of Electrical Engineering
- Linda Shell, Administrative Secretary II, Psychology & Education
- Mike Stanley, EMRTC
- Dr. John Wilson, Professor of Earth & Environmental Science
Thirty Year Awards
- Charles Carlo Chavez, Experimental Machinist, EMRTC
- James McLemore, Coordinator Instrument Tech II, PRRC
Thirty-Five Year Awards
Pedro Pete Sanchez, Manager of Mechanical Systems, Facilities Management
Fifty Year Award
- Rufie Montoya, Supervisor Print Shop, ISD
|Carlo Chavez and James McLemore
| Pedro Pete Sanchez
|Rufie Montoya
- Louis Blackwell (7 years), Research Scientist, Research & Economic Development
- James Evitt (10), Heavy Equipment Instructor, Facilities Management
- Kathryn Glesener (18), Manager of Cartography and Senior Cartogropher, Bureau of Geology
- Rosemary Medcalf (14), secretary for the Department of Management
- Dr. Ronald Thomas (20), Professor of Electrical Engineering
- Lupe Paz, (22) Test Range Leadman, EMRTC
- Gilbert Anaya (25), Instrument Technician III, EMRTC
- Chris Lopez (25), Test Range Leadman, EMRTC
- Ruben Archuleta (29), Lab Tech II, Bureau of Geology
- Lucy Chavez (43), Executive Assistant to the President
By Thomas Guengerich/New Mexico Tech


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This week: Jonathan Donehoo, designer, photographer, and Director of the School of Art at Louisiana Tech University. You can see Jonathan's work at 102: A Bistro at the solo exhibition "Magical Place Between", opening October 5th at 5pm. This interview has been edited for length.
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Do you think that the purpose of the photographs as a record of your experiences, and to reactivate your memory of them, do you think that comes through in the photographs?
It does to me. Because there's not a photograph I have that I can't say exactly where that is. I know the date. What it was like. I remember seeing that and going that was really neat. And you try to share that with others. But if they've not been there, it's just another chair. Just another tree. I guess that comes with traveling and experiencing things firsthand. When I was an undergraduate taking art history, and I'd sit in Renaissance history. It'd be cathedral this, and cathedral that. And they all looked the same. And then when I went there and started actually seeing them firsthand, they are not alike. Suddenly all of that made sense, you know. They were very distinct in their own way. But just looking at slide after slide of one baroque basilica after another, they all look the same. I guess it depends on your interests. It depends on that you've been able to experience it. That's why as a program we go to France in the spring with as many students as we can drag with us. And I think that experience firsthand is so important. And I think the faculty agree and put such a high value on travel, on the experience of travel and the education of travel. I wish we had deep pockets so we could just take everybody over there. Unfortunately we don't. But there's something about seeing it firsthand, experiencing it firsthand. It comes across in some of the pictures. But to me, the pictures mean lots of different things, but a little token of something that happened to me at one time is certainly part of that. As I said, I look at it and I know exactly what that was and what was going on. What was going on behind me, things like that. But that's my own personal worth in them. Other people looking at them certainly would not experience that because they weren't there. What they are taking away from the photograph may be something entirely different. I don't know.
It seems as if the subject matter of your photography is often architectural. Why do you think that is?
I think it has to do with space. Space and also the fact that I'm still very uncomfortable taking pictures of people I don't know. It seems like invading their privacy, and I should not be taking pictures of people. I'm not sure I like having my picture taken, especially by people I don't know. So I'm a little self-conscious about that. And you'll notice my pictures, very few of them have people in them. But I think architecture's a wonderful container for that light and dark that I'm interested in. You can do some out in nature, but architecture's just set up for that. An open door into a dark room and things like that. That little transition there. But I've always enjoyed architecture. And maybe it is the impossibility of photographing architecture in a real sense. Because architecture's three dimensional. It is an environment that you walk into. While a photograph is two dimensional, and you can look at as many pictures as you want to of something, but until you walk into that space, you don't really know what it's about. And I think the best example of that would be the Pantheon in Rome. Every art student has studied this. They've seen slides of it, in out around. But until you walk into that space for the first time and just feel that physical lifting that you get just by walking in there, it's just hard to describe that to anyone. So maybe it's just a vain attempt at capturing some little aspect of that.
While I was preparing for this interview, I was reading your artist statement and bio. I was interested in what you said earlier about the attention to detail in small neighborhoods in Paris. And also, I noticed that as a grad student, you taught beginning and advanced typography. I thought there might be a congruency there. Even when you think about the play with light and dark – light and shadow and you can compare that even to typography, the white and the black.
I love typography. I always have. I'd love to be better at it. And I don't know where the love of typography comes from. As an undergraduate at the University of Georgia, I had some renowned typographers as teachers. I don't know if they instilled that in me or not, but they helped me see that typography makes a difference. And it's about communication, and that's what type does. It's not about just the shape of a letter. It's how does this shape of a letter and all of the others combine to communicate an idea or a history or some story that people have. And I remember talking to freshman type students and saying typography in a way is like breathing. You use it everyday, you just don't think about it. When it's done correctly, you'll never notice. When it's done incorrectly, then you start noticing because you can't read it smoothly. I think it has a lot to do with communication, and that may come from the fact that I did not grow up in the United States. I was raised in other parts of the world. Communication and other languages was always, for me it was not a big struggle, but I know from my parents it always was. Because you had to learn a new language. So this whole idea of communication. Either visually through photographs. Or through type. Or story-telling, or anything else. All of this I think plays in that. How do you get your feelings, your ideas, your stories across.
It even seems as if there's an aspect to typography and even the languages, of maybe noticing things that other people don't notice.
That's just it. Even if you're here in Louisiana, and you've been here a lot of years, things that you become accustomed to, some people coming in from another part of the country, some are surprised or taken aback by something. I remember one time, we lived in a rather large city in South America. And it was not uncommon to have cattle grazing in the neighborhood. Or carts being pulled by Oxen, or something like that. Which, after a while you didn't notice at all. But when people would come to visit, they were just stunned to see cows eating in our front yard. And I remember hearing my father telling people who moved to these places for the first time, you need to take you pictures within the first six months. Because after that you won't even notice that this is unusual. I tell the young faculty that move here from out of state that they should take advantage of those first few years to really explore Louisiana. Go into Arcadiana and stuff, and just explore that because it is so unique. Later on, you just take it for granted. And that's a shame. But I guess that's human nature. You become accustomed to whatever it is around you, good or bad.
What's the payoff of noticing those things?
I think it adds a whole new depth to your existence. I would hate to live in just a white room with cheap paneling or something. I guess you get used to that. But it's in the details. It is there, and paying attention to it or just glossing over it. I guess everybody's interests would be in different details. I'm sure if an engineer came in and looked at something, the details they would notice would be different than the details I would notice. I guess it's up to you to do that. As teachers, what I think we try to do is make sure our students are aware that the details are there. Look at it. What are you seeing? I think that's what an artist is. We look at things. We see these things. And part of our job is to help others see these things. A musician hears things. We all hear things, but they hear things maybe we don't. And we see things maybe they don't.
Why did you move so much as a child?
My parents moved a lot.
For work?
Yes. My parents were foreign missionaries. So we went all over. And it was certainly a different way of growing up. Haha.
What were some of the most interesting places you lived?
Well I think everyplace is interesting. Even Ruston is interesting. But as far as being exotic or strange, I grew up in Columbia. I was in Costa Rica. All over.
Do you think your childhood, your immersion in missionary work and Christianity, do you think that's influenced your life as an artist in any way?
Probably not in the way people would hope. Haha. No, I think there's probably something in there. There's a part of my life that I consider to be very private. Maybe it was the way I was brought up. I'm somewhat suspicious of those that tend to wave things around a lot. I am suspicious of people who stand on the street corner and pound their chest and things like that. That's just not the way I was brought up. So I think my parents did instill in me certainly a sense of right and wrong, and a sense that especially as an American who has this comparatively great privilege in this world, that for real happiness, you have to somehow return some of that. It's not about more and more. It's about how do you help others get to a certain point. And I look at my siblings, and none of us went into the ministry, but I have one sister who's a teacher. I have one sister who's in medicine. And I have another brother who was in the military. But all of us in some way interpret what we do as giving back. I think we know there are certainly more lucrative jobs than higher education. But it's not about that. What effect do you have on other people's lives in a positive way? And maybe that's what you learn from being raised that way.
Obviously as director of the school of art you have a positive effect on people's lives. What are your thoughts about the effect your art might have on people's lives.
Well I hope I do a good job as an administrator. Maybe I just have a certain sickness for filling out forms. Haha. Because I do fill out a lot of paperwork that I don't think most people could stand. But it's just part of the job. And I hope what I do allows others, the teachers to spend more time working on what they do well. But as far as what I would like people to look at photographs, and first of all the people who have been able to travel. They see a picture of something and 'oh I remember things like that.' Bring back those hopefully pleasant memories. Those who have not had a chance to travel maybe go 'you know, maybe I need to go see that. I need to go out and look.' But I'm hoping they understand you don't have to go to Turkey to see this stuff. You can walk around Ruston and see this. You can walk around this building and see it. It's just a matter of looking at it in a certain light. A certain time of day. A certain way the wind is blowing. Just take advantage of that moment. But it doesn't have to be just exotic places. It can be right around you. Everyday life. I walk around the backyard and see things. You hope to just get people to start thinking in a visual sort of way, a creative way. What's different about that.
I think you're probably at this point the person in the art department that students get to spend the least time with. I'd like to ask a few personal questions.
Sure. I would say I do hate that. I do miss being in the classroom. Of course, I started teaching when I was very young. I was as old as my students. I was twenty-three. I had five graduate students. They were all older than I was. That was strange. So I grew up with them. They were friends. I've been best man. I'm godfather to their kids. It's just great they still think of me that way. But as I get older, there is that gap, and as I became the director, there's just not enough time to have all the classes I used to. I'm doing all this other stuff. As a director, in a way, I also become the ambassador for the program. It's funny when I meet students and I don't know them but I know their grandparents, or their parents. But I try to be a good voice for the program in my own way. So I've evolved out of one thing and into another. But I do miss that relationship that a teacher has with their students. I get a little bit of it sometimes with student workers in the office, but I do miss it. I recognize a lot of names more than I do faces. What questions do you have?
Do you have any hobbies?
I like to cook. Well, I like to eat. Haha. And I figured out a long time ago that if I like to eat, I would have to learn how to cook. I enjoy baking bread. I'm now experimenting with making cheese, artisanal cheeses. It remains to be seen how that's doing. And I do enjoy traveling a lot. I like to see things I've never seen. I like to experience things I've never experienced. I like to read. Nothing too exotic, I don't think. I'm just pretty normal.
I think it might not be too much of a stretch to say you're an introverted person?
Oh yeah, that's not a stretch at all.
I was wondering how that affects working in such a social and communicative field.
I think it goes back to the way I was brought up. My father is very much like I am. We're very quiet. We're slow to get to know. But my mother was very outgoing. Very social. She came from a very social family in Georgia. The two of them made a great pair. Between the two of them they would lick the platter clean. But I grew up in a social environment. My parents, even though they were missionaries, did a lot of entertaining because of the nature of their work. So I knew what they did and didn't do. So even though I'm not terribly comfortable in those situations, I do know how to do it. And I can do it. And I can bang my way through it. Just what we're doing now is not comfortable. But I've done it before, and I will be doing more things like this in the near future that I'm still lying awake at night about. But it's just part of the job. It goes with the territory. As the director of the school, I speak for the school sometimes. And you just have to put yourself out there, and just overcome that. You do it once, you do it twice, and it gets a little easier. I don't know that it ever becomes comfortable. You hope you don't fumble the ball. I'm afraid of heights. It scares me to death. And my father always taught me when I was young you just have to face your fears. You go do it. So there's not much in Europe I have not been on top of. Once. Haha. I go up there, and I do it, and I get back down off of, you know, the bell tower in Florence. I remember climbing that thing. It was awful. But I did it. I have no desire to ever do it again. You name a building, and I have been on top of it. And it is amazing. I still am afraid of heights. But you face your fears. And life is full of fears. Heights. Public speaking. Taking chances. Whatever it is. And either you can let that control you, and you can just not do it, or you can just take a deep breath and jump out there. I read something, and I'm trying to figure out how to weave this into something to share with students. In times of great stress in a person's life, where the odds are just impossible, you just don't know what you're going to do, you can either turn around and hide, or you can spread your wings and fly like an eagle. It's up to you. You can say no I can't do it, or you can say I'm going to just jump off and try it. And you'd be surprised. You fall sometimes, but if you turn around you know you're not going to do it. Take a deep breath and jump. People have done it for thousands of years. So you just have to take a little faith in yourself and jump.
Let's conclude by talking a little more about your photography. Tell me about the technical aspects. Do you use digital or analog?
Both. Honestly though, the last couple years it's all been digital. I remember the first time in the dark room, you put that exposure paper in the developer, and you look at it in the red light. And it's like magic. All of a sudden it appears. And you're going 'that's amazing.' You just get hooked on that. There's something about that process of being in the dark room. And that magic that takes place. But nowadays, and it's good and bad, digital allows you to make changes and alterations in a photograph or an image that you could not do in a darkroom. You could not dodge and burn that well. I think one of the big differences too is, when I was doing just film, I would go someplace, I'd come back and I'd have fifteen rolls of film. And I'd develop it all and process it. But you knew that you had to carefully compose in the camera. You had to think about what you were doing. You had to get the right settings. And so in that sense, it was like a rifle shot, as opposed to now in digital, you go click click click about thirty times and hope that one of them turns out. It's a much more shotgun approach. I still love analog. I still love film. But the reality is you're doing digital now, that's just what you do. And there are things in digital, there's just no way you could do that in analog. And some of the pieces I may or may not put into this show are panoramic pictures, where I took seven or eight pictures and wove them together into one bigger picture. I don't know how you could do that in the darkroom, and not have it obvious what you were doing. It's like anything else. You have a nostalgia for the old, but you still appreciate whatever the new part is.
Most of your pictures are black and white, and some are color. Could you tell me about the reasons behind your decision?
Part of it goes back to my first photography class as an undergraduate. I remember my teacher saying 'if it's not working in black and white, odds are color's not going to help it.' You cannot use color as an excuse for a bad picture. So you think about it in black and white. And I guess that's what I did until I started doing a lot of digital work, it was all black and white. And even now I'm surprised how monochromatic my work is. You look at it, even though it may be brown, it's still brown and white. Haha. Sometimes, there's these magic times, like there's this one piece that has color in it because of the sunset that made the whole thing magical. But most of my work is in fact black and white. And I think in this particular show there's a few pieces in color but most of it's black and white. Again, if color's important, I'll put color in it. But most of the time, color's not really what it's about.
I think that's all the questions I have.
Ok. You know, I appreciate the opportunity to share this with you. I very very rarely talk about myself or my work, so this is pretty unique.
Yeah, I really enjoyed it.
Well I appreciate you doing it.
Thank you.


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COOKEVILLE, Tenn. - The Tennessee Tech baseball team will honor its senior class Saturday prior to the regular season finale against Belmont in Bush Stadium. The game is scheduled to start at 2 p.m. Tech's 2013 senior class includes nine players who will be recognized for their efforts as student-athletes over the past two to four years.
This senior class boasts over 870 games played throughout their combined careers. The group has totaled 105 wins so far as class, including an incredible 59 Ohio Valley Conference victories.
This year's class has led the Golden Eagles to one their best seasons in program history, compiling a 38-14 record, just one victory away from tying the school's single season record. The team has also tied the OVC record for league wins with 23 this season. Most importantly, the squad clinched at least a share of the 2013 OVC regular season title with an 8-5 win over Belmont Thursday evening.
With two games left in the regular season, plus the OVC tournament, this senior class is far from being done, however.
Take a closer look at the 2013 Golden Eagle Senior class:
#2 Zephan Guyear INF/OF
Tracy, Tenn.
#3 Michael Morris INF/OF Cincinnati, Ohio
#8 Evan Frazier C/DH Collierville, Tenn.
#13 Tristan Archer RHP Kingsport, Tenn.
#17 Austin Wulf OF Beaver Falls, Pa.
#21 James Abraham OF Diamondhead, Miss.
#22 Nick Price RHP Clinton, Tenn.
#26 Josh Bryant LHP Tullahoma, Tenn.
#30 Zane Morton RHP Midland, Texas


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Bhale Ammayalu is a telugu movie, directed by V. Raghavaiah, starring Rama Rao, Savitri along with others. Here, on the movie page, you will find every thing that you need to know. Check out what others are saying about the movie on twitter.
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Teaching Geography: Workshop 6
Programs and Activities
This workshop explores the region of Russia, featuring case studies on St. Petersburg and Dagestan with accompanying commentary and classroom segments.
There are several options for planning your professional development. Check the program grid below and decide how much time you have to spend and whether you will be viewing Teaching Geography on videotape or broadcast live. (Find out when this program is broadcast on the Annenberg Channel, or how to purchase it on video.)
You can receive graduate credit only if you take all eight workshops in two-hour sessions. Find out more about graduate credit.
Viewing Real-Time Broadcast (Two-Hour Session): Watch the full program, then do each of the activities below.
Viewing Videotapes (One Two-Hour or Two One-Hour Sessions): Watch each video segment listed below, then do the related activity. If you can only meet for an hour, do Part 1 as one session and Part 2 as another. Please complete Part 1 before doing Part 2.
|All times are approximate
|Viewing Real-Time Broadcast
|Viewing Videotapes
|Watch the full program, then do each of the activities below.
|Watch each video segment listed below, pausing after each one to do the related activity.
|Watch full program
|58 minutes
|Do Getting Ready 1:
Why Is St. Petersburg There?
|15 minutes
|15 minutes
|Watch Russia Part 1:
St. Petersburg: Russia's Window on the West
|29 minutes
|Do Going Further 1:
Geography and Historical Development
|15 minutes
|15 minutes
|Do Getting Ready 2:
Sources of Conflict
|15 minutes
|15 minutes
|Watch Russia Part 2:
Dagestan: Russia's Southern Challenge
|29 minutes
|Do Going Further 2:
Simulating Conflict and Negotiation
|15 minutes
|15 minutes
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Note: Readings are not included here. These should be completed
prior to the workshop session. See Before You Watch for
more information.


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Update, 5:40 p.m.: A flash flood warning has been issued for west-central Harris County until 6:30 p.m.
Update 4:45 p.m.: The National Weather Service in League City has issued a severe thunderstorm warning for south-central Harris County and northeastern Fort Bend County until 5:30 p.m.
Previous report:
Your sunrise summary of everything you need to know about weather in Houston.
Warm with a very good chance of afternoon thunderstorms.
Houston saw some scattered but intense thunderstorms on Wednesday afternoon, and with high pressure weakening expect greater coverage on today and Friday.
Basically the combination of moisture in the atmosphere, a nearby boundary between two air masses just north of Houston, daytime heating into the mid-90s and the sea breeze should all combine to produce a very good chance of showers and thunderstorms this afternoon and during afternoon hours on July 4th.
According to the National Weather Service the threats are: locally heavy rainfall, frequent lightning, gusty winds and possibly even small hail. Please take cover during lightning storms.
As happened Wednesday, cooler temperatures in the evening should be a limiting factor for storms, so the rain should end before most fireworks shows on Friday.
Rain chances will remain into the weekend but coverage should be less.
In the Atlantic Ocean, Arthur has become a hurricane with 80-mph winds. It poses a significant threat to the Outer Banks of North Carolina during the next 24-hours.
Heating up outside,
but hey, it's July. Hold on
until October.
On this date in 1998, Houston recorded a high temperature of 85 degrees. It was the only day in July 1998 that failed to reach or exceed 96 degrees. All told, the month of July recorded 14 days with temperatures at or exceeding 100 degrees.


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For Exhibitors
Welcome to the Premier Marketplace for Computer Graphics and Interactive Techniques
From artists to engineers, from lone developers and designers to large, established companies, SIGGRAPH is the only conference and trade show that draws everyone from around the world and across the multiple disciplines who works in this still young, but increasingly important industry.
The vast majority of this diverse group describes SIGGRAPH as "inspiring," "cutting edge," and "relevant." This is the one trade show that can both inform and inspire your product development, and transform the results of your company's countless hours of R & D into the newest and best products and services - and SALES!
The average attendee spent more than three hours per day on the exhibit floor.
A majority of SIGGRAPH buyers attend no other event.
SIGGRAPH attracts a devoted and loyal audience. Over 52% of the SIGGRAPH audience reports that this will be the only trade show they attend this year. In fact, no other single industry event attracts more than 12% of the SIGGRAPH audience.
All demographic data herein compiled and reported by the independent organization, SmithBucklin Corporation, Chicago Illinois, USA.
- Reserve your exhibit space now!
- SIGGRAPH 2009 is the choice for the leading companies in the computer graphics industry. Make your decision now to exhibit at SIGGRAPH 2009.
- Download the SIGGRAPH 2009 Exhibitor Application and Contract (65 KB PDF)
- Download the SIGGRAPH 2009 Exhibition Floorplan (133 KB PDF)
Exhibition Management
Hall-Erickson, Inc.
98 East Chicago Avenue
Westmont, Illinois 60559 USA
+1.630.434.1216 fax
Listen to some of the city's finest music, then download the entire album for $9.99. Proceeds from album sales go to support the Louis "Satchmo" Armstrong Summer Jazz Camp.
Listen Now! >
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Hershey again vies for Pink Glove Dance cash prize to fight cancer
Hershey again vies for Pink Glove Dance cash prize to fight cancer
Combine a competitive spirit, a desire to overcome breast cancer and a whole lot of pink gloves and you get the 90-second roller coaster of emotion that is the Penn State Milton S. Hershey Medical Center's entry for this year's Pink Glove Dance competition. The annual contest is sponsored by Medline, manufacturer of the pink surgical gloves to raise awareness for breast cancer.
For the second year in a row, the Medical Center is asking for community support to help kiss cancer goodbye. Each vote gets Hershey one step closer to a first place win and the $25,000 to benefit PA Breast Cancer Coalition research. Hershey placed second last year, its first year in the competition.
The video, produced in conjunction with Hershey Entertainment and Resorts, the Medical Center's contest community partner, features breast cancer survivors and their supporters riding Lightning Racer, one of Hersheypark's 11 roller coasters, to represent fighting the disease through literal ups and downs.
Read more of this article on the Penn State Medicine blog.


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Joel Parkinson Finishes Runner Up At The Quicksilver Pro
Few surfers on tour are disappointed in a 2nd Place result, in fact, you could count that list on one hand. Joel Parkinson is one of those surfers, Taj Burrow is too. Both Joel and Taj were on fire throughout the Quiksilver Pro at Snappers, creating large heat scores with consistently progressive surfing. While Taj was tossing his tail all around the lineup and linking maneuvers together without losing speed, Joel was finding barrels behind the rocks and pushing rail surfing to new heights. Unfortunately, luck was not on their side at this event as Gabriel Medina was able to find last minute waves to oust them from their true goal - a 1st Place finish.
That said, Taj is stoked to start the year off with a Semifinal finish to get the campaign rolling for 2014 tour. And although Parko was frustrated about losing on his home turf, he too is stoked to start the year off on the right foot as he prepares to battle for his 2nd World Title.
Here's a little lookback at the final day of competition, which is always exciting when Taj and Joel are still in the draw.
The crowd followed every TB move, and with the way he was surfing - why wouldn't you? Photo: Duncan Macfarlane
Taj consistently worked every wave to the inside where he consistently made the most of the last section on offer. Photo: Duncan Macfarlane
Classic Taj tail whip. Photo: Duncan Macfarlane
Taj stops before his Semifinal heat to focus in on the task at hand...and the ridiculously fun waves at Snappers. Photo: Duncan Macfarlane
Joel's pre-heat routines are second to none. Photo: Duncan Macfarlane
Even though Taj was throwing turns like this through the Semi, luck was not on his side and he last by .02 points. Harsh to say the least. Photo: Duncan Macfarlane
Joel checks his equipment before paddling out. Photo: Duncan Macfarlane.
To say Joel knows Snappers like the back of his hand is an understatement. He scored a 9 on this wave and was in the barrel for a long time before this turn. Photo: Duncan Macfarlane
The rock jump at Snappers is a tricky business, but for Parko it's just another day at his home break. Photo: Duncan Macfarlane
Joel displaced water with regularity throughout the event. Photo: Duncan Macfarlane
Another one of Parko's many barrels. Photo: Duncan Macfarlane.