text:
In some embodiments, the invention includes a method of editing a video stream. The method includes storing segment frame icons representing segments of the video stream, the segment frame icons having a layout. The method further includes displaying at least some of the segment frame icons and responding to signals from a user input device by changing the layout of the segment frame icons. In some embodiments, the segment frame icons are arranged in a two-dimensional grid. The segment frame icons may include an image derived from a representative frames of the segments. Changing the layout may involve one or more of the following: re-arranging an order of the segment frame icons in the layout, deleting at least one of the segment frame icons, and adding at least one segment frame icon from another video stream. The segment frame icons may be shot frame icons representing shots of the video stream. The segment frame icons may be subshot frame icons representing subshots of shots of the video stream. Other embodiments are described and claimed.
1. A method of editing a video stream, comprising:
storing segment frame icons representing segments of the video stream, the segment frame icons having a layout, wherein the layout includes multiple rows of segment frame icons, and further wherein each segment of the video stream comprises a portion of the video stream representing related activity;
displaying at least some of the segment frame icons;
responding to signals from a user input device by selecting a first segment frame icon corresponding to a first segment of the video stream;
displaying sub-shot frame icons representing frames of the first segment frame;
responding to signals from the user input device by changing the layout of the sub-shot frame icons; and
responding to signals from the user input device by replacing a current sub-shot frame icon with a new sub-shot frame icon that is more representative of the first segment.
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12. An article comprising:
a computer readable medium having instructions therein which when executed cause a computer to edit a video stream by:
storing segment frame icons representing segments of the video stream, the segment frame icons having a layout, wherein the layout includes multiple rows of segment frame icons, and further wherein each segment of the video stream comprises a portion of the video stream representing related activity;
displaying at least some of the segment frame icons;
responding to signals from a user input device by selecting a first segment frame icon corresponding to a first segment of the video stream;
displaying sub-shot frame icons representing frames of the first segment frame;
responding to signals from the user input device by changing the layout of the sub-shot frame icons; and
responding to signals from the user input device by replacing a current sub-shot frame icon with a new sub-shot frame icon that is more representative of the first segment.
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23. A computer system comprising:
a processor and video processing circuitry;
a display; and
memory including instructions which when executed cause the processor, video processing circuitry, and display to edit and display a video stream by:
displaying at least some of the segment frame icons;
responding to signals from a user input device by selecting a first segment frame icon corresponding to a first segment of the video stream;
displaying sub-shot frame icons representing frames of the first segment frame;
responding to signals from the user input device by changing the layout of the sub-shot frame icons; and
responding to signals from the user input device by replacing a current sub-shot frame icon with a new sub-shot frame icon that is more representative of the first segment.
24. The system of
1. Technical Field of the Invention
The present invention relates to systems and methods for editing video streams. Segments (e.g., shots or subshots) of the video streams are represented by icons which include an image derived from one of the frames of the corresponding segment.
2. Background Art
Video recording has become extremely popular. Traditionally, video tape has been used to record video streams. A video stream is a sequence of frames. In many cases, a VCR (video cassette recorder) is used to playback the video tape. More recently, computers, such as personal computers, have been used to edit video signals. Video editing software is commercially available. For example, the Adobe Premiere™ editor sold by Adobe Systems Incorporated allows a user to edit frames of a video stream by deleting, adding, and re-arranging the order of frames. Some of the frames of the video to be edited (called source clips) are displayed serially in a row in a window on a computer display. The user selects at least some of the source clips for inclusion in an edited footage section, which is displayed below the source clips in the window. The edited video section is initially empty and added to from one or more sources.
The term "shot" is used in the present disclosure. As used herein, the term shot means a portion of a video stream representing an event or a related continuous sequence of actions. The shot may end even though the camera does not stop capturing video signals. Shots often have a particular theme. For example, in a video stream of a child's birthday party, playing a game may be one shot, singing "Happy Birthday" may be another shot, and opening presents may be still another shot, whether or not the camera stops recording between shots. Various techniques have been developed to detect the beginning and ending of shots. For example, techniques for shot detection are described in B. Yeo et al. "Rapid Scene Analysis on Compressed Video," IEEE Transactions on Circuits and Systems For Video Technology, Vol. 5, No. 6, December 1995.
In the Adobe Premiere™ editor, not every frame of the video stream to be edited is visually displayed in the window. Rather, according to the user's designation, for example, only one frame is selected by the editor to be displayed for every N frames in the video stream or only one frame is selected for a particular time interval (e.g., one frame a second). The editor does not make a selection of which frames are to be displayed based on shots that may be included in the video stream.
In some embodiments, the invention includes a method of editing a video stream. The method includes storing segment frame icons representing segments of the video stream, the segment frame icons having a layout. The method further includes displaying at least some of the segment frame icons and responding to signals from a user input device by changing the layout of the segment frame icons.
In some embodiments, the segment frame icons are arranged in a two-dimensional grid. The segment frame icons may include an image derived from a representative frames of the segments. Changing the layout may involve one or more of the following: re-arranging an order of the segment frame icons in the layout, deleting at least one of the segment frame icons, and adding at least one segment frame icon from another video stream. The segment frame icons may be shot frame icons representing shots of the video stream. The segment frame icons may be subshot frame icons representing subshots of shots of the video stream.
Other embodiments are described and claimed.
The invention will be understood more fully from the detailed description given below and from the accompanying drawings of embodiments of the invention which, however, should not be taken to limit the invention to the specific embodiments described, but are for explanation and understanding only.
A. Overview
The present invention relates to systems and methods for editing video streams. Segments of the video streams are presented by segment frame icons. A segment is a contiguous sequence of frames of the video stream. A shot is one type of segment. A subshot (discussed below) is another. A scene, which is a contiguous sequence of shots unified by a common event or them, is another type of segment. The icons have a layout on the display or a window in the display. The icons may be presented in a two-dimensional arrangement, such as a grid with rows and columns. The order in which segments are displayed after editing is related to the layout of the icons. Therefore, the video stream may be edited by changing the layout through re-arranging the order of icons in the layout (which re-arranges the order of display of the corresponding segments in the video stream), deleting icons from the layout (which deletes corresponding segment from the video stream), and adding icons from another video stream (which adds the corresponding segments to the video stream from the other video stream). Merely changing the width of a window or size of icons so that more icons will fit in a row does not change the layout for purposes of the present invention. Although in that case, the displayed icons may look different on a display, the displayed video stream will not look different.
In the following description, shots and subshots will be discussed. However, the words "segment" and "subsegment" could replace the terms "shot" and "subshot" throughout.
Editing may be performed through a user input device, such as a mouse, through a drag and drop or delete and paste procedure. Shots may also be copied, without deletion. In this respect, in contrast to the prior art, the invention is analogous to a word processor program in which portions of text may be moved, deleted, or added. The browsing and editing features of the invention are intuitive and easy to use. Selected frames from within a shot may be presented in a window and edited in similar fashion. That is, frames within a shot may be edited by re-arranging the order of frames in the shot, deleting frames from the shot, and adding frames from another shot (which may be simultaneously displayed).
Referring to
B. Exemplary Windows
The following describes windows and other representations in a screen capture in a display, such as display 16 of
Each of the shot frame icons is a visual representation of a shot. For example, a shot frame icon may include one of the frames of the corresponding shot. However, the amount of detail in the image in the shot frame icon may be substantially less that in the frame it is derived from because of the size difference. The frame to which the shot frame icon corresponds may be called a key frame. (Note that in
A number is shown below each shot frame icon. The number may indicate a time of the shot represented by the icon with respect to the beginning video document that includes the shot. The number could represent a time of the beginning of the video document or beginning of the shot to the keyframe. The number may represent something else such as a shot order or the duration of the shot. More than one number could be shown per icon.
An asset view window 58 includes a list of video documents (e.g., VD1, VD2, VD3) that may be selected for editing. Video document VD2 is illustrated as including a Details and a Shot view file. The other video documents may include similar files.
A video asset detail window 62 may display a file name, category (e.g., vacation, birthday parties, etc.), description, start month, start year, and end month information for multiple video documents. The start and end month are the months the video begins and ends. (Of course, not each of these fields is required, and the video documents do not have to have information for each field.) The information can be entered manually or otherwise.
There are at least three ways in which video asset detail window 62 may be used. First, detail window 62 may be a directory of all video documents currently maintained by the system. Second, if a video document is selected from asset view window 58, the associated details of that video document may be displayed and/or highlighted. Third, a database (such as database 36 in
Enlarged windows 70, 72, and 74 each may be used to display a still frame of a selected shot or changing frames of a video stream of the selected video document. A video stream associated with a selected shot may be played from start to end of the video stream, or could be played starting from the selected shot to the end or until the user indicates that the video stream is to stop. Thus, in some embodiments, random access into the video stream is used. Further, in some embodiments, the user may be able to control whether the video stream displayed in windows 70, 72, or 74 moves forward, backward, or pauses (and perhaps the speed of frame change) through a user input device (e.g., mouse 18). Having multiple windows 70, 72, and 74 allows the user to view video streams of previous video documents or/and enlargements of different shot frame icons. More than three windows may be included.
C. Shot Editing Process
Shot view window 50 includes a scroll bar 54 that allows the user to display a different portion of the shot view. For example, in
The shot icon could be copied or moved to another video stream. For example,
The subshot frame icons can be edited (e.g., re-arranged, deleted, or added to) in similar fashion to the editing of the shot frame icons of the shot views. For example, suppose, the user wanted to move subshot icons SS10—SS13 to between subshot frame icons SS19 and SS20 in subshot window 80. In
Icons SS10–SS13 of subshot window 100 could be copied to another shot (e.g., shot. SF2 in
A window might hold subshot frame icons for more than one shot, but it could tend to be confusing.
If the frame selected to appear in the shot frame icon is not very representative of the shot, a user can select another frame from the subshot frame icons for that purpose.
Using a current video editing software (such as Adobe Premiere) to achieve similar effect is much more time-consuming because they use a frame-based approach. Editing at the shot level is much more intuitive because of, for example, the coherence within a shot.
D. Playback of Edited Video
Following editing, the video stream may be decoded and re-encoded in the new order. However, rather than re-encoding, there might merely be an updating of the underlying data structure of the relative positioning of the shots in the video stream. This process might take only matter of seconds or less.
To support playback of edited video stream without re-encoding, the system requires uses frame-accurate random access by a video decoder in video processing circuitry 40 and memory 30. As an example, suppose a video consists of 3 shots as follows: shot 1 from frame 1 to 300, shot 2 from frame 301 to 600, shot 3 from frame 601 to 900. Suppose during an edit session shot 2 is now moved to the end of the sequence, i.e., after the original shot 3. During the playback of the edited sequence, the following sequence of event happens to the original video:
play frame 1 to frame 300
jump to frame 601
play frame 601 to frame 900
jump to frame 301
play frame 301 to 600
Through frame-accurate random access, seamless playback is possible. This means that preview of the edit may be no different than a final edited video (that has been re-created).
The invention is not restricted to any particular digital format. However, some embodiments of the invention will be described in connection with MPEG (Moving Picture Experts Group) formats. Current and proposed MPEG formats include MPEG-1 ("Coding of Moving Pictures and Associated Audio for Digital Storage Media at up to about 1.5 MBits/s," ISO/IEC JTC 1 CD IS-11172 (1992)), MPEG-2 ("Generic Coding of Moving Pictures and Associated Audio," ISO/IEC JTC 1 CD 13818 (1994); and MPEG-4 ("Very Low Bitrate Audio-Visual Coding" Status: ISO/IEC JTC 1/SC 29/WG 11, 3/1999). There are different versions of MPEG-1 and MPEG-2. Various formats other than MPEG may be used. The video signals may have interleaved or non-interleaved frames. There may be encoding and decoding of the video signals in additional to the encoding to create the video signal (e.g., discrete cosine transform in MPEG).
The invention may be used with both MPEG-1 and MPEG-2 video formats. In particular, frame accurate random access is made possible through the creation of an indices that facilitate fast random access to arbitrary frame. Merely as an example, using prebuild indices, it can be used to perform a seek to an arbitrary frame of an MPEG-1 video at about 1/60th of a second on a personal computer including a Pentium� III processor at 400 MHz. The time represents an average number of seek time measured over intra-frame coded I-frames as well as inter-frame coded P and B frames. For video typically captured at 30 frames/sec, 1/60th second for transitioning to an arbitrary position in video is insignificant. As a result, the transition is seamless and not noticeable by the users. To the user, it would appear as if the edited video has been re-encoded before being played back.
E. Fast Random Access of Frames for Reverse Frame-by-Frame Playback of MPEG Video
MPEG-1 and MPEG-2 video are made up of three basic frame types: I frames, P frames and B frames. I frames are coded independently of other frames. P frames are coded based on the previous I or P frames. B frames are also known as Bi-directional frames and are coded based on the previous and/or next I or P frames. For MPEG-2 video coded using field coding, B frames may also depend on a different field coded as a B frame. The costs of decompression varies across the different frame types. I frames are cheapest to decode, followed by P frames and then by B frames. To decode P and B frames, motion compensation is required. A B frame is typically more expensive to decode than a P frame because it may depend on two frames whereas a P frame only depends on one frame.
For convenience, the following examples will be described with a 9 frame group of pictures (GOP) (which has 10 frame if the I frame of the next GOP is included). However, the invention is not limited to a particular number of frames in the GOP. For example, a GOP could typically have 15 or 30 frames, or other some other number of frames.
The invention is not restricted to use with frames with any particular resolution or number of bytes. For example, for MPEG1 video (352�240 resolution), the size of one decompressed frame may be � Megabyte (Mbyte) in RGB mode and ⅛ MByte in YUV mode. With greater resolutions, the size can be much greater.
Consider the following pattern of the GOP is the order of displaying frames: I1 (F1), B1 (F2), B2 (F3), P1 (F4), B3 (F5), B4 (F6), P2 (F7), B5 (F8), B6 (F9), I2 (F10). The frame numbers are in parenthesis and the numbers after the frame types are used to distinguish among the different frames with the same encoding type. In contrast to the display order, the encode and decode orders are I1 P1 B1 B2 P2 B3 B4 I2 B1 B2.
1. Random Access
Random access into arbitrary frames of an MPEG video is not straightforward because of frame dependencies. For instance, to access P1, I1 needs to be first decoded; to access B4, which depends on P1 and P2, we will need to first decode I1, P1 and P2.
One approach would be to decode every frame in the GOP so that the needed decoded frames would be available. However, that brute force approach is wasteful. A better approach for random access is to maintain a list of immediate frame dependencies for each frame. The immediate frame dependencies specify the set of frames directly needed for decode operation of the current frame. For the above example, the following are immediate frame dependencies:
I1: none
I2: none
(The frame dependencies could be provided by a look-up table, which could be accessed by indices or frame numbers.)
Thus, decoding B5, involves using the decoded P2 and I2 are needed for motion compensation. In addition, decoding P2 involves using the decoded P1, which in return requires the decoded I1. Decoding B5 involves using decoded I1, I2, P1 and P2. Decoding B2 involves using the decoded I1 and P1 for motion compensation; decoding P1 in turns requires decoded I1. B2 therefore requires the decoded I1 and P1. Accordingly, the needed decoded frames are decoded first and stored in memory. Note that in some cases decoded frames will be stored even if they are not going to be displayed themselves, so they will be available in decoding other frames.
2. Frame-by-Frame Backward Playback
Backward (reverse) playback of MPEG video can be straightforwardly implemented using random access techniques. Thus, to access the above 10 frames backward, we could use the random access method above to decode frame 10, then use the random access method to decode frame 9 without taking advantage of the fact that it was already used for decoding frame 10, and so on. This approach, however, does not exploit the temporal coherence of backward decoding. The following is a novel technique to exploit the coherence.
The decoded frames are stored in a decoded frame cache. Various types of memory may be used for the decoded frame cache. Main memory dynamic random access memory (DRAM) is an example. Video random access memory (VRAM) may also be used. A separate memory or section of memory could be dedicated solely to holding the decoded frames. The decoded frame cache does not have to be all in contiguous locations.
The decoded frames cache may be a fixed or variable size. If it is of fixed size it should be large enough to hold the minimum number of decoded frames needed considering the GOPs that may be encountered. The size could dynamically change if the number of frames in the GOP changes. Under one approach, the decoded frames cache is of a fixed size and a when the cache is full, a Least Recently Used (LRU) replacement policy is used to replace the frame that has been least recently accessed. If the cache is not of a fixed size, it could hold a fixed number of frames and a LRU replacement policy could be used.
Using the previous example for a backward decode from frame 10 to 1, the following will happen using the new algorithm on frames 10 to 7:
Frame 10 is the I2 frame. I2 is decoded and stored in the decoded frames cache. Cache=[I2].
Frame 9 is the B6 frame. B6 needs I2, P2, P1 I1. P2, P1, and I1 are decoded. B6 is also decoded. I2 is already in the cache so it does not need to be re-decoded. Decoded P2, P1, I1 and B6 are stored in the cache. Cache=[I2, I1, P1, P2, B6].
Frame 8 is the B5 frame. B5 needs I2 and P2, which are already in the cache. Decode B5 and put in the cache. Cache=[2, I1, P1, P2, B6, B5]
Frame 7 is the P2 frame. P2 needs P1 which is already decoded. Decode P2 and put in cache. Cache=[I2, I1, P1, P2, B6, B5].
Random access can also be more effectively performed using the above described frame caching technique used in backward playback. The key is to use the same caching mechanism for storing recently decoded frames and to re-use these frames if they are requested in the near future. For instance, the following set of frames may be requested to be decoded: I1, B3, B5. To decode B3, both P1 and P2 are needed. As a result, P1, P2 and I1 will be decoded and placed in the decoded frame cache and used from the decoded frame cache if they were already there. In the next request to decode B5, which depends on P2 and I2, only I2 needs to be decoded since P2 is already in the cache.
The caching technique can be performed through hardware or software control. The technique is described in terms of software pseudo code, but can be implemented in hardware or through software according to different pseudo code. That is, there are a variety of ways to implement the cache technique.
Consider the example I1 (F1), B1 (F2), B2 (F3), P1(F4), B3(F5), B4(F6), P2(F7), B5(F8), B6(F9), I2 (F10), mentioned above.
Assume there are the following two functions (1) DecodeCurrentFrame (N, ReferenceSet) and (2) GetDependencyFrameIndex (N).
In DecodeCurrentFrame (N, ReferenceSet), frame N is decoded according to an MPEG algorithm using frame N and the ReferenceSet. The ReferenceSet is the set of referenced frames needed to decode frame N. For example, ReferenceSet for P1 is {frame 1}, ReferenceSet for B4 is {frame 4, frame 7}. A decoded frame N is returned by the function. The decoded frame may be in RGB, YUV, or another format. RGB is used in the example.
In GetDependencyFrameIndex (N), a list of the reference frames that are needed to decode current frame N is obtained. A list of frame index or indices is returned. For example, e.g., GetDependencyFrameIndex (5)={7, 10}.
In the following pseudo code there is a distinction between the index and the actual frame. For example, 10 is an index and frame 10 is the actual frame. There is an array of a data structure called MPEGFrameCache, which is the decoded frame cache. MPEGFrameCache has two attributes: LastTimeUsed (for using in the LRU technique) and FrameRGB.
The following is pseudo-code (lines 1–22) to implement GetFrame( ) using the caching technique according to some embodiments:
With respect to the example given above, the following sequence of events happens to decode backward from frame 10. Assume that MPEGFrameCache is initially empty.
In the above trace, the LastTimeUsed attribute of MPEGFrameCache is not indicated. However, the LRU technique could be used. Note that the invention is not limited to an LRU technique.
The frames in MPEGFrameCache are not necessarily ordered. Rather than use a recursive call, the above listed pseudo code (lines 1–20) could be modified to include a loop wherein the terminating condition is that all frames on which frame N is dependent have been decoded and are available for use in decoding frame N.
F. Additional Information and Embodiments
Merely as an example, in a personal computer with a Pentium� III processor at 400 MHz, the rate to process MPEG-1 video encoded at 1.2 to 1.5 Mbits/sec may be about 200 frames/sec. The time includes shot detection (block 132), index creation (block 136), shot frame icon generation (block 138) and loading of the frame shot grid into a display interface. This may be effectively almost 7 times-faster-than-real-time speed.
The invention offers extremely simple interactions and editing of digital video streams. The paradigm is to treat video like a text document. Interactions with video are like interactions with text. This is in contrast to current video editing tools which force users to deal with the individual frames of video signals—this is tedious, time-consuming and non-intuitive for consumers.
A screen saver may be created by showing frames in different orders by re-arranging the shot order. The re-arranging may be truly random or pseudo-random.
Reference in the specification to "some embodiments" or "other embodiments" means that a particular feature, structure, or characteristic described in connection with the embodiments is included in at least some embodiments, but not necessarily all embodiments, of the invention. The various appearances of the term "some embodiments" in the description are not necessarily all referring to the same embodiments.
The term "responsive" and related terms mean that one signal or event is influenced to some extent by another signal or event, but not necessarily completely or directly. If the specification states a component, event, or characteristic "may", "might" or "could" be included, that particular component, event, or characteristic is not required to be included.
Those skilled in the art having the benefit of this disclosure will appreciate that many other variations from the foregoing description and drawings may be made within the scope of the present invention. Accordingly, it is the following claims including any amendments thereto that define the scope of the invention.
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Hirschsprung Disease Center - Palatine, IL
Palatine Pediatric Surgeon Doctors for Hirschsprung Disease
Type of Physician: Pediatric Surgeon
What is a Pediatric Surgeon?
A subspecialty certification by the Board of Surgery; practitioners are skilled in the management of surgical conditions in premature and newborn infants, children, and adolescents.
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Hirschsprung's Disease
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Hirschsprung* disease (HD) is a disease of the large intestine that causes severe constipation or intestinal obstruction. Constipation means stool moves through the intestines slow...!--*ICCChunk-1675*-->
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Ricardo Ainslie
email@example.com | (512) 471-0364 | SZB 262D
EducationPh.D., University of Michigan
InterestsStudy of Psychoanalysis; Psychological Experience of Immigration; Ethnic Conflicts within Communities; the Relationship Between Individual and Collective Identity.
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InterestsLatino Politics and Policy
Raul L. Madrid
email@example.com | 512.232.7246 | BAT 3.112
EducationPh.D., Stanford University
InterestsComparative Politics; Political Economy; Latin American Politics; and Voting Patterns of Indigenous Populations in Latin America
Martha Menchaca
firstname.lastname@example.com | 512.471.7537 | SAC 5.158
EducationPh.D., Stanford University
InterestsSocial Anthropology; Ethnicity; Gender; Oral History; Chicano Studies; U.S./Mexican Culture; and Latin America
Robin Moore
email@example.com | (512) 471-0373 | MBE 3.210
EducationPh.D., 1995, Music, The University of Texas at Austin
InterestsMusic and Nationalism; Music and Race Relations; Popular Music Study; and Socialist Art Aesthetics.
Yolanda C. Padilla
email@example.com | (512) 471-6266 | SSW 3.130K
EducationPh.D., University of Michigan
InterestsRacial and Ethnic Disparities in Health and Well-Being with an Emphasis on Mexican American Children and Families; Poverty; Immigration; Gay, Lesbian, Bisexual, and Transgender Studies
Charles E. Ramirez Berg
University Distinguished Teaching Professor
firstname.lastname@example.com | 512.471.9925 | WWH 414
EducationPh.D., The University of Texas at Austin
InterestsLatinos and Media; Mexican Cinema; Chicano Cinema; and Latino Stereotypes in Hollywood Cinema
Manuel Ramirez III
firstname.lastname@example.com | (512) 475-7012 | SEA 5.206
EducationPh.D., University of Texas at Austin
InterestsCross-Cultural Psychology; Ethno-Psychology; Cognitive Styles; Cultural Values; the Relationship of Acculturation to Mental Health and Family Dynamics; and Multicultural Orientations
Pedro Reyes
Professor and Ashbel Smith Chair in Education Policy
firstname.lastname@example.com | (512) 499-4233 | O' Henry Hall 312
EducationPh.D., University of Wisconsin-Madison
InterestsSocial Organization of Schools; Conditions Fostering High Academic Success for Children of Poverty; and the Stratification of Learning Opportunities for Children of Color.
Néstor P. Rodríguez
email@example.com | 512.232.8072 | BUR 580
EducationPh.D., The University of Texas at Austin
InterestsInternational Migration; Immigration Policy; Border Enforcement; Global Urban Development; Racial/Ethnic Relations; and State Repression
Joseph Straubhaar
Amon G. Carter Centennial Professor of Communications
email@example.com | 512.471.5304 | CMA 6.120
EducationPh.D., Fletcher School of Law and Diplomacy
InterestsGlobal Media; International Communication and Cultural Theory; Information Societies and the Digital Divide in the U.S. and other Countries; and Global Television Production and Flow
Fred Valdez, Jr.
firstname.lastname@example.com | 512. 471.0060 | EPS 2.114
EducationPh.D., Harvard University
InterestsArchaeology; Mexican-American Borderlands
Richard Valencia
firstname.lastname@example.com | (512) 471-0378 | SZB 506K
EducationPh.D., Unversity of California, Santa Barbara
InterestsIntellectual & Academic Development of Racial/Ethnic Minority Children; Psychometric Evaluation of Intelligence & Achievement tests; & Teacher Testing & Prospective Minority Teachers.
Angela Valenzuela
firstname.lastname@example.com | (512) 232-6008 | SZB 528L
EducationPh.D., Stanford University
InterestsSociology of Education; Race and Ethnicity in Schools; Urban Education Reform; Educational Policy; Immigration; Globalization; and Human Rights.
Emilio Zamora
email@example.com | 512.475.8706 | GAR 2.104B
EducationPh.D., The University of Texas at Austin
InterestsMexican American History; U.S. Working Class History; Oral History and the History of the Mexican Archival Enterprise in Texas and Northern Mexico
Associate Professors
Mary Beltrán
Associate Professor
firstname.lastname@example.com | (512) 471-0021 | CMA 6.126
EducationPh.D., University of Texas at Austin
InterestsCritical and Cultural studies of the Construction of Race, Class, and Gender in U.S. Film and Television; with specializations in Latina/os and Media and Mixed Race and U.S. Media Culture.
Oscar H. Casares
Associate Professor
firstname.lastname@example.com | (512) 471-8715 | PAR 108
EducationM.F.A., University of Iowa
InterestsCreative Writing
James H. Cox
Associate Professor
firstname.lastname@example.com | (512) 232-7804 | CAL 14
EducationPh.D., University of Nebraska at Lincoln
InterestsTwentieth and Twenty-First Century Native American Literature; Twentieth and Twenty-First Century Ethnic American Literatures, including Chicana/o Literature and Literature of Immigration
Thomas Garza
University Distinguished Teaching Associate Professor and Director, Texas Language Center
firstname.lastname@example.com | (512) 471-3607 | HRH 4.190 and CAL 406
EducationEd.D., Harvard University, 1987
InterestsRussian language teaching methodology; applied linguistics; contemporary Russian culture; the Chechen wars and the media; Post-Soviet youth culture; language teaching pedagogy; Russian popular culture; modern Russian language; contemporary Russian media
John Morán González
Associate Professor
email@example.com | (512) 471-8117 | PAR 321
EducationPh.D., Stanford University
InterestsLatino/a Literature; Chicano/a Literature; Late Nineteenth-Century American Literature; Postcolonial Studies; Narrative Theory
Gloria González-López
Associate Professor
email@example.com | 512.232.6343 | BUR 464
EducationPh.D., University of Southern California
InterestsGender and Sexuality of Mexican Immigrant Populations
Kenneth Greene
Associate Professor
firstname.lastname@example.com | (512) 232-7206 | BAT 4.112
EducationPh.D., University of California, Berkeley
InterestsMexican politics; Latin American Politics; Political Parties; and Social Science Research Methods
Nicole Guidotti-Hernández
Associate Professor
firstname.lastname@example.com | (512) 232-6313 | GWB 2.102F
EducationPh.D., Cornell University
InterestsTransnational Feminisms; Critical Race Studies; Chicana/o Studies; Latina/o Studies; Borderlands History; American Studies; Violence and Citizenship; and Indigeneity and Nationalisms.
Frank A. Guridy
Associate Professor
email@example.com | (512) 475-7267 | GAR 2.202
EducationPh.D., 2002, History, University of Michigan
InterestsCaribbean/African Diaspora History with an emphasis on the Spanish-speaking Caribbean, Transnational History, Sport History
Laura G Gutierrez
Associate Professor
firstname.lastname@example.com | (512) 232-2739 | WIN 2.162
EducationPh.D., University of Wisconsin-Madison
InterestsLatin American, Mexican and Latina/o embodied practices, gender and sexuality, and questions of nation, modernity and the transnational.
Deborah K. Palmer
Associate Professor
email@example.com | (512) 232-4015 | SZB 440
EducationPh.D., University of California, Berkeley
InterestsBilingual Education; Dual Language Education; Discourse Analysis and Ethnography; Language Minority Policy, Politics and Programs
Deborah Paredez
Associate Professor
firstname.lastname@example.com | (512) 471-8116 | PAR 224
EducationPh.D., 2002, Interdisciplinary Theatre, Northwestern University
InterestsPerformance Studies; Poetry; Race, Gender, and Sexuality; Contemporary American Drama and Poetry; and Latina/o Studies
Domino R. Perez
Associate Professor and Director
email@example.com | (512) 471-4557 | GWB 1.102E
EducationPh.D., University of Nebraska at Lincoln
InterestsAmerican Literature; Popular Culture; and Chicano/a Literature, Film and Cultural Studies
Maggie Rivas-Rodriguez
Associate Professor
firstname.lastname@example.com | (512) 471-0405
EducationPh.D., University of North Carolina at Chapel Hill
InterestsIntersection of Oral History and Journalism; and U.S. Latinos and the News Media.
Cherise Smith
Associate Professor
firstname.lastname@example.com | (512) 232-1822 | ART 1.205
EducationPh.D., 2005, Art History, Stanford University
Victor B. Sáenz
Associate Professor
email@example.com | (512) 475-8585 | SZB 310Q
EducationPh.D., University of California, Los Angeles
InterestsHigher Education Policy Issues; Educational Benefits of Racial/Ethnic Diversity; Desegregation Issues; Access, Transition, and Retention Issues (Especially Latino Males in Higher Education); Policy Impacts of Affirmative Action and Remedial Education Policies; and Assessment Issues in Higher Education (Learning Outcomes).
Luis Urrieta, Jr.
Associate Professor
firstname.lastname@example.com | (512) 232-4129 | SZB 528G
EducationPh.D., University of North Carolina at Chapel Hill
InterestsIdentity, Agency, and Social Movements in Education with a focus on Chicana/o, Latina/o, and Indigenous (Purepecha) Formal and Informal Education; Native Research Methodologies; and Citizenship and Social Studies Education.
Assistant Professors
Juan J. Colomina-Almiñana
Assistant Professor of Sociolinguistics
email@example.com | 512-471-4053 | GWB 1.106
EducationPh.D., University of La Laguna (Tenerife, Spain)
InterestsPhilosophy of Language; Linguistic Anthropology; Bilingualism; Philosophy of Mind and Consciousness; Cognition: Intensional and Inductive Logic; Philosophy of Science; Metaphysics (specially Time); Points of View and Perspectivism; and Carnap's and Russell's Legacies.
Cary Cordova
Assistant Professor
firstname.lastname@example.com | (512) 232-4582 | BUR 448
EducationPh.D., University of Texas at Austin
George F. Flaherty
Assistant Professor
firstname.lastname@example.com | (512) 232-5531 | DFA 2.524
EducationPh.D., University of California, Santa Barbara
InterestsLatin American and Latino Visual and Spatial Cultures since 1945; Film and Media Studies; Postcolonial Theory and Subaltern Studies, emphasis on Mexico and the U.S. Borderlands
Ramón A. Martínez
Assistant Professor
firstname.lastname@example.com | (512) 232-2806 | SZB 334J
EducationPh.D., UCLA
Julie A. Minich
Assistant Professor
email@example.com | PAR 227
EducationPh.D., Stanford University
Roxanne Schroeder-Arce
Assistant Professor
firstname.lastname@example.com | (512) 232-7345 | WIN B.104H
EducationMFA, The University of Texas at Austin
InterestsMulti-cultural Theatre Education and Latino Theatre for Young Audiences
Victoria M. De Francesco Soto
Outreach Coordinator & Lecturer
firstname.lastname@example.com | (512) 471-8366 | GWB 1.102D
EducationPh.D., Duke University
Patricia M. García
email@example.com | (512) 471-4991 | PAR 108
EducationPh.D., Texas A&M University
InterestsRenaissance Literature; Women, Gender, and Literature; and Cultural Studies.
Professors Emeriti
Douglas Foley
Professor Emeritus
email@example.com | (512) 232-3929 | SZB 528A
EducationPh.D., Stanford University
InterestsMinority Communities in South Texas, Mississippi, and Iowa; Anthropology; U.S. Culture and Schools; Popular Culture; Social Movements; Race Relations; and Inequality in the U.S. Public Schools.
Alba A. Ortiz
Professor Emeritus
firstname.lastname@example.com | (512) 232-8130 | SZB 455
EducationPh.D., University of Texas at Austin


text:
With Due Respect
Power of social media
The social media have come of age in our country. The awesome people-gathering power of Facebook and Twitter has been proven beyond doubt by the Million People March (MPM) last Aug. 26.
Different from Edsa PP. Significantly, the span, breadth and depth of MPM have been expanded by traditional media, especially the Inquirer and the major radio-television networks, enabling it to reach the masses who do not have the computers, tablets and smart phones to access social media directly.
At this point, it no longer matters how many exactly attended the rally. Whether it was one million, or 400,000 or only 50,000 does not matter anymore. What matters is that its message has penetrated and outraged all sectors of society via mass media.
Edsa People Power 1 and 2 were ignited by a common major convenor, the late Jaime Cardinal Sin. Both events led to the instant ouster of our top leaders, President Ferdinand E. Marcos in PP1 and Joseph E. Estrada in PP2.
True, the Catholic Church (celebrating World Youth Day), Brother Mike Velarde and the Iglesia ni Cristo have convened larger congregations at Luneta but these were well-planned religious liturgies and spiritual awakenings. True also, electoral "miting de avance" and political campaigns have been propelled by bigger crowds.
In contrast, MPM was spontaneously called by an enraged populace to galvanize action against a bedeviling issue of governance, the pork barrel scam. It was not meant to oust a sitting President or to renew religious fervor or to propel candidacies. It had no big-name convenor, no institutional organizer, no platform speakers, no grandstanding orators, no pre-planned program, no busses to ferry in the "hakot," no financiers to feed them, no celebrity singers to entertain them and no rabble rousers to taunt them.
Yet came the mammoth crowd. That knew what they were there for and vented their rage by simply being there. That sensed their common cause and common fervor. That recognized and promptly shooed away the pretenders and fellow travelers who surfaced with different agenda.
Gradual phaseout. Unlike PP1 and PP2, which ousted two sitting chief executives of the country after four days of continuous rallies at Edsa, MPM gathered only for a day and did not produce any immediate palpable result.
Nonetheless, I believe President Aquino, Senate President Franklin Drilon, Speaker Feliciano Belmonte Jr. and other leaders heard our people's cry. In fact, even before the rally began, President Aquino already announced the demise of the hated Priority Development Assistance Fund or PDAF.
True, the President did not abolish pork barrel completely; in fact, it will remain in the 2014 budget, with the safeguards installed by Budget Secretary Florencio "Butch" Abad. While pork barrel will not disappear overnight, in time I think it will. Given P-Noy's reformist streak, I think pork barrel would eventually be abolished within the next three years. The people have spoken and P-Noy is not deaf.
Yes, the abolition will be gradual and will not happen overnight, unlike the ouster of Marcos and Estrada. MPM is destined to transform not just our leaders but the very culture and mores of our political and social life. And that cannot be rushed, lest it disembowels and destroys the very foundations of society that it seeks to strengthen and uphold.
New species of free expression. Social media are the newest species of the freedom of expression and are entitled to the same constitutional protection, thus "No law shall be passed abridging the freedom of speech, of expression, or of the press, or the right of the people peaceably to assemble and petition the Government for redress of grievances."
Free expression originated during the Middle Ages when people began speaking against their kings and emperors. Free speech was naturally followed by the right to peaceful assembly to redress grievances. When the printing press was invented, freedom of expression was expanded to include freedom of the press.
And when the Industrial Age dawned, labor's right to strike and to picket also became modes of protected speech. Thereafter, radio, television and cinema came up and were likewise given constitutional mantle. During the last two decades, opinion polls and election surveys have become parts of free expression.
Indeed, as mankind pushes the frontiers of science in mass communications, so must the scope of free expression expand. Twitter, Facebook and other social media are the most recent technological expansion of the freedom of expression. Originally used for bonding with friends and relatives, they have become new tools of social transformation and reformation.
Now that our people have found these novel tools to effect change, they will, I am sure, continue to use them and to insist that the milestone begun on Aug. 26, 2013 be celebrated in the years to come. Government may as well adjust to the new vigilance of our citizenry. The earlier our officials recognize this reality the better for everyone.
What better way to demonstrate this recognition and adjustment than to be more transparent and accountable in the performance of public duty. And the best guarantee of transparency and accountability is the Freedom of Information (FOI) bill. Let's abolish pork, let's investigate and penalize the pork abusers and plunderers—and let's make sure this mess will never happen again through a new FOI law guaranteeing greater public scrutiny of official responsibility.
* * *
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text:
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text:
Eysteinn (Swedish: Östen; died ca 600) was the son of Eadgils and Yrsa of Saxony. He was the father of Ingvar. The Eysteinn tumulus (Östens hög) in Västerås near Östanbro has been linked to King Eysteinn by some popular historians. The term Hög is derived from the Old Norse word haugr meaning mound or barrow.
Snorri Sturluson relates that Eysteinn ruled Sweden at the time when Hrólf Kraki died in Lejre. It was a troubled time when many sea kings ravaged the Swedish shores. One of those kings was named Sölve and he was from Jutland (but according to Historia Norwegiae he was Geatish, see below). At this time Sölve was pillaging in the Baltic Sea and so he arrived in Lofond (probably the island of Lovön or the Lagunda Hundred), where Eysteinn was at a feast. It was night-time and Sölve and his men surrounded the house and set it on fire burning everyone inside to death. Then Sölve arrived at Sigtuna (Old Sigtuna) and ordered the Swedes to accept him as king. The Swedes refused and gathered an army that fought against Sölve and his men, but they lost after eleven days. The Swedes had to accept him as king for a while until they rebelled and killed him.
Snorri then quotes a stanza from Þjóðólfr of Hvinir's Ynglingatal:
The Historia Norwegiæ presents a Latin summary of Ynglingatal, older than Snorri's quotation (continuing after Eadgils, called Adils or Athisl):
Hic [Adils vel Athisl] genuit Eustein, quem Gautones in domo quadam obtrusum cum suis vivum incenderunt. Hujus filius Ynguar [...].[1]
He [Adils] became sire to Øystein, whom the Götar thrust into a house and incinerated alive there with his men. His son Yngvar, [...][2]
Thorsteins saga Víkingssonar makes Eysteinn the father of Anund and grandfather of Ingjald and consequently skips Ingvar's generation. It adds a second son to Eysteinn named Olaf, who was the king of Fjordane in Norway.
- ^ Storm, Gustav (editor) (1880). Monumenta historica Norwegiæ: Latinske kildeskrifter til Norges historie i middelalderen, Monumenta Historica Norwegiae (Kristiania: Brøgger), p. 101.
- ^ Ekrem, Inger (editor), Lars Boje Mortensen (editor) and Peter Fisher (translator) (2003). Historia Norwegie. Museum Tusculanum Press. ISBN 87-7289-813-5, p. 79.
Primary sources[edit]
- Ynglingatal
- Ynglinga saga (part of the Heimskringla)
- Historia Norwegiae
- Thorsteins saga Víkingssonar
Secondary sources[edit]
Nerman, B. Det svenska rikets uppkomst. Stockholm, 1925.
|Preceded by
|Semi-legendary king of Sweden
|Succeeded by


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box-folder 8/76-85
Series V. Gogmagog Press. [series]:
Scope: The Gogmagog Press, London, was a fine press privately run by
Morris Cox.During the 1960's Cox produced his work in numbered and
signed limited editions.This series consists of materials toward
various Gogmagog Press publications,all written by Cox.
1. Material toward Mummers Fool,
Scope: Consists of drafts, proofs, and other material toward
MummersFool, by Cox.
box-folder 8/76-81.
Contain Ts drafts, sample intaglio covers, bound
dummy, loose proofpages, linoleum print block, and a copy of the
finished book.
(21 items)
2. Material toward The Warrior and the Maiden,
Scope: Consists of various materials toward The Warriorand the
Maiden, by Morris Cox.
box-folder 8/82-84.
Consists of a dummy, linoleum blocks used for
illustrations, anda copy of the finished book.
(12 items)
3. Miscellany.
Scope: Consists of miscellaneous Gogmagog Press materials.
box-folder 8/85.
Consists of proof copies of Gogmagog Press
publications 14 Triads, 1967,
by Cox, A Mediaeval Dream Book,
1963, and Spring,
1966, byCox; also additional
intaglio proof sheets for Spring.
(5 items)


text: Roy Feldman, Editorial Photographer | Lightstalkers Home Member Directory Calendar Groups Resources Publications You are not logged in. Click here to log in now. | Switch to our mobile site→ My Profile My Galleries My Networks Roy Feldman Profession: Editorial Photographer Location: Detroit, Michigan , United States Home base: Detroit, Michigan URL: http://www.detroitphotographicorg Email: •••••••• (private) Languages spoken: English Organization: Detroit Photographic Company Mobile phone: 586.747.0759 Last login: over 4 years ago Member since: 14 Dec 2005 05:12 About ROY FELDMAN CONTACT: EMAIL:firstname.lastname@example.com MOBILE:586.747.0759 EDITORIAL & PHOTOJOURNALISM Member: White House Press Photographers, National Press Photographers Association Contract Photographer: Detroit Free Press, ABC Television,NBC Universal, US Newswire Clients: Northwest Airlines, GM,DCX, Ford Motor Company, Miller Brewing Company, Ebony Magazine, ABC Television, Department of Energy,NBC News Testimonials Subscribe via RSS→ Keywords motorcity auto automotive detroit michigan editorial commercial architecture More about sponsorship→ Personal Network Add all of these people to my list Search for in membersimagespostsrepliespublications searching… Discussion Assignments Events For Sale Gear Housing Tech Support Travel Other stuff Send invitations Member Directory Calendar Galleries Groups Publications Resources About Lightstalkers Manifesto Donations Corporate Sponsorship Official Gear Send this to: (email address) Translate into: 简体字 Deutsch 日本語 한국말 Français Italiano Português Español More about our partners→ Top↑ | RSS/XML | Privacy Statement | Terms of Use | firstname.lastname@example.com ©2004-2015 November Eleven


text:
Error: User Could Not Execute Stored Procedure sp_enable_sql_debug
Visual Studio 2013
The Stored Procedure sp_enable_sql_debug could not execute on the server. This can be caused by:
A connection problem. You need to have a stable connection to the server.
Lack of necessary permissions on the server. To debug on SQL Server 2005, both the account running Visual Studio and the account used to connect to SQL Server must be members of the sysadmin role. The account used to connect to SQL Server is either your Windows user account (if you are using Windows authentication) or an account with user ID and password (if you use SQL authentication).
For more information, see How to: Set SQL Server Permissions for Debugging.


text:
25 / Schramm-Loewner evolution for different values of k. For example, critical percolation (top) gives trajectories with κ = 6. The middle image shows κ = 0.5, and the bottom image κ = 8/3. Reprinted with permission from Scott Sheffield, Massachusetts Institute of Technology. /
from measures of the boundaries between small regions of materials ("magnetic grains") that are aligned magnetically (κ = 3) or paths for water percolation (κ = 6) (Figure 25). Schramm-Loewner evolution is a wonderful unified description of all these separate phenomena, illuminating how disorder can create order.
The most essential feature of Schramm-Loewner evolution is a symmetry property called conformal invariance. Conformal invariance has two components: scale invariance and rotation invariance. The first means that a Brownian trajectory will look just the same at any level of magnification. If you blow it up by a factor of 10, it will look just as jiggly as before. The formerly small bounces will become big bounces—but you will see new, even smaller bounces that you couldn't make out before. Rotation invariance means that Brownian motion has no preferred direction. For example, in a closed room, smoke will go everywhere.
Consider a crack that grows randomly inward from the edge of an infinite pane of glass. According to the idea on which Schramm-Loewner evolution is based, the pane of glass can always be "healed" by a conformal transformation, deforming the glass in a way that pushes the crack back out to the boundary. If the crack grows, the glass can be healed again. In this never-ending process of cracking and healing, the attachment point of the crack moves around. In fact, it jiggles very erratically along the edge of the glass. Does this sound familiar? The attachment point is actually undergoing one-dimensional Brownian motion. The intensity of the jiggling is described by the parameter κ larger values of κ correspond to more intense jiggling and to more jagged cracks. The basic idea of Schramm-Loewner evolution converts any two-dimensional, conformally invariant random process into a one-dimensional Brownian motion. Many questions become simpler after they are restated as a Schramm-Loewner evolution. What is the probability that the trajectories of two pollen grains in a petri dish will intersect before the grains reach the edge of the dish? What is the probability that water will percolate from one side of a