text:
An EEPROM stores multiple sets of video display parameters for a multi-frequency video display. A microcontroller receives input from a user, changes the stored display parameters and outputs changes in the parameters to the video display. The microcontroller also controls video display apparatus that displays on-screen menus and value indicator graphs for facilitating user input. The video display apparatus incorporates a video clock synchronized to the horizontal synchronization signal of the multi-frequency display, to keep the displayed menus synchronized regardless of the current frequency. In addition, the video display apparatus elongates displayed characters at higher frequencies to control the absolute size of displayed characters across frequencies. The present invention provides for changes to video display parameters, and for resetting the display parameters to factory standards, without manipulating electromechanical devices such as potentiometers.
1. An apparatus for adjusting video display controls in a multi-frequency video display, comprising:
input control means for providing user input;
microcontroller means for receiving user input from said input control means and for controlling said adjusting of said video display controls;
memory means for storing parameters of adjusted video display controls, said memory means electrically connected to said microcontroller means;
display adjustment means for providing said parameters of said adjusted video display controls to said multi-frequency video display, said display adjustment means controlled by said microcontroller means; and
on-screen display means for displaying visual representations of said adjustment of said video display controls on a screen of said video display, across different frequency modes of said multi-frequency video display.
2. The apparatus of claim 1, wherein said on-screen display means includes a video clock for synchronizing said displayed visual representations with a horizontal synchronization signal of said multi-frequency video display.
3. The apparatus of claim 1, wherein said on-screen display means includes a character size control means for controlling the absolute size of said displayed visual representations across different frequency modes of said multi-frequency video display.
4. The apparatus of claim 1, wherein said input control means includes a plurality of electrical buttons.
5. The apparatus of claim 1, wherein said memory means includes an erasable electrically programmable read-only memory.
6. The apparatus of claim 1, wherein said on-screen display means comprises:
column counters for storing and outputting address instructions coupled to the microcontroller means;
row counters for storing and outputting address instructions coupled to the microcontroller means;
a display memory, said display memory storing instructions for displaying said visual representations, said instructions received from said microcontroller means, said display memory coupled to the column counter;
a character read-only memory, said character read-only memory providing character data for displaying said visual representations, said character read-only memory providing said character data upon receiving said stored instructions from said display memory, said display memory delivering said stored instructions to said character read-only memory upon receiving address instructions from the column counter and the two counter;
a shift register for storing a sequence of character data, said shift register coupled to said character read-only memory; and
a video drive for converting said stored sequence of said character data of said shift register into said display of said visual representations, said video drive coupled to the shift register.
7. Apparatus for adjusting video display video display controls in a multi-frequency video display, comprising:
an input control block for providing user input;
a microcontroller capable of receiving said user input from said input control block, said microcontroller capable of controlling said adjusting of said video display controls;
a memory block capable of storing parameters of the adjusted video display controls, said memory block electrically connected to said microcontroller,
a display adjustment block capable of providing said parameters of said adjusted video display controls to said multi-frequency video display, said display adjustment block coupled to and controlled by said microcontroller; and
an on-screen display block capable of displaying visual representations of said adjusted video display controls on a screen of said video display, across different frequency modes of said multi-frequency video display.
8. The apparatus of claim 7, wherein said on-screen display block includes a video clock block for synchronizing said displayed visual representations with a horizontal synchronization signal of said multi-frequency video display.
9. The apparatus of claim 7, wherein said on-screen display block includes a character size control block for controlling the absolute size of said displayed visual representations across different frequency modes of said multi-frequency video display.
10. The apparatus of claim 7, wherein said input control block includes a plurality of electrical buttons.
11. The apparatus of claim 7, wherein said memory block includes an erasable electrically programmable read-only memory.
12. Apparatus as recited in claim 7 wherein said on-screen display block comprises:
a column counter for storing and outputting address instructions coupled to the microcontroller;
a row counter for storing and outputting address instructions coupled to the microcontroller;
a display memory storing instructions for displaying said visual representations, said instructions received from said microcontroller said display means coupled to the column counter;
a character read-only memory providing character data for displaying said visual representations, said character read-only memory providing said character data upon receiving said stored instructions from said display memory, said display memory delivering said stored instructions to said character read-only memory upon receiving address instructions from said column counter and said row counter;
a shift register for storing a sequence of said character data from said character read-only memory; and
a video drive for converting said stored sequence of said character data of said shift register into said display of said visual representations.
13. A method for adjusting video display controls in a multi-frequency video display comprising the steps of:
A) displaying visual representations of adjustments of said video display controls on a screen of said video display, across different frequency modes of said multi-frequency video display;
B) receiving adjustment inputs from a user;
C) adjusting a set of video display parameters stored in a memory, said adjusting corresponding to said adjustment inputs; and
D) providing said adjusted video display parameters to said multi-frequency video display, said adjusted video display parameters adjusting said video display controls.
14. The method of claim 13, wherein said displaying step further includes the step of synchronizing said displayed visual representations with a horizontal synchronization signal of said multi-frequency video display.
15. The method of claim 13, wherein said displaying step further includes the step of controlling the absolute size of said displayed visual representations across different frequency modes of said multi-frequency video display.
16. The method of claim 13, wherein said displaying step further includes the steps of:
A) storing instructions for displaying said visual representations in a display memory;
B) registering a current column of said displayed visual representations;
C) registering a current row of said displayed visual representations;
D) addressing a stored instruction in said display memory by using said registered current column and said registered current row;
E) accessing character data in a character read-only memory by delivering said addressed stored instruction to said character read-only memory;
F) storing a sequence of said accessed character data in a shift register; and
G) converting said sequence of said accessed character data into said displayed visual representations.
The present invention relates to video display systems, and more particularly, to using on-screen menus in adjusting multi-frequency cathode ray tube (CRT) displays.
Video displays incorporating CRT systems provide information to and receive information from computer systems. The versatility of CRT systems, and the variety of ways they display data, have ensured their widespread use. Early video displays typically were single-frequency displays: the video adaptor card that operated the display (by sending information from the computer to the display) used a single horizontal scanning frequency tuned to that of the display. A card fabricated for a particular single-frequency display often will not work with other displays. Multi-frequency video displays represent an important improvement in video display technology, for a single display system can be attached to a wide variety of video adaptor cards. The multi-frequency display can tune itself to the horizontal frequency of the attached adaptor card, and synchronize the display to the information sent from the adaptor card.
While multi-frequency displays provide a great improvement over single-frequency displays, and allow versatile connections of displays and adaptor cards, these displays exacerbate problems common to video displays in general. Most video displays provide some form of adjustments for users. Typically, a panel of knobs and buttons connected to potentiometers or other electrical switches allow the user to adjust various display characteristics. Contrast, brightness, and the horizontal and vertical image positions are some of the possible adjustments one can make. Since these adjustments are made manually using electromechanical devices, the adjustments are susceptible to slight shifts over time. Movement of the display, changes in ambient temperature and environmental vibrations can all alter carefully set adjustments.
Multi-frequency displays that incorporate electromechanical user adjustments share these problems of misadjustment. In addition, these displays multiply adjustment problems for each new frequency mode available. Each time a user changes the frequency mode used by the monitor, all the adjustments made previously must be readjusted to compensate for changes in the display. Furthermore, once these changes ;ire adjusted, they again become susceptible to slow misadjustment.
Multi-frequency displays present further manufacturing difficulties. In addition to user-operated external controls, each video display possesses a number of internal controls that precisely adjust the display. These internal controls are preset at the factory by a human operator comparing the display against a standard. To ensure comparable operation across frequency modes, multi-frequency displays often hive separate sets of these adjustments for each of several principle frequency bands. Each of these adjustment sets must then be hand-adjusted by a factory operator. Again, the electro-mechanical nature of the controls allows for gradual drift in their adjustment.
Current methods for adjusting, video displays, particularly in multi-frequency systems, do not provide a complete and flexible system for allowing users and manufacturers to quickly and reliably set display controls. What is needed is an improved method and apparatus for adjusting, video displays. An improved video display adjustment apparatus and method should allow the factory to quickly set all internal controls for a monitor, without operator intervention. The improved apparatus and method should also allow end-users to easily change display characteristics, or reset the characteristics back to those specified at the factory. The method and apparatus should also maintain the video display characteristics despite thermal, mechanical or other environmental changes. The improved method and apparatus should provide techniques and apparatus applicable to a wide range of video display devices, including CRTS, LCDs and electro-luminescent displays. The invention should provide a simple and cost-effective technology for easily and accurately changing and maintaining the characteristics of any video display.
In accordance with the present invention, a video display adjustment and on-screen menu system combines a microcontroller and erasable EPROM memory with on-screen menu display generation to allow users to change display parameters without making any electromechanical adjustments. The microcontroller effects display changes through display adjustment circuitry, enabling digital control over display parameters. In addition, the present invention incorporates a novel video clock to ensure accurate synchronization of the on-screen menu to any horizontal signal received by the video display.
The user enters commands to the microcontroller by pressing a set of buttons, or other similar input devices on the video display, in response to selections displayed by the on-screen menu. User commands are latched and accessed by the microcontroller; and changes to display parameters made by the user are written to an EEPROM memory that in the preferred embodiment can store a set of adjustments for each of up to 32 possible operational frequency modes.
The display adjustment circuitry includes a digital-to-analog converter (DAC) that converts display parameters provided by the microcontroller in digital form to an analog signal that is multiplexed via a set of analog switches to a plurality of sample-and-hold circuits. Upon start-up, these circuits are loaded with and maintain current display parameters, until changed by the user.
The on-screen menu generation circuitry includes a set of column and row counters that keep track of the next menu location to be displayed. Because higher horizontal frequencies indicate higher resolutions, the characters of the menu are adjusted to maintain a relatively constant character size. The microcontroller determines how many vertical lines are being displayed, and then a character size control block determines whether to double the number of times a pixel line of a given character is repeated, essentially elongating the character. When a line repeats, the row counter does not increment despite the fact that another horizontal synch signal was received. The current column and row values address a display memory, loaded by the microcontroller, that contains the menu information. As each menu character is read out of the display memory at the appropriate column and row, its visual representation is provided by a character PROM and then sent to a shift register where each pixel is clocked out to a video drive.
The video clock governs the operation of the column and row counters, and that of the shift register, and thereby the flow of menu information to the display. The novel video clock of the present invention stops operation for a given scan line when the end of the column counters are reached for each menu line. The video clock resumes its operation when the next horizontal synch signal occurs. In this way, the menu remains intact and readable regardless of what horizontal frequency the display currently uses.
The present invention allows users to easily and precisely adjust the parameters of a multi-frequency video display without adjusting electromechanical inputs. Once parameters are chosen and stored for a given frequency, they can be retrieved and employed by the microcontroller on starting up the video display. Furthermore, a number of different parameter sets can be stored, such that chancing video display frequencies automatically restores the appropriate parameter set without further user input. Since all parameters are stored digitally, display parameters can be easily reset to factory standards if desired. Moreover, each parameter set will not degrade with time or environmental changes.
The present invention also provides an easy method for adjusting display parameters in the factory, during assembly and testing. By providing a PC connection port (in addition to the front panel user input), each display can be connected to an automated testing station. A testing station might include a video camera, display cards for displaying test patterns on screen, and a computer controller. The testing station can cycle through a series of tests for different display frequencies, adjusting all internal controls electronically through the PC connection port. Each group of adjustments would then be stored as a factory-standard parameter set.
The methods and apparatus of the present invention provide novel techniques for adjusting and storing sets of parameters for multi-frequency displays. The methods of storing parameters in EEPROM memory, and retrieving parameters using a microcontroller, allows display parameters to be adjusted for each horizontal synch frequency. Using simple user input buttons, and a programmable on-screen menu, the present invention avoids making adjustments using fallible, imprecise electromechanical devices. The apparatus and methods of the present invention provide for synchronizing the menu display regardless of the horizontal synchronization frequency. In addition, the present invention provides for adjustable menu character sizes across frequencies. The methods and apparatus of the present invention provide easily implemented, compact, inexpensive devices for adjusting the display characteristics of multi-frequency video displays, both during assembly in the factory and during operation by the user. These and other features and advantages of the present invention are apparent from the description below with reference to the following drawings.
FIG. 1 shows a block diagram of a video display adjustment and on-screen menu system in accordance with the present invention.
FIGS. 2A-2H (with FIG. 21 showing the interconnection) show a circuit diagram of a video display adjustment and on-screen menu system in accordance with the present invention.
FIGS. 3A-3B a circuit diagram of an analog switch and associated sample and hold circuits.
FIGS. 4A-4E show a circuit diagram of several analog switches and associated sample and hold circuits.
FIG. 5 shows a flow chart of the operation of the present invention.
In accordance with the present invention, FIG. 1 shows a schematic diagram of the video display adjustment and on-screen menu system 10 in accordance with the present invention. The system 10 comprises three principle functional blocks: an input, memory storage and controller block 12, a video display adjustment block 14 and a character display block 16. Within the input, memory storage and controller block 12, either a front panel 18 or a PC connector 20 can be used to input adjustment selections to the system 10. These inputs are temporarily buffered in an input latch 22. A microcontroller 24 accepts these inputs from the input latch 22, and stores changes to the video display parameters in an EEPROM memory storage area 25.
Within the video display adjustment block 14, certain display parameters provided by the microcontroller are buffered by an output latch 26. The majority of the display parameters are sequentially sent to a DAC 28 that converts the parameters to analog signals. These analog signals are demultiplexed by a series of analog switches 30 enabled after every vertical sync pulse. The signals of each switch 30 are stored by a complementary series of sample-and-hold circuits 32. These circuits hold the parameters for display operation until new parameters are provided.
The third block, the character display block 16, generates and sends on-screen menu information to the video display synchronized to the display's horizontal frequency. The column counters 34 increment for each pixel being sent divided by the number of pixels per character. In the preferred embodiment, each character is 8 pixels across, so the column counters 34 divide the video clock signal by eight. When the column counters 34 reach their end, the current line of the menu has been reached. A character size control block 36 then decides whether to repeat the current pixel Ene (essentially elongating a character). Because higher horizontal frequencies indicate an increased vertical resolution of the display screen, repeating individual character lines increases their vertical size. Characters in the preferred embodiment are created on an 8 by 8 grid, and then each pixel line is doubled, to create an 8 by 16 displayed character. At higher frequencies, each pixel line of a character is doubled once more to create an 8 by 32 displayed character. Once a set of repetitions of a character's pixel line are completed, the character size control block allows the row counters 38 to increment to the next pixel line of the characters in the menu.
A display memory 40 holds the current array of character codes that make up the displayed menu. Every eight video clock ticks, the column counter 34 increments to indicate the next character code in the current menu line. Every 16 (or if doubled, 32) horizontal sync pulses (scan lines), the row counters 38 increment the display memory 40 to the next full line of character codes in the current menu. The current character code (in ASCII) pointed to in the display memory 40 by the column and row counters 34 and 38 refers to character display information stored in a character PROM memory 42. Every horizontal sync pulse, the row counters 34 indicate which pixel line of the current character display information is read out of the character PROM 42. These pixel lines are repeated 2 or 4 times depending on the horizontal frequency, as described. The pixel line for each character in the current embodiment is 8 pixels wide and is stored in a shift register 46, where it is clocked out to a video drive 48. The video drive 48 blanks the current space on the video screen and replaces the video display with the current pixel line of character display information. A video clock 44 provides the appropriate video clock information to the column counters 34, the row counters 38 and the shift register 46 for synchronizing the output of each pixel of menu information.
FIGS. 2, 3 and 4 present circuit schematics of the present invention that describe its construction and operation in greater detail. FIG. 2 reveals most of the video display adjustment and on-screen menu system 10. The front panel 18 in the preferred embodiment comprises a series of switches having outputs labeled Reset, Up, Down and Select. Reset resets all user adjustments to factory preset conditions, Select selects adjustments from the on-screen menu, Up increments an adjustment, and Down decrements an adjustment. These switch-provided inputs can be complemented by a series of direct inputs from a PC connector 20, allowing direct input to the menu system from an automated factory adjustment system. The inputs are buffered by an input latch 22, comprising a 74LS373 octal transparent latch with 3-state outputs. The microcontroller 24 reads information from the input latch through its ports P0.1 through P0.7 whenever LAT1 is enabled. The horizontal sync (HS) and vertical sync (VS) signals are also sent through the input latch 22 to the microcontroller 24, which determines whether they are present and their polarities. If HS and VS are not present then either SOG or a composite sync signal is used. The HS signal is sent to the INTO port of microcontroller 24 since its pulse width can be too small to be detected by the microcontroller 24 otherwise. The monitor can receive sync information in three ways: (a) separate horizontal and vertical sync signals; (b) a composite sync signal (where the horizontal and vertical sync are added together into one sync signal); and (c) a Sync On Green (SOG) signal, where the composite sync signal is added to the GREEN signal. The microcontroller 24 determines which of the three types of sync signal is being sent, then generates the SOG and CMPS signal to let the corresponding circuits know what is being sent.
The microcontroller 24 preferably employs a 80C51 CMOS 8-bit CPU and a 16 MHz oscillator. In addition to controlling the on-screen menu system and the CRT display parameters, the microcontroller 24 creates the pin-cushion correction waveform for the display. A 16 MHz oscillator was chosen to provide the necessary bandwidth to synthesize the waveform. The signals used throughout the invention as inputs and outputs of the microcontroller 24 have the following meanings: INTO is an external interrupt activated by a high-to-low transition of the vertical sync signal, that lets the microcontroller 24 know when to start generating the pin-cushion signal. Therefore, the preferred embodiment uses a negative vertical sync signal. The DUO input is also used to determine if the monitor is running synchronization on green and the horizontal sync HS. This alterative procedure occurs when the input latch 22 is enabled and the HS signal passes through to INTO. An inverter 49 is used to invert the VS signal and provide an open collector output to share with the input latch's HS output. The inverted signals HS' and VSI are always positive going horizontal and vertical synchronization pulses. INT1 provides an output signal WEEP* that is the chip enable command for the EEPROM memory 25 when reading and writing to the EEPROM 25.
The T0 input receives the HS' signal, allowing the microcontroller 24 to count the number of scan lines. The number of lines is used by the pin generation algorithm, and also to look up appropriate display parameters for a new horizontal frequency and then output these new parameters to the display. T1 provides the CRID output signal that is logical 1 when the on-screen menu is enabled. Port P1.0-7 is an eight-bit data port that outputs the display parameter signals (including the pin-cushion waveform) to the DAC 28.
The RXD pin outputs a CLRL signal that clears the row counters 38. This method is used for ease of programming and speed. There are only two dead periods during the display tracing where the pin-cushion waveform is not generated: during vertical retrace and in the center of the display. Two separate displays are shown during the on-menu operations of the present invention: a main menu, and a smaller Value Indicator Graph (VIG) that graphically represents the increments and decrements made by a user to a given display parameter (such as brightness). There is enough time in the center of the trace to allow the VIG to be erased and re-written to the screen while keeping the display steady. When the main menu is being displayed, however, there is not enough time even during the center portion of the trace. Therefore, the present invention rewrites the main menu in two complete trace cycles. First the menu is cleared from the SRAM display memory area 40 in one cycle, and then is written in the next cycle, when the row counters 38 are also cleared.
The TXD pin outputs the WRAM* signal which is the SRAM write enable signal, for writing to the display memory 40. The ALE pin outputs the Address Latch Enable (ALE) signal which is the general read/write enable signal generated by the microcontroller 24 for reading and writing all external RAM and ROM memories (such as EEPROM 25 and display memory 40). The WR* signal is the write enable command generated by the microcontroller 24 for writing to external RAM and ROM memories, while the RD* signal is the read enable command for reading these external memories.
LATO is used to control the output latch 26, LAT1 is used to control the input latch 22. ASO*, AS1* and AS2* enable analog switches 0, 1 and 2 respectively (analog switches 30A, B and C). The rest of port P2 (P2.0 through P2.2) along with port P0 (P0.0 through P0.7) provides an 11-bit data and address bus DB0-10 for accessing external RAM and ROM through the invention. DB0-5 connect to the output latch 26 comprising a 74LS174 hex D Flip-Flop integrated circuit. Output latch 26 stores several of the display parameters that are changed whenever a new video mode is present. The stored parameters of the output latch are changed by enabling LATO upon recognizing the new video mode, latching the outputs of P0.0-5 (via DB0-5) to the outputs of the output latch. The CMPS signal is 1 if no VS signal is present, indicating a composite video signal. The SLO signal controls the size of the characters displayed. If SLO equals 0, each character has an 8 by 16 cell. If SLO equals 1, the cell is 8 by 32. The SLO signal is sent to the character size control block 36 discussed further below.
Signals SC0-2 comprise a 3-bit signal indicating the horizontal frequency. If the signals SC0-2 equal 7, the frequency is 30 khz, if the signals SC0-2 equal 0, the frequency is 75 khz. All other values proportionately divide up the frequency spectrum between these two extremes. The SC0-2 values can then be used to switch in S capacitors for different frequencies to keep acceptable horizontal linearity of the display. The use of S capacitors for this purpose is well known to those skilled in the art.
The EEPROM chip 25 used in the preferred embodiment is an XL2816AP-250 that is rated for a minimum of 10,000 writes per byte of memory. The EEPROM 25 stores all the video display adjustment settings. - The chip select read enable (RD*) and write enable (WR*) are controlled by the microcontroller 24 as discussed above. The EEPROM chip 25 outputs DO-7 are sent to the P0 port of the microcontroller 24. The address lines for the EEPROM chip 25 come from the column and row counter outputs COL 0 through COL 4 and ROW 0 through ROW 5. To minimize the number of separate components, the present invention uses the column and row counters 34 and 38 also as address latches for addressing the EEPROM 25. The particular chips chosen for the column and row counters 34, 38 (discussed below) are presettable, allowing them to function as these latches. First, DB0-10 loads the EEPROM read/write address into the column and row counters 34 and 38, enabled by the ALE signal. Then, the counters' outputs address the appropriate byte of EEPROM memory while DB0-7 reads or writes that byte's data.
The digital-to-analog (DAC) block 28 receives its 8-bit digital signal from port P1 of microcontroller 24, and converts the signal to analog form to provide to the analog switches 30 and their respective sample-and-hold circuits 32. The DAC 28 provides a <1% linearity with a linear change in digital input. While the schematic of FIG. 2 illustrates the DAC 28 comprising discrete components, an appropriate integrated DAC can be substituted. An 74LS05 hex inverter IC provides an open collector hex inverter since the P1 outputs of the microcontroller 24 are not truly open collector and can cause non-linearities. The specifications of the particular components are as shown in FIG. 2. The output VADJ of the DAC 28 connects with three analog switches 30.
Referring now to FIGS. 3 and 4, each analog switch 30 comprise a CD4051B single 8 channel analog multiplexer. The single DAC output VADJ drives the three separate analog switches 30 to provide 24 separate adjustments. Each respective analog switch 30A, B and C is switched to on via signals AS0-2. Data bus lines DB8-10 then select 1 of 8 output lines of the analog switch to enable. At the beginning of each vertical sweep, all 24 adjustments are updated by sequentially turning on each analog switch and then, in turn, that switch's separate output lines S0-7, T0-7 and U0-7.
24 individual sample-and-hold circuits 32 are provided. Each circuit receives one line from a given analog switch 30. For example, switch 32g receives signal S6 from analog switch 30a. The signal S6 is turned on when ASO* is high, and DB8-10 reads "110".
Switch 32g the Focus adjustment for the display. All the switch outputs, connection and truth tables are provided below in Table 1.
TABLE 1__________________________________________________________________________Switch Adjustment Input AS0* AS1* AS2* DB8 DB9 DB10__________________________________________________________________________32a HPOS S0 1 0 0 0 0 032b HSIZE S1 1 0 0 0 0 132c VSIZE S2 1 0 0 0 1 032d VPOS S3 1 0 0 0 1 132e OSV S4 1 0 0 1 0 032f HSIZE S5 1 0 0 1 0 132g FOCUS S6 1 0 0 1 1 032h G2 S7 1 0 0 1 1 132i n/a T0 0 1 0 0 0 032j PWR T1 0 1 0 0 0 132k NV T2 0 1 0 0 1 032l DYNFOC T3 0 1 0 0 1 132m HHLD T4 0 1 0 1 0 032n HCTR T5 0 1 0 1 0 132o VHLD T6 0 1 0 1 1 032p VLIN T7 0 1 0 1 1 132q RBIAS U0 0 0 1 0 0 032r RGAIN U1 0 0 1 0 0 132s GBIAS U2 0 0 1 0 1 032t GGAIN U3 0 0 1 0 1 132u BBIAS U4 0 0 1 1 0 032v BGAIN U5 0 0 1 1 0 132w CONTRAST U6 0 0 1 1 1 032x BRIGHT U7 0 0 1 1 1 1__________________________________________________________________________
Each sample-and-hold (S/H) circuit 32 comprises an LM358 low-power op amp. The capacitors chosen for the S/H circuits 32 are 0.033 μfarads. Each S/H circuit 32 is updated for 6 μsecs. every vertical sync pulse.
Referring back to FIG. 2, the character display block 16 provides the on-screen menus and value indicator graphs for changing the display parameters. The display of the menus is regulated by the column and row counters 34 and 38. Column counters 34 preferably comprise chained 74F161 synchronous presettable binary counters. The first three output lines AD0-2 clock the eight pixels of each character pixel line and latch data from the character PROM 42 to the Shift Register 46. The higher-level signal lines COL0-COL4 address the display memory 40, indicating which character on the current menu line is active. The final output, RCO, indicates that the 32 columns of the menu line have been completed, and temporarily stops the video oscillator clock 44, until the next horizontal sync signal HS activates the clock again. The CLK signal for the counters is generated by the video oscillator clock 44. As noted above, the column and row counters 34 and 38 double as address latches for reading and writing the EEPROM 25. During these operations, the ALE signal is substituted for the CLK signal.
The row counters 38 are also formed from chained 74LS161 synchronous presettable binary counters. The first 2 outputs of the row counters LNE1-2 are sent to the character PROM's second and third input bits, since each character has eight lines and each line is at least doubled (and sometimes quadrupled). LNE0 (which attaches to the character PROM's first input, comes directly from the character size control block 36, discussed further below. The remaining output signals ROW0-5 address the display memory block 40, determining which row of character to display. Again, since the counters double as address latches for reading and writing the EEPROM 25, the data is latched using ALE instead of the CLK signal.
The character size control block 36 sits functionally between the column counters 34 and the row counters 38. During menu display, as the columns for a given row (of character pixel line information) are exhausted, the character size control block determines whether to advance the row counters to the next row. In lower horizontal frequencies, each line of a character is doubled: i.e., the column counters cycle through two complete cycles of the same character line before advancing the row counters. At higher frequencies, when characters would appear squashed, the character size control block 36 retards the row counter advance for four complete column cycles. The character size control block 36 counts horizontal rows by using the HC* signal from the column counter block 34, which is the same as the horizontal sync signal HS.
The character size control block 36 preferably comprises a 74LS393 dual 4 stage binary counter and a 74LS151 8 input multiplexer, as indicated in FIG. 2. The SL0 signal is sent by the output latch 26 and determines how many repetitions a row should have. If SLO=0, the horizontal frequency signal HS is divided by 2, to obtain the baseline 8 by 16 character cell. If SLO=1, the HS signal is divided by 4, to obtain an elongated 8 by 32 character cell. When no display is required, the ALE signal is substituted as the row clock so that address lines can be latched into the row counters 38 (when they function as address latches). The LCL signal line is the clock line for the row counters. Again, the CLRL signal from the microcontroller 24 clears the counters during the Vertical Retrace, while the CRID* signal is the CRT display enable signal. The following Table 2 provides the relation between these signals.
The addresses generated by the column and row counters 34 and 38 are sent to the display memory block 40, comprising 2 1K by 4 static RAM 2114Al-2 chips. ROW0-4 are the row address lines, allowing 32 possible menu rows to be stored, and COL--4 are the column address lines, allowing 32 characters per row. DB0-7 are the data input lines from the microcontroller 24 that can store characters for each address location. Outputs DB0-5 connect to the character PROIF 42 to indicate which character to display, while outputs DB6-7 connect to the video drive 48 to cause appropriate video blanking and color for the menu. As discussed above, the WRAM* signal is the write enable for the display meniory SRAMS, and the microcontroller VrR* signal connects to each chip's CS* pin. The VFEEP* signal is 0 if writing to the EEPROM 25, such that no writing is done to the display memory 40.
In the preferred embodiment, although the system is capable of displaying 32 rows, a maximum of 16 rows can be displayed before the VS signal clears the counter. To assure that the display is always in the horizontal active area, only columns 8 through 24 are used. Also, due to speed limitations of the microcontroller 24, only 5 rows are used.
The character PROM memory block 42 comprises a 74S472 512-by-8 byte TIL PROM. Signals LN0-2 comprise the 3-bit character line address (providing 8 lines per character) that comes from the row counters 38. Signals DB0-5 comprise the 6 bit character address (allowing 64 possible characters) from the display memory block 40. Data lines 01-8 provide the character pixel line information (having 8 pixels per character line) latched from the character PROM memory block 42 to the shift register block 46 for output to the video display. DB0-5 determine which character to display, while LN0-2 determine which line of that character to output. The character PROM 42 outputs the 8 pixels of the current pixel line of the current character.
The video clock 44 provides the coordinating timing mechanism for the character display section 16. The clock 44 is a variable oscillator that is synchronized to the incoming horizontal frequency. The clock's frequency is controlled by varying an OSV voltage (determined by microcontroller 24 and stored by S/H circuit 32e) such that character size is kept fairly constant, regardless of horizontal frequency. The oscillator is kept synchronous to the horizontal frequency to maintain the menu information stationary on the video display.
The video clock frequency is varied by controlling the Constant current source to the oscillator by varying OSV. The clock is synchronized to the horizontal frequency by gating the horizontal sync signal HS with the oscillator, starting the oscillator when each horizontal line occurs. The clock is turned off when the columns for the display complete their cycle for one line. The OSV signal is an analog 10-15 V signal stored by S/H circuit 32e. RCO from counter U10 goes high when the counters reach FF (their end) and lulls the video clock by using a 74LS393 as a latch. The horizontal sync signal HS' restarts the clock by clearing this 74LS393 latch. The output CLK drives the counters 34 and 38, while the inverse output CLK* drives shift register 46. Table 3 presents a truth table relating these signals.
TABLE 3______________________________________CRTD* HS' RCO CLK*______________________________________1 X X ALE0 1 X 00 0 0 Video Clock0 0 1 0______________________________________
The video clock 44 uses a 74F132 quad 2 input NAND Schmitt trigger, a 74LS02 Quad 2 input NOR gate, and other discrete components as indicated. The clock output is between 10 and 20 Mhz dependent on incoming horizontal frequency. The clock's frequency preferably defaults to be proportional to the horizontal frequency. However, the user can also adjust the oscillator frequency for each mode by making selections on the menu, thereby controlling the horizontal size of the characters.
The shift register 46 is a 74F166 8 bit shift parallel-to-serial register. Data lines 01-8 from the character PROM 42 provide the video information to the shift register (the current pixel line for the current character). The CLK* signal from the video clock 44 shifts the data to the output one bit at a time. AD0-2 are from the column counters 34 that latches a new set of pixel information every 8 video clock ticks, loading the next character's pixel line. Z is the video signal output sent to the video drive 48.
The video drive block 48 drives transistor amplifiers on the video display's driver circuitry. The video information normally sent to the video display is blanked for an entire character whenever character information is written to the display during menu operation. AU other times, the normal video information is sent to the video display. The video drive block 48 employs three 74LS08 Quad 2 input AND gates. The Z line is the video signal from the shift register, signal DB6 allows the Z signal to also drive the blue video signal, and signal DB7 is from the display memory block and blanks the PC's video for 1 character cell. The CRTD* signal is used to avoid false triggers: the system only blanks a character cell when this signal is active. RGD is the video signal drive for the red and green video signals. BD is the blue video signal, and BLANK blanks the RGB video signal sent from the computer that normally drives the display.
The sequential operation of the present invention is described in flow chart 50 of FIG. 5. Upon video display start-up, the initial conditions for the display are read 52 by the microcontroller 24 from the EEPROM memory 25 and sent via the DAC 28 and digital switches 30 to the individual sample-and-hold circuits 32. During every vertical retrace, the microcontroller 24 counts the number of horizontal lines traced and determines 54 if the number of lines differ from the previous count. If not, the microcontroller asks 56 whether the user has started to make any adjustments. If that is also not true, the microcontroller determines 58 if the reset button on the front panel 18 has been pressed. If the answer is also false, the microcontroller begins generating the top of the pincushion waveform 60. If any menu is being displayed, its contents are written 62 at the middle of the display trace to the display memory block 40. Then the microcontroller 24 generates the bottom of the pincushion waveform 64.
When the vertical sync interrupt occurs 66, the microcontroller 24 updates all S/H circuits 32, clears the menu display and counters 34, 38 and 40, and counts the number of horizontal lines again. If the line count is different, a different horizontal frequency is being used. The microcontroller 24 then determines 68 the horizontal frequency, the vertical frequency and the polarities of the signals. Having determined which new frequency mode is being used, the menu system then reads the appropriate display parameters 70 from the EEPROM memory 25. These display parameters are then converted and sent 72 to the S/H circuits 32, and the microcontroller 24 begins the normal operation of generating the pincushion waveform in steps 60 through 66. If a user has begun changing any adjustments, as determined in step 56, the microcontroller 24 changes the appropriate adjustment value, both in the EEPROM memory 25, and at the next vertical retrace 66, the appropriate S/H circuit 32. If the user presses the Reset button at step 58, the microcontroller 24 reads 74 the appropriate EEPROM memory for the factory-default standards for the current frequency mode. Meanwhile, the nominal operation of generating the pincushion waveform, displaying the menu display, and updating the S/H circuits 32 at the vertical sync signal occur as before in steps 60 through 66.
While the present invention has been described with reference to preferred embodiments, those skilled in the art wig recognize that various modifications may be provided. For example, any of the various electrical components can be replaced by other discrete or integrated circuitry having an equivalent function. Various menu configurations of columns and rows can be chosen depending on display requirements. Not all the discussed display parameters need to be included in the set addressed by the on-screen menu system, and others not described may be added. The exact order and timing of various circuit operations can be modified to correspond to different displays and requirements. These and other variations upon and modifications to the described embodiments are provided for by the present invention, the scope of which is limited only by the following claims.
Patent Citations
Referenced by
Legal Events
Original Image


text:
You have no items in your shopping cart.
Bormioli Rocco Giara Glass Bottles - Multiple Colors Available666260MB-1AOur Price: $5.99
Bormioli Rocco Ypsilon Glass Carafe .5 Liter - Multiple Colors Available125080M-1AFrom: $10.49
Change Color In Cart:
Lowest Price Guaranteed!
If you find a lower advertised price anytime within the next week, not only will we match it, but we'll beat that price by $5.00*!
*Terms and conditions apply.

subset: commoncrawl


text:
Advice: on characters
Ann Aguirre on Jun 09 2010 | Filed under: CRAFT
When Therese told me we're having an "advice" month here on Writer Unboxed, I was pleased. Not because my advice is so stellar, but because themes make it easier for me to choose a post topic. Our lovely co-founder expressed curiosity as to how I can get to know my characters so quickly, enough to write their emotional states in conjunction with my How to Draft a Book in 6 Weeks master plan. But before I go into that, I'd like to relate an anecdote first. (It's pertinent, I promise.) Let me set the scene for you.
In 2007, I signed with a new agent and made my first sale to New York. Though I'd been writing for years, I was still relatively new to the publishing end of things. My friend (and now writing partner) Carrie Lofty and I psyched each other up to attend RWA nationals; it was our first professional conference. Since then, I've sold 18 books (3 of those in collaboration with Carrie), two short stories and a novella. It's been quite a ride.
Dallas, Texas. July 2007
I turn up on Dallas, knowing I'm going to meet my agent for the first time. I'm meeting Carrie for the first time as well; prior, we've been online friends. Nerves overwhelm me at the crowds. Everyone seems to know each other; I feel like a poser. What the heck am I doing here? Before my dinner with my agent, I go up to my room and sit on the bathroom floor with my head between my knees. I am terrified. I'm convinced I'm going to make a bad impression on everyone, and why, oh why, did I ever let myself get talked into this? I don't know how I write a book. I spent a summer working on Grimspace (the one that sold) and I am none too convinced I can repeat the process. It was probably a fluke–me writing something that sells. Is there a writing equivalent of the one-hit-wonder? Here I am!
Somehow I pull myself together. I have a nice dinner with my agent. Nothing disastrous happens. I begin to enjoy that conference. And then… I attend a Q&A with Nora Roberts. I am too starstruck to ask a question, but I am sitting there, vibrating with excitement nonetheless. Someone asks about her process.
This is where the light comes on.
She says, in essence, that she starts with an idea, and the first draft is the "discovery" draft, where she learns her characters. Much fixing comes later; the point is learning who they are.
Well, that's what I do. I didn't know it was a called a "discovery" draft. I have learned so much in the three years since that first terrifying conference. I've now perfected what works for me, so I can repeat it.
Which brings me back to Therese's original question. How do you get to know your characters in six weeks? Well, I open myself up to them. I listen as I write, and if I can't get them to tell me what they'd do in any given situation, I make it up. I guess. It's not a perfect solution, and you know, sometimes later, after I've gotten to know them, something I wrote just doesn't work because the hero wouldn't do that or say such a thing. The answer is simple: revision. I used to think revision meant I got it wrong and I stink. Now I know better.
My "discovery" drafts are not awesome, but I polish them. I make the words shine in the second and third passes. My books are character-driven, so it's paramount I get it right. To that end, building a house works as an analogy for how I write. First, I lay the foundation, then the frame goes up. (Dialogue, light narrative, basic blocking.) Once I have a sound structure (first draft), I go back through and add the wiring. (More narrative, blocking becomes sophisticated.) I add insulation and drywall (refine plot points and double-check for consistency / cause and effect.) Finally, I paint and decorate (more description, the lyrical and poetic bits people like.) I suppose I don't know my characters in and out at the end of six weeks, but by the time I am done with all the revision, I do. I can add that emotional veracity from spending all that time in their heads. Finally, the best piece of advice I can give you? Commit to your characters. Feel what they feel. You can't write about their suffering with the proper intensity if their situation doesn't make you want to weep, too. If you're not moved by them, who will be?
Photo courtesy Flickr's stevendepolo
About Ann Aguirre
Ann Aguirre is a bestselling, multi-published author with a degree in English Literature. She is a prolific writer, with nine releases planned for 2011 alone. She writes romantic science fiction and urban fantasy under her own name. As Ava Gray, she writes high-octane romances. She also writes "hot paranormal apocalyptic action" with fellow author Carrie Lofty under the pseudonymn Ellen Connor. Follow her on Twitter.
22 Responses to "Advice: on characters"
I am starting to write my first novel, and your house analogy may be one of the most helpful bits of explanation of the writing process I've read to date (and I've read a LOT). Reading your advice on characters gives me courage to try writing a "discovery" draft, just to get the characters out there and to keep my perfectionist self from getting bogged down in fine-tuning each section as I go (and possibly never finishing). Thank you for this post.
Great advice! Thank you.
Just out of curiosity, do you feel you become your characters or do your characters come alive? In other words, do you think your character's thoughts or do you converse with your character?
.-= Jessica Baverstock – Creativity's Workshop´s last blog ..Thanks to the Audience =-.
Yes! Characters are so important. It's important to take the time to develop them from their birth on so you'll know exactly how they will react at any one time.
Thanks for a great post!
.-= Lou Belcher´s last blog ..LIfe… Punch it up a bit before you write about it =-.
What a great article! The first draft is always the most difficult for me, I always feel like I need to nail it in the first shot. I love your analogy though! I definitely think layers are added with each revision.
Tweeted this! Thanks for sharing!
.-= Sylvia Leontaritis´s last blog ..SCBWI Conference Highlights (Part 1) =-.
Thanks for the advice. Sometimes when I write, I feel like I have to get everything in the first draft: character, plot, narrative, dialog, etc. It's helpful to see your process and to know that it's okay to just start with a foundation and work my way to a complete project in small steps.
I agree that we have to get to know our characters: "feel what they feel." On a rare occasion I get to know my characters so well that it seems like they are writing and not me. When this happens, I am genuinely surprised by their thoughts and actions.
.-= Laura Rachel Fox´s last blog ..Surprising and Distressing Things =-.
This is a wonderful post. I used to feel the same way about revision as you did — that it meant I couldn't figure things out correctly the first time.
Plus I will admit, it's more FUN to draft (it's like driving in a fast convertible with the top down in the summer) while revising is harder (creeping along on the ice in the winter and trying not to skid off the road).
I have a new respect nowadays for the revision process. It's exciting to see all the elements I envisioned in the draft coming together in a polished version.
.-= Donna Cummings´s last blog ..Cricket in the Bathtub =-.
I much prefer the term "discovery draft" to the ubiquitous "sh#tty first draft" that a lot of us talk about it. I love Anne Lamott but there is something inherently negative about her term. It implies that the first draft is bad. The first draft is no where close to publishing ready, but it is an important (and wonderful!) part of the process. So thanks for introducing me to my new favorite term – Discovery Draft.
.-= Rebecca @ Diary of a Virgin Novelist´s last blog ..When the mind overflows… =-.
Like the analogy to building a house, but love the idea of a "discovery" draft. Still, Anne, are you saying you do four drafts in six weeks, or does your discovery draft take that amount of time?
.-= PatriciaW´s last blog ..Featured Book: Samson by Jacquelin Thomas =-.
I especially like your advice about listening to your characters. The hardest part, though, is when they're not talking!
.-= Laurence MacNaughton, Author´s last blog ..Free science fiction novel contest – one week left! =-.
I picked up the term "Draft Zero" from Cherie Priest and have been using it, but discovery draft has a good ring about it. I remember panicking once, after I had two books finished under my belt and had started querying agents, because I thought published authors were expected to just hand over their first drafts to agents for opinions. No one sees my books until I've done at least three drafts. Glad to hear that stays the same once you've sold 18 books (OMG Ann, 18? Wow! And I remember when Your alibi came out! Congrats!)
I got star-struck just *reading* about you listening to Nora Roberts!!
Lots of great stuff in this post, thank you. :)
.-= Kristan´s last blog ..Scenes from a childhood =-.


text:
Leo Vince LV One or FMF Q4?
View Single Post
Joined: Jan 2006
Location: Santa Maria, CA
Oddometer: 1,281
I was having issues getting someone to sell me a pipe. They all quoted some new law that could take their license if I put the pipe on a street bike in CA. Finally, I called Leo Vince and talked to a real nice lady there, that said she'd sell me a pipe, and they happened to be having a clearance sale, and they also had a set of test mule pipes with dyno time on them, but no street miles. For $180. I told her I'd call back in 2 days, which I did. Well, she didn't work there any more. But someone else went to look for the pipes, but couldn't find them. So he sold me a set of new ones for $180. I almost came. Perfect fit. Fairly easy install. No leaks. They are straight (I've heard of people having stuff sitting a little crooked after the install). And it's real fuckin' loud. There was only 1 decibel killier in the set of mufflers, so I removed it in the interest of being the same on both sides. Yeah, that's it.
Leo Vince people told me that the dealers were overreacting to the new law, that it affected only 2013 bikes and any built after that.
Very cool people to work with and talk to.
View Public Profile
Find More Posts by corndog67


text:
You are here:
Brand Equity
Amitabh Bachchan
Star India
Leo Burnett
Popular Articles About Kbc
SRK brandwagon may park at KBC
November 28, 2006
Sonali Krishna , TNN
MUMBAI: The KBC deal will not only add to Shah Rukh Khan's brand power, it may also work wonders for Star India's TRPs If the original series of KBC in 2000 changed the face of Star India, and KBC 2 took the show to another level, KBC 3 as a business proposition may not only generate cash flows for Star, but also maintain status value and draw audiences who may have migrated to other channels. At least, that is the expectation of Mr Nair and his ad sales team. To place KBC in the 9-10 pm prime...
Kbc Articles By Date
Belgium's KBC reports Q1 net profit above forecasts
May 12, 2015
BRUSSELS: Belgian financial group KBC on Tuesday reported better-than-expected net profit in the first quarter, caused by a strong improvement in the company's insurance business and its international markets unit swinging to a profit. Net profit, adjusted for one-off items, rose by 51 percent in the first quarter from the same period last year to 510 million Euros ($570.49 million), well above the 384 million Euros expected in a Reuters poll of six analysts. The group said...
KBC will start in August: Amitabh Bachchan
June 24, 2014
MUMBAI: Megastar Amitabh Bachchan has revealed that the eighth season of 'Kaun Bangea Crorepati' will start in August. The 71-year-old actor took to Facebook to share the news with his fans. "Yeh hai KBC ka naya aakaar .. the new face of KBC starting in August .. now been on since 2000, with a break in between and one season done by Shah Rukh Khan ," Bachchan wrote. Bachchan has already shot for the promos for the eighth season of the show. "The promos for the next...
It's KBC-SRK with 10 new sponsors
January 11, 2007
Harsimran Singh , TNN
NEW DELHI: The new KBC-SRK (yes, that's what it will be called) may not only make you win a Rs 2-crore cheque, you could also be roped in to endorse big brands. The new KBC-SRK has roped in 10 sponsors for about Rs 130 crore. While Bharat Matrimony will sponsor 50:50 Lifeline, Phone-A-Friend will be sponsored by Bharti Airtel. The prize cheque will be by Union Bank from earlier Kotak and Eureka Forbes will sponsor Har Seat Hot Seat selection. From the viewer's perspective, what's...
KBC chit fund founder's properties sealed: Devendra Fadnavis
March 24, 2015
MUMBAI: Maharashtra Chief Minister Devendra Fadnavis today said that the properties of KBC chit fund founder have been sealed and a deputy collector has been appointed to auction it. "The money recovered from the auction of properties valued about Rs 220 crore will be distributed to the investors," Fadnavis said in the state Assembly in response to a debate on the issue through a Calling Attention notice by Chhagan Bhujbal (NCP) and others. Thousands of small investors,...
Union KBC Mutual Fund to launch scheme with in-built profit booking
February 16, 2015
MUMBAI: Union KBC Mutual Fund today said it will be shortly launching a close-ended equity scheme with a feature of in-built profit booking. The idea behind Union KBC Trigger Fund-Series 2 is to enable investors to realise their profits at a pre-defined level and enjoy benefits of appreciation of their investments , the company said in a statement here. The new fund offer (NFO) of the scheme will open on February 18 and close on March 4. The NFO price...
Bachchan anchors KBC to TRP victory
December 11, 2010
Bharati Dubey , TNN
MUMBAI: Amitabh Bachchan has again shown that he is the big boss of the small screen as well. The final episode of the Big B-hosted Kaun Banega Crorepati on Thursday beat the show's launch episode, notching up an aMap rating of 5.5. KBC opened at 5 in October and on its final day, on Thursday, touched 5.5, against Salman Khan-hosted Bigg Boss' 2.7. The combination of Jai and Viru, of course, trumped everybody. Kaun Banega Crorepati continuously led the...
KBC 2 outplays 'Indian Idol' in TVRs
August 13, 2005
Gurbir Singh , TNN
MUMBAI: The second round of the Amitabh Bachchan-anchored 'Kaun Banega Crorepati?' has started well. Kicking off on August 5, KBC 2 grabbed an all-India TVR of 13.8 (on August 8), as compared to the TVR of 11.5 of the grand finale of the Indian Idol on May 3 on Sony Entertainment Television (SET). KBC 2 has also overtaken the two half-hour, top-performing STAR Plus shows ? 'Kyunki Saas Bhi Kabhi ....' and 'Kahani...' ? that are broadcast together between 10 PM and 11...
KBC to travel to US, UK next?
August 4, 2014
MUMBAI: Megastar Amitabh Bachchan has hinted that 'Kaun Banega Crorepati 8' may travel to foreign cities, after making its in Surat, Gujarat. The 71-year-old actor, who moved out of the Mumbai studio for the first time for the game show shooting, says there are talks going on to take the show to a global platform. "There is desire and plans to go to other cities as well .. within and without ... within of course to the regions where we have not played yet and without... "Well I...
Many changes in store for KBC 4
July 14, 2010
Subhash K Jha , MUMBAI MIRROR
Season four of Kaun Banega Crorepati is going to be much snappier that the earlier editions with several changes set to be incorporated into the format. Even the way the show's superstar-anchor Amitabh Bachchan conducts himself will be zara hat ke. Confirms a very reliable source from the KBC crew, "KBC has been tweaked quite a lot. It's going to be faster. The number of questions has been reduced to 12 from 15. And now there is a timer for the first 7 - 30 seconds to answer or the...
KBC moves up in RATe race
February 11, 2007
Sonali Krishna , TNN
MUMBAI: Star India's programming weapon Kaun Banega Crorepati ( KBC) in its second week has moved up in the ratings. While in its debut week, KBC's ratings slipped day on day, the second week has seen ratings stabilise between the 8 ? 10 television ratings (TVR) range. Most advertisers ET spoke to also seemed satisfied with the show's performance, and said that one would have to wait and watch to see if the show performs from now. Star would be safe if the show now...
KBC to travel to US, UK next?
August 4, 2014
MUMBAI: Megastar Amitabh Bachchan has hinted that 'Kaun Banega Crorepati 8' may travel to foreign cities, after making its in Surat, Gujarat. The 71-year-old actor, who moved out of the Mumbai studio for the first time for the game show shooting, says there are talks going on to take the show to a global platform. "There is desire and plans to go to other cities as well .. within and without ... within of course to the regions where we have not played yet and without... "Well I overheard some...
'KBC 8' to focus on stories of bonding
July 21, 2014
MUMBAI: The eighth season of popular TV game show 'Kaun Banega Crorepati 8', which will see megastar Amitabh Bachchan returning to the host's chair, promises to touch people's hearts with stories of community bonding. The show, which emphasised on the 'common man' theme last year, will revolve around the hopes of people with diverse regional, cultural and religious backgrounds. "Kaun Banega Crorepati over the years has established itself as an institution on television. The show and our...
KBC will start in August: Amitabh Bachchan
June 24, 2014
MUMBAI: Megastar Amitabh Bachchan has revealed that the eighth season of 'Kaun Bangea Crorepati' will start in August. The 71-year-old actor took to Facebook to share the news with his fans. "Yeh hai KBC ka naya aakaar .. the new face of KBC starting in August .. now been on since 2000, with a break in between and one season done by Shah Rukh Khan ," Bachchan wrote. Bachchan has already shot for the promos for the eighth season of the show. "The promos for the next...
Sony Entertainment to widen appeal to curb slipping numbers
May 30, 2014
Nandini Raghavendra , ET Bureau
Sony Entertainment Television, (SET), is changing its content strategy completely. Viewed more as an urban, metro centric Hindi General Entertainment Channel (GEC), it aims to widen its appeal and be more pan India in a bid to stem the slipping numbers. "India is changing rapidly. From a four metro country we are more like 70 metros today. Our plan is to bring content which reaches out to this diverse audience, whose influencers are also changing and reflect their...
Investors must learn to book profits in equities: G Pradeep Kumar, Union KBC MF
April 7, 2014
Sanjay Kumar Singh , ET Bureau
When the equity markets go up, investors must book profits. Only when they see real money come into their hands will they have greater confidence in equity mutual funds, says G Pradeep Kumar , CEO, Union KBC Mutual Fund, in an interview with ET: The mutual fund industry has seen a net inflow of Rs 1.6 lakh crore between April 2013 and January 2014. Is this financial year turning out to be better for the industry than the...
Regional versions show whole nation likes KBC
March 8, 2013
Nandini Raghavendra , ET Bureau
MUMBAI: The success of ' KaunBanegaCrorepati ', largely attributed to AmitabhBachchan's hosting skills, has spawned a number of regional versions of the game show in the last couple of years. They are doing pretty well too, with season two of Tamil, Kannada and Malayalam versions of the popular game show going on air this month. When Marathi version, 'Kon Hoeel Marathi Crorepati', goes on air on ETV Marathi this summer, India will become the only country where versions of 'Who...
Cognizant to acquire Belgian KBC's BPO arm ValueSource
October 3, 2013
NEW DELHI: IT services provider Cognizant today said it will acquire ValueSource NV , a subsidiary of Belgium-based integrated bank insurance group KBC, as part of a five-year contract with the group. This is the second acquisition announcement by the US-headquartered IT firm in as many days as it had acquired Equinox Consulting of France yesterday. The Nasdaq-listed firm said that the ValueSource acquisition is part of the...
More Popular Articles about Kbc:
Union KBC launches new series of capital protection fund
January 14, 2014
MUMBAI: Union KBC Mutual Fund today launched a new scheme 'Union KBC Capital Protection Oriented Fund- Series 5', which is a 36-month close-ended capital protection- oriented scheme. The new fund offer is open for subscription from January 15 to January 29, a company release said. As per the fund house, through investing a majority of the corpus in highly rated debt and money market instruments, the scheme aims to protect the capital at the time of maturity. "The...
Firoz Fatma becomes first woman 'crorepati' of KBC-7
November 28, 2013
MUMBAI:The seventh season of the hit TV quiz show 'Kaun Banega Crorepati' got its first female crorepati in the young Firoz Fatma from Uttar Pradesh. Hailing from Saharanpur in UP, the 22-year-old became the first woman to have won Rs one crore in this season of the game show hosted by megastar Amitabh Bachchan . A BSc graduate, Firoz never wanted her sister to stop studies due to financial problems. So she sacrificed her further education to let her continue. ...
More Kbc Articles by Date:
© 2015 Bennett, Coleman & Co. Ltd. All rights reserved
Index by Keyword
Index by Date
Privacy Policy
Terms of Use
Advertise with us


text:
Mon-Fri: 7am-1am EST / Sat-Sun: 7am-11pm EST
ApplianceKitchenAid Refrigerator
Level of DifficultyEasy
Time to do repair15 - 30 mins
Age of Appliance5 - 10 years
Screw drivers
I ordered both icemaker motor assembly and the emitter and receiver (sensors)as I was uncertain as to which was the culprit. We couldn't unplug the frige as it is heavy, so we shut the circuit breaker until we were done with the repair. The icemaker motor was a bit clumsy to remove. My refrigerator was entirely different than the one on the video I viewed, as I have a side by side and the video was of an entirely different model. The video's icemaker was not as clumsy to work with. My husband was a little apprehensive so I rode shot gun and assisted and he did great. He did change the motor first and probably should have waited to see if it worked. He didn't wait, and went ahead and changed the sensors....that was a breeze. We waited about 2 hours and lo and behold once the freezer went down to 14 degrees, the icemaker began it's magic and we had a full supply of ice within 24 hours. So, I saved quite a bit of cash by purchasing the parts I needed at Parts Select and eliminated the repairman's expensive fee. Very happy with end results.
Help other customers find the most helpful instructions.
Were these instructions helpful?
Part Number: PS2341896
Part Number: PS10064583
All brand logos are trademarks of their respective owners.
The PartSelect logo is a Registered Trademark of Atlantic Laundry Centres, Ltd.
Copyright © 1999-2015 , Eldis Group Partnership. All rights reserved.


text:
When you stay at Saratoga Rose Inn & Restaurant in Hadley, you'll be on a river and within the vicinity of Bennett's Riding Stable. This bed & breakfast is within the region of West Mountain Ski Resort and Lake George Plaza Outlet Stores. Make yourself at home in one of the air-conditioned rooms featuring fireplaces. Cable television is provided for your entertainment. Conveniences include desks and irons/ironing boards, and you can also request rollaway/extra beds. Be sure to enjoy recreational amenities including a spa tub and a sauna. Additional amenities include concierge services, wedding services, and a fireplace in the lobby. Enjoy a satisfying meal at a restaurant serving guests of Saratoga Rose Inn & Restaurant. A complimentary continental breakfast is included. Featured amenities include express check-in, express check-out, and air conditioning in public areas. Free parking is available onsite.Ostrovokv2
Get Rates
Get Flight + Hotel


text:
RBSP Spacecraft Installed
August 26, 2012
Near NASA's Kennedy Space Center in Florida, technicians inside the Astrotech payload processing facility complete checkouts following the encapsulation of the two Radiation Belt Storm Probes spacecraft in the payload faring. The fairing will house and protect the spacecraft during liftoff and flight through the atmosphere aboard an Atlas V rocket. Image credit: NASA/Kim Shiflett Aug. 7, 2012
Topics: Technology Internet, Disaster Accident, Radiation Belt Storm Probes, Space, Spaceflight, Environment, Astrotech Corporation, Transport, National Aeronautics and Space Administration


text:
Cristophe Rochus: Doping rampant, mentions Nadal and Soderling
View Single Post
Hall Of Fame
Join Date: May 2009
Location: Baker Street, London Town
Posts: 3,008
Originally Posted by
Well I mean look at Rafa, he's paying for playing that way... How many slams has he missed already in his career. How many has Fed missed?
I just don't see how you can say Rafa uses PED's while Fed who has never retired from a match, or missed any slams in his career doesn't...
I'm a Federer fan, but I agree entirely with this point. Ralph is suspected due to his physique but mostly due to his playing style. It's unlikely he would want to bulk up, for that won't help him. However, endurance is the matter concerned. At this stage, everyone comes into the discussion.
I'm not trying to say Federer is guilty, but that the endurance aspect of his game works against him in such discussions.
Originally Posted by
I hope when murray is found to be using he has his gold medal and us open taken away.
The only top players i would be amazed if they were using would be delpotro and berdych. The fact that federer is never out of breath is suspicious but i dont think he would.
Who would stand to lose more if they were caught? And by caught I'm
*implying that the facts were made public for the sake of this conversation.
Who? Federer. Now, with all those sponsoring him, and the millions he's worth, do you not think research was done by those companies involved? How much damage could be done to them if Federer was found to be guilty?
BUT, *, I don't believe that if some of the bigger names were caught that the findings would be made public.
Andy Murray: Sherlock Holmes is my idol!
View Public Profile
Find More Posts by Speranza


text:
Five articles have now been published in Dictionaries: Journal of the Dictionary Society of North America, volume 35 (2014), which expand on the presentations given at that session:
Leetaru's Internet Archive Book Images photostream can be browsed at:
To search for a particular keyword, enter it at the end of this URL:
For example:
Of course keywords are ambiguous. "Queen Victoria" is not just the name of the British monarch but also the name of several botanical plants. It would take crowd-sourcing or artificial intelligence to distinguish them systematically. Other pictures "about" the monarch show not the queen herself but people and things associated with her, or ornamental images. Similarly for other topics. As with Google Images, a search will cast a wide net.
According to Robert Miller's post to Internet Archive Blogs, eventually some 14 million book illustrations will become accessible with this search engine. In "Welcome the Internet Archive to the Commons," Kay Kremerskothen remarks:
Perhaps what is most remarkable about this collection is that these images come not from some newly-unearthed archive being seen for the first time, but rather from the books that we have been digitizing for years that have been resting in our digital libraries. Through the power of big data we are suddenly able to view the world's books not as merely piles of text, but as individualized galleries of one of the richest and most diverse museums of imagery in the world.
For a different but comparable project see "Doing things with a million British Library book illustrations."]]>
Library catalogues
History and culture
Economics, science, social science
Law and politics
Visual arts
Centrum 1:1 (Spring 1973)
JONATHAN CULLER / Structural Semantics and Poetics
GERALD PRINCE / On Presuppositions and Narrative Strategy
JULIE CARSON / Linguistics, Stylistics, and Thumper Rabbit
WILLIAM B. STONE / Towards a Definition of Literary Realism
R. J. REDDICK / Grammar and Rhetoric
MONROE C. BEARDSLEY / In Search of Literary Theory, ed. Morton W. Bloomfield
DONALD ROSS / Query
Centrum 1:2 (Fall 1973)
DANIEL L. GREENBLATT / Generative Metrics and the Authorship of "The Expostulation"
ROBERT D. DENHAM / Anti-Anaesthetics; or, The Turn of the Freudian Crews
SUSAN WITTIG / Formulaic Style and the Problem of Redundancy
KATHERINE HAMMER / Searle's Conditions and the Determination of Illocutionary Force
ROBERT BROWN / Some Aspects of Text Grammars, by Teun A.van Dijk
MARCIA EATON / Contestable Concepts of Literary Theory, by Arthur X. Moore
F.R.P. AKEHURST / A Concordance of the Fables and Tales of Jean de la Fontaine, ed. J. Allen Tyler
Centrum 2:1 (Spring 1974)
ROLAND A. CHAMPAGNE / The Resurrection of Thoth
ELIZABETH W. BRUSS / Models and Metaphors for Narrative Analysis
EUGENE R. KINTGEN / Effective Stylistics
ROBERT L. BROWN / Intentions, Context, and Poetry
EDITORIAL / Sermons in Stones
DELL HYMES / Style: An Anti-Textbook, by Richard A. Lanham
ALAN F. NAGEL / Comparative Literature and Literary Theory, by Ulrich Weisstein
Centrum 2:2 (Fall 1974)
JAMES NOHRNBERG / On Literature and the Bible
HAROLD F. MOSHER, JR. / New Methods and Theory of Fiction from France
MARCIA EATON / Speech Acts: A Bibliography
DANIEL L. GREENBLATT / Structuralism and Literary Studies
BRUCE AUNE / Meaning, by Stephen R. Schiffer
PETER HUGHES / I. A. Richards: Essays in His Honor, ed. Reuben Brower, Helen Vendler, and John Hollander
GORDON D. HIRSCH / Charlotte Brontë, by Margot Peters
Centrum 3:1 (Spring 1975)
F. E. SPARSHOTT / On the Possibility of a General Theory of Literature
MONROE C. BEARDSLEY / What Is a Literary Theory?
MARJORIE PERLOFF / "Literary Competence" and the Formalist Model
RALPH COHEN / Litery Theory as a Genre
ANDREW J. McKENNA / History of the Ear: Ideology and Poetic Deconstruction
GERALD GRAFF / Literary Meaning and Augustan Values, by Irvin Ehrenpreis
DEREK PEARSALL / The Interpretation of Old English Poems, by Stanley B. Greenfield
BRUCE BASHFORD / Influence in Art and Literature, by Göran Hermeren
ROBERT J. DI PIETRO / Language and Interpretation in Psychoanalysis, by Marshall Edelson
Centrum 3:2 (Fall 1975)
FORUM/ Speech Acts and Literature
* STANLEY FISH / Speech-Act Theory, Literary Criticism, and Coriolanus
* MARTIN STEINMANN, JR. / Perlocutionary Acts and the Interpretation of Literature
* BARBARA HERRNSTEIN SMITH / Actions, Fictions, and the Ethics of Interpretation
* E. D. HIRSCH / What's the Use of Speech-Act Theory?
KENNETH BURKE / Words as Deeds
BRUCE FRASER / Warning and Threatening
ELIZABETH BRUSS / Manufactured Signs: Semiotics and the Automobile
Centrum 4:1 (Spring 1976)
EARL MINER / Assaying the Golden World of English Renaissance Poetics
WILLIAM KEACH / Verbal Borrowing in Elizabethan Poetry: Plagiarism or Parody?
PETER HUGHES / Originality and Allusion in the Writings of Edmund Burke
NORMAN FRUMAN / Originality, Plagiarism, Forgery and Romanticism
KENT BALES / Generic Expectations and the (In-)Competent Reader
ELIZABETH BRUSS / The Nature of Maps: Essays toward Understanding Maps and Mapping, by Arthur H. Robinson and Barbara Bartz Petchenik
Centrum 4:2 (Fall 1976)
MARJORIE PERLOFF / Symbolism/Anti-Symbolism
BRENDA DANET / Speaking of Watergate: Language and Moral Accountability
BRUCE C. JOHNSON / Communicative Competence in American Trial Courtrooms
ROBIN LAKOFF / Why You Can't Say What You Mean
DONALD ROSS / Style and Structure in Literature: Essays in the New Stylistics, ed. Roger Fowler
STEPHEN C. BEHRENDT / Emblem and Expression: Meaning in Engl1sh Art of the Eighteenth Century, by Ronald Paulson
Centrum 5:1 (Spring 1977)
MARILYN M. COOPER / Implicatures in Fictional Conversations from Days of Our Lives and Mary Hartman, Mary Hartman
ELLEN SCHAUBER & ELLEN SPOLSKY / The Consolation of Alison: The Speech Acts of the Wife of Bath
JUDITH GENOVA / Fiction and Lies
JESSICA R. WIRTH / On the Necessity of Discourse Grammars
PHILIP FURIA / Bloomburied Stevens
Centrum 5:2 (Autumn 1977)
ROBERT B. MEYERS & KAREN HOPKINS / A Speech-Act Theory Bibliography
GEORGE L. DILLON / There is No Dictionary in the Head
MICHAEL B. KAC / Arguments for a Nontransformational Grammar, by R. A. Hudson
Centrum 6:1 (Spring 1978)
JANET HOLMGREN MCKAY / Some Problems in the Analysis of Point of View in Reported Discourse
PAUL HERNADI / Why We Can't Help Genre-alizing and How Not To Go About It: Two Theses with Commentary
JONATHAN ARAC / The Criticism of Harold Bloom: Judgment and History
WLAD GODZICH / Harold Bloom as Rhetorician
FREDERIC V. BOGEL / Deconstructive Criticism: The Logic of Derrida's Differance
PATRICK MOORE / Interfaces of the Word: Studies in the Evolution of Consciousness and Culture, by Walter J. Ong
Centrum 6:2 (Fall 1978)
MARTHA WOODMANSEE / Speech-Act Theory and the Perpetuation of the Dogma of Literary Autonomy
CHARLES ALTIERI / What Grice Offers Literary Theory: A Proposal for "Expressive Implicature"
T. R. MARTLAND / What Does It Mean to Say Literature Represents "Nothing"?
DISCUSSION: Literature as Performative
RICHARD KUHNS / "Performatives" in Linguistic Art
DAVID HALLIBURTON / Doing Someting and Getting Somewhere
MARTIN STEINMANN, JR. / Professor Martland on What It Means to Say Literature Represents "Nothing"
T. R. MARTLAND / Response
PARK HONAN / The Genesis of Secrecy: On the Interpretation of Narrative, by Frank Kermode
Centrum n.s. 1:1 (Spring 1981)
MARY LOUISE PRATT / The Ideology of Speech-Act Theory
STEPHEN PRICKETT / "Types and Symbols of Eternity": The Poet as Prophet
WILLIAM BEAUCHAMP / Riffaterre's Semiotics of Poetry with an Illustration in the Poetry of Emily Dickinson
MARVIN K. L. CHING / Your Choice: A Delightful Sorrow or a Mourning Pleasure
WILLIAM L. BENZON / Computational Linguistics and Discourse Analysis
STEVEN MAILLOUX / The Act of Reading: A Theory of Aesthetic Response, by Wolfgang Iser
PETER J. MANNING / Subjective Criticism, by David Bleich
Centrum n.s. 1:2 (Fall 1981)
SYMPOSIUM / The Place of Letter-Writing in Literary History
* WILLIAM A. MADDEN / Introduction
* NORMAN FRUMAN / Some Principles of Epistolary lnterpretation
* FRANCES FERGUSON / Interpreting the Self through Letters
* S. P. ROSENBAUM / Bloomsbury Letters
J. LAWRENCE MITCHELL / The Language of the Thirties: Some Literary Evidence
SYLVIA MANNING / Dickens's Illustrators
LINDA PETERSON / History and Hermeneutics
MARCIA MUELDER EATON / Expression and Meaning: Studies in the Theory of Speech Acts, by John R. Searle
STEPHEN PRICKETT / Peacock Displayed, by Marilyn Butler
Centrum n.s. 2:1 (Spring 1982)
BRUCE FRASER / On the Status of Speech-Act Strategies
JOHN R. MAIER / The "Truth" of a Most Ancient Work: Interpreting a Poem Addressed to a Holy Place
MICHAEL KLEINE AND JOANNE LIEBMAN / The Philosophy of Composition, by E.D. Hirsch, Jr.
JOHN HAGGE / Constructing Texts: Elements of a Theory of Composition and Style, by George L. Dillon
GEORGE T. WRIGHT / English Versification, 1570-1980: A Reference Guide with a Global Appendix, by T. V. F. Brogan
PAUL ALKON / Of Speech and Time: Temporal Patterns in Interpersonal Contexts, ed. Aron W. Siegman and Stanley Feldstein
JOHN REICHERT / Act and Quality: A Theory of Literary Meaning and Humanistic nderstanding, by Charles Altieri
A more philosophical account:
A more positive view:
P.S. A retrospect:
Noel Jackson named the New Humanities interrogatively in his blog posting "A new humanities?" (Feb. 1, 2014). The opening sentence of this posting was actually assertive, not interrogative, and indeed it capitalized the phrase: "MIT has begun to promote something it calls the 'New Humanities,' and to advertise the 'Initiatives' associated with this field." Then Jackson went on to speak, more casually but several times, of "the 'new humanities.'"
Trouble is, there is no clear sign in the web page that he cited that it is the "humanities" that are now denominated "new," and not just the "initiatives" that would promote them. Maybe "the new humanities"--or even "the New Humanities"--is a phrase to conjure with at MIT; but the cited web page seems to identify new initiatives.
If that's so, Jackson has created a field, or renamed one, by reading a web page with Empsonian ingenuity. A search on Twitter s.v. "new humanities" (at least tonight) will find a half dozen people ready to consider if not embrace the new label.
I'm one of them; I do like the New Humanities. I also like to know where ideas come from.
Postscript (2/4/14): Jackson has since pointed to another URL, http://shass.mit.edu/research/spotlight/gallery-new-humanities-at-mit, where it's more obviously the humanities that are new, not just the initiatives. Which means that the Empsonian in this scene of reading is me--which I guess is OK. In any case, as I said, I like the phrase, partly because it responds to calls to "drop the digital." It may be too soon for that, or it may be time.
Post-postscript (3/2/14): That link http://shass.mit.edu/research/spotlight/gallery-new-humanities-at-mit, which Jackson cited in his first response to his original posting, no longer works--as he points out in his second response there today. Apparently someone changed the URL, and also changed the name to "21st-century humanities at MIT." So, "New Humanities" had a shelf life of 28 days. What's in a name? Partly the power of the (re)namer--in this case, whoever maintains the news page at http://shass.mit.edu/. It used to be said, with some point, that "Littera scripta manet." Now, not so much.]]>
For the announcement see Ben O'Steen, "A Million First Steps." "We plan to launch a crowdsourcing application at the beginning of next year, to help describe what the images portray." O'Steen had previously described technical aspects of the project in "Peeking behind the curtain of the Mechanical Curator."
The images are now available to the public at Flickr, where users have already prepared topical image collections.
Every hour an image is selected at random from the collection and displayed by The Mechanical Curator--for which there is a corresponding Twitter feed, @MechCuratorBot. Each Friday 100 of these are collected and published at Random Selections made by the Mechanical Curator. A special set, selected by the British Library Digital Research Team, is titled "Highlights from the Mechanical Curator."
To encourage the enrichment of the basic metadata associated with each image, the British Library has established a British Library Wiki for curating public domain digital content, which includes information about Crowd-sourcing projects currently under way. One of these is a Wikimedia Commons project, British Library/Mechanical Curator collection, which includes advice about how to perform basic searches of the collection.
Right now you can do keyword searching within title pages of archived book illustrations. Copy, adapt (replacing keyword in the string below with the word that you want to search for), and paste the following string in the search window of your browser:
For example, copy and paste this URL into your search window:
A full list of the books that are involved in this project can be seen or downloaded as a zip file via the Wikimedia Commons page British Library/Mechanical Curator collection/Full list of books 1.
The project has attracted popular attention; for example:
On Feb. 9, 2014, the Cardiff University Centre for Editorial and Intertextual Research announced that, with the support of the Arts and Humanities Research Council (UK), it would "devise methods that will enable the collection of illustrations to become fully searchable online." At about the same time the Department of History at the University of Sheffield invited applications "for a Collaborative PhD Studentship on the topic of 'A History of the Printed Image 1750-1850: Applying Data Science Techniques to Printed Book Illustration' ... This innovative project seeks to complement art and cultural history approaches by applying data science techniques to the history of printed images and by evaluating the utility of such methods of enquiry. The research will focus on the circa one million digitised images held in the British Library Microsoft Books collection (containing circa 65,000 volumes) which offers unrivaled opportunities to explore the use and re-use of very large numbers of images."
For an undergraduate seminar at the University of Minnesota, "The Image on the Page" (spring semester 2014), I've based a student exercise on this British Library resource.
The list is by no means complete. It favors courses offered in the United States that have a broadly literary emphasis, and it reports academic course syllabi only; informal curricula are also sponsored by many of the centers associated with centerNet ("an international network of digital humanities centers").
For a broader and deeper archive of Digital Humanities syllabi and related documents see DH Syllabi, maintained by Lisa Spiro, which includes many of the syllabi listed here.
Another well-received launch was the Open Access edition of Debates in the Digital Humanties, ed. Matthew K. Gold (University of Minnesota Press), one year after its appearance in print. New chapters will be added online later this year.
During the final session of the conference, Sunday afternoon, I attended a session on "Literature and Digital Pedagogies" while Doug Armato, director of the University Minnesota Press, presented a paper in a different session about the interface between online blog publication and book publication, "Considering Serial Scholarship and the Future of Scholarly Publishing."
The session that I organized for the MLA Discussion Group on Lexicography, "Digital Dictionaries," was reported or commented on via Twitter by more than a dozen people, some of whom were not even in the room (one was in the UK). Ben Zimmer, one of the speakers, later organized the program listing and the 79 tweets in a legible format at http://storify.com/visualthesaurus/digital-dictionaries-panel-mla-2013. Yesterday another member of the audience, Colleen Ross, posted a more detailed reflection on the presentations at her blog, "Word of Mouth." Vox audita perit, littera scripta manet.
The Ojibwe People's Dictionary
Department of American Indian Studies in collaboration with the University of Minnesota Libraries and the Minnesota Historical Society
A searchable, talking Ojibwe-English dictionary that features the voices of Ojibwe speakers, illustrated with materials in the Ojibwe collections of the Minnesota Historical Society.
URL: http://ojibwe.lib.umn.edu. Published in 2012.
Ancient Lives: Crowdsourcing papyrology
Department of Classical and Near Eastern Studies and Department of Physics and Astronomy in collaboration with the Ancient Lives Project, University of Oxford
Crowdsourcing techniques used to decipher half a million ancient fragments of Greek-inscribed papyrus recovered more than a century ago from Oxyrhynchus, Egypt. Supervised by professors Nita Krevans and Philip H. Sellew (Classical and Near Eastern Studies) and Lucy Fortson (Physics and Astronomy), in cooperation with Ancient Lives, a project administered by the University of Oxford. For details see Kirsten Weir, "You, too, can translate ancient documents".
URL: http://ancientlives.org/.
University of Minnesota Press
▪ Electronic Meditations: a book series that explores the humanistic and social implications of new technologies.
URL: http://www.upress.umn.edu/book-division/series/electronic-mediations. Established in 1999.
▪ Debates in the Digital Humanities, ed. Matthew K. Gold. Leading figures in the digital humanities explore the field's rapid revolution.
URL: http://www.upress.umn.edu/book-division/books/debates-in-the-digital-humanities; see also http://www.ias.umn.edu/media/DigitalHumanities.php. Published in 2012.
Charles Babbage Institute: Center for the History of Information Technology
College of Science and Engineering and University of Minnesota Libraries
An archival and research center dedicated to preserving the history of information technology and promoting and conducting research in the field.
URL: http://www.cbi.umn.edu. Established as the International Charles Babbage Society in 1978; relocated to the University of Minnesota in 1980.
GroupLens Research
College of Science and Engineering
A research lab in the Department of Computer Science and Engineering, conducting research in recommender systems, online communities, mobile and ubiquitous technologies, digital libraries, and local geographic information systems.
URL: http://www.grouplens.org. Established as NetPerceptions in 1996.
Minnesota Population Center
An interdisciplinary cooperative for demographic research, serving more than 80 faculty members and research scientists at eight colleges and institutes. A leading developer and disseminator of demographic data, MPC also serves a broader audience of some 50,000 demographic researchers worldwide.
URL: http://www.pop.umn.edu. Established in 2000.
A five year intercollegiate project funded by the Office of the Vice-President for Research to support the spatial sciences and creative activities working with geospatial data.
URL: http://uspatial.umn.edu. Established in 2011.
Immigration History Research Center
College of Liberal Arts
Founded in 1965, the IHRC promotes research on international migration with a special emphasis on immigrant and refugee life in the U.S.
▪ Sheeko: Somali Youth Stories. Video interviews by and about Somali youth.
URL: http://blog.lib.umn.edu/ihrc/sheeko. Established in 2011.
▪ Minnesota 2.0. A digital archive documenting how 1.5- and 2nd-generation Mexican, Somali, and Hmong youth use social networking sites to express their emerging sense of identity and social connections.
URL: https://sites.google.com/a/umn.edu/mn20. Established in 2010.
▪ Digitizing Immigrant Letters. Letters from the IHRC collections that were written between 1850 and 1970 both by immigrants and to immigrants in languages other than English.
URL: http://ihrc.umn.edu/research/dil/index.html. Established in 2010.
Visualizing Ancient Greek Rhetoric
Interactive Visualization Lab
Stereoscopic, full-scale visual representations of sites of ancient oratory.
URL: http://ivlab.cs.umn.edu/project_virtclassics.php.
Digital Content Library
College of Liberal Arts and College of Design
More than 200,000 learning objects from many different disciplines in image, video, and audio formats.
URL: http://dcl.umn.edu.
Minnesota Digital Library
A collaborative project to archive digitized records of photographs, maps, journals, documents, letters, and works of art, which draws on libraries, archives, historical societies and museums across Minnesota.
URL: http://www.mndigital.org/about. Established in 2001.
Digital Conservancy
University of Minnesota Libraries
Open access to scholarly and administrative works produced by or about the University of Minnesota.
URL: https://conservancy.umn.edu.
Digital Arts and Humanities Working Group
University of Minnesota Libraries
URL: http://blog.lib.umn.edu/dah. Established in 2012.
The University of Minnesota Libraries is a charter member of HathiTrust, the large academic repository of digitized books and journals.
URL: http://www.hathitrust.org/about. Established in 2008.
Dan Cohen is associate professor of history and director of the Center for History and New Media at George Mason University. He studies European and American intellectual history, the history of science (particularly mathematics), and the intersection of history and computing. Co-author of Digital History: A Guide to Gathering, Preserving, and Presenting the Past on the Web (University of Pennsylvania Press, 2005), he is author of Equations from God: Pure Mathematics and Victorian Faith (Johns Hopkins University Press, 2007). He has also published articles and book chapters on the history of mathematics and religion and the teaching of history.
An inaugural recipient of the American Council of Learned Societies' Digital Innovation Fellowship, Professor Cohen played a leading role in developing Zotero, the powerful bibliographic software program. His research into uses of the Victorian digital archive was reported by Patricia Cohen in "Analyzing Literature by Words and Numbers," New York Times, Dec. 3, 2010. Recently the Chronicle of Higher Education named him one of "12 Tech Innovators Who are Transforming Campuses." Professor Cohen co-edits Journal of the Digital Humanities, which last month published its first issue.]]>


text:
100 participate in day-long programme
The district administration has plans to orient all panchayat presidents to the benefits of various schemes that disabled people are entitled to through the National Institute for Visually Handicapped (NIVH).
On Monday, the NIVH sensitised 100 members of panchayat raj institutions to disability issues in association with the District Differently Abled Welfare Office, Tiruchi. District Collector Jayashree Muralidharan inaugurated the programme by instructing R. Shyamala, District Differently Abled Welfare Officer, to extend the training to all 404 village panchayat heads.
During the day-long programme, there were sessions on implications and rehabilitation relating to hearing impairment by S. Prabakar Immanuel, Director, Holy Cross Service Society; visual impairment by Tanuja, Consultant Ophthalmologist; mental retardation by Thyagarajan, Director, Sudar, Thanjavur; and multiple disabilities by Geetha, Director, Pravaag.
Course Coordinator G. Tagore, Spastics Society of Tiruchi, handled the final session on 'legislations related to disabilities'.
According to I.Arivanandham, Regional Director In-Charge, NIVH, Chennai, the awareness on welfare schemes meant to mainstream disabled people in the society was not as much in rural areas as in semi-urban and urban places. For instance, more awareness is required on the entitlement of disabled people to the extent of three per cent in all poverty alleviation programmes, including MNREGA (Mahatma Gandhi National Rural Employment Guarantee Act).
For the welfare of disabled in urban places, a lot of work was under progress. The NIVH, for instance, was offering training in computer, medical transcription and radio broadcasting. But those in rural places need to be integrated into the entitlements accruing from government schemes.
India being a partner of all international treaties for welfare of disabled people, formulated the Persons with Disability Act 1995, following the 1992 conference of UN Economic and Social Commission for Asia and the Pacific.
The Disability Act was now poised for a revamp based on UN Convention on the Rights of Persons with Disabilities adopted in 2006, Mr.Arivanandham said. Under the State government's scheme of assistance for the disabled, Rs. 6.86 crore has been provided during 2012-13 for 5,550 mentally retarded people, 416 persons with severe physical disability, and 112 persons affected by muscular dystrophy, Ms.Shyamala said, adding that the Department for the welfare of differently disabled had recently sanctioned Rs.12.6 lakh for providing monthly assistance of Rs.1,000 each to 300 leprosy-affected persons with affliction above 40 per cent for four months: December 2012 to March 2013.
Keywords: Disabled, National Institute for Visually Handicapped, Tiruchi district panchayat, Disability Act