text:
- Topics
- Recommended Seating
- Seats to Avoid
- Frequently Asked Questions
- Seats Behind Player Benches
- Seats and Row Numbers
- Need Help? Ask a Question!
Recommended Seating
|Impressing a Guest
|Sections 117 and 115
|Seeing the Action
|Sections 116 and 106
Seats to Avoid
|Sections 101 and 111
Frequently Asked Questions
FAQWhich side of the court is the Louisville bench on?
Frequently Asked Question
The home bench is located in front of Section 117. Meanwhile, the visiting team bench is near Section 115.
FAQHow many rows are in each section at KFC Yum! Center?
Frequently Asked Question
Most sections have a different number of rows. If you have tickets, find your seats to see the seating chart for that section with rows. If you don't have tickets yet, select your desired event to see tickets directly on the seat map.
FAQWhich direction do the seat numbers run at KFC Yum! Center?
Frequently Asked Question
When sitting in your seat facing the court, low number seats (e.g.: Seat 1) are on the right.


text:
Jocelyn Wildenstein
You may not know her by her real name, but the "Cat Lady" might sound familiar. The socialite has allegedly spent $4,000,000 on plastic surgery — including eye work, several cheek implants, liposuction, brow lifts and more — to look more like a cat. After her last eye lift, she allegedly lost her peripheral vision. We hope it was worth it!
(Photo: Katy Winn/Getty Images)
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subset: commoncrawl


text:
NEW DELHI: The Italian government on Tuesday clarified to the Supreme Court of India that it has paid no blood money to the victims.
It said the money given to kin of victims was humanitarian aid to help them rebuild their lives after the death of the two fishermen.
It added the kin were free to pursue both civil and criminal remedies in the shooting incident.
The apex court on Monday had termed Italy's compromise with the kin of two Indian fishermen shot dead by its naval guards, as "illegal" and "astonishing" and had said that they were "playing" with the Indian process of law and felt Kerala should have filed an objection.
The bench said the mouths of the families of the two victims - Jalastine and Binki - have been "locked" by the Italian government by paying each an amount of Rs 1 crore, defeating the Indian legal system.
The apex court had also sought the Italian government's stand on the question of releasing the impounded ship with certain conditions after the owner of the vessel claimed that their detention had cost the company Rs 200 crore.
Subramanium had, however, told the court that Kerala was not a party to the compromise and had reserved the right to challenge it before higher forum.
Stay updated on the go with Times of India News App. Click here to download it for your device.
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In Friday's decision in Cambridge University Press v. Patton, the U.S. Court of Appeals for the Eleventh Circuit followed decades of jurisprudence in casting aside bright line rules for determining whether faculty made fair use of copyrighted material. This is regrettable, as the celebrated 2012 district court opinion in the same case had opened up the possibility of teaching faculty how to properly make fair use of material using plain terms and easy-to-understand concepts, while the appeals court opinion returns us to the days of case-by-case holistic analysis and detailed exceptions, loopholes, and caveats.
The case revolves around a challenge by several companies that published non-textbook scholarly works to Georgia State University's electronic reserve systems, wherein faculty and librarians would scan in excerpts of books for students to access digitally, a technological improvement over the traditional practice of leaving a copy or two on reserve at the library circulation desk. The publishers claimed mass copyright infringement while Georgia State cited the fair use provisions of Section 107 of the Copyright Law.
The district court exhaustively analyzed each work uploaded to electronic reserves, finding only five in violation out of the dozens submitted by the publishing companies, by taking a new twist to the law's four factors for analysis:
Traditional fair use analysis calls for a case-by-case analysis of each potential use, independently weighing the four factors holistically, which is difficult and often requires knowledge of unavailable facts (such as the effect on the market of the work, which is nearly impossible for those outside of the company to guess at). (For instance, the Supreme Court in Campbell v. Acuff-Rose Music, Inc. specifically discarded any use of "bright line rules" for determining fair use of copyrighted material.)
Judge Orinda Evans went a different route. She found that de minimis use (such as when a faculty member posts a work but no student ever accesses it) is not a violation, and that in most cases, using one chapter or 10 percent of a book that is under copyright protection would meet the fair use test. The judge decided to clearly assign winners in each of the four factors, and then give the overall win to the party with the majority of factors in their favor.
She wrote that factors one and two almost always went in favor of nonprofit higher educational use of academic works. While a determination of factor four may be difficult for a faculty member to determine, and would likely go in favor of the publishers, the judge ruled that 10 percent or one chapter of a work that is digitally available would meet the fair use test for factor three. Adding factors 1, 2, and 3 together let her find a majority and, thus, fair use, even without factor four.
Note that these findings were for those works that could be purchased digitally. In another section, the judge applied some behavioral economics to factor four by finding that for those works that a publisher did not make available digitally, a faculty member could use approximately 18 percent of the work and still win a fair use analysis. That larger limit of factor 3 could encourage publishers to make their works available at reasonable prices, so as to discourage fair use without remuneration.
This was a groundbreaking opinion that allowed intellectual property lawyers in higher education to clearly explain to administrators and faculty members which uses would and would not be fair. Rather than require our botany and geography professors to also become copyright scholars, we could provide them with reasonable tests to ensure they properly balanced the interests of students in accessing the content with the interest of publishers in compensation for developing the content. While this wasn't the first effort to develop fair use standards, it was the clearest, and the first time that such standards were set by a court.
The appeals court rejected this analysis and found that the "District Court did not err in performing a work-by-work analysis of individual instances of alleged infringement in order to determine the need for injunctive relief. However, the District Court did err by giving each of the four fair use factors equal weight, and by treating the four factors mechanistically."
The appeals court instead called for a return to the holistic analysis. Rejecting the 10 percent or one chapter bright-line rule, the appellate court wrote that "the District Court should have performed this analysis on a work-by-work basis, taking into account whether the amount taken -- qualitatively and quantitatively -- was reasonable in light of the pedagogical purpose of the use and the threat of market substitution."
The appeals court decision stands on solid precedential ground, and it is not the first court to call for a holistic and case-by-case analysis. While one can defend that decision by looking to the past, the decision is a poor one for those who look to the future. As content becomes more available in varying formats, and our faculty, staff and students are faced with myriad opportunities to pay for content, make fair use, or violate copyrights of authors and creators, the presence of clear standards and easily digestible rules provided higher education with a fighting chance to educate our academic community and encourage proper balancing and fair (but not inappropriate) use of content.
William Patry and Melville Nimmer, the two seminal thinkers in copyright law, each devote hundreds of pages to explaining copyright law. Their sets of volumes, which cost thousands of dollars, provide a comprehensive analysis of fair use and all of its details. But these books and detailed analysis are well outside the scope of what we expect of our faculty members who do not specialize in intellectual property, and our instructors simply do not have the time to conduct an exhaustive analysis of each use, even if they did take the time to learn all the permutations of the fair use analysis. This isn't to say that they can't, but to state the reality that they won't.
Frankly, the dueling decisions in these cases, and the numerous articles and statements by serious copyright scholars on both sides of this analysis, show that even those who steep themselves in the details of fair use can disagree on whether a certain use is fair or violative.
When intellectual property law experts cannot agree, we should not expect our history and math faculty to do justice to the fair use analysis each time.
Instead, faculty will divide into two camps. One group will "throw caution to the wind" and use whatever content they wish in whatever form they desire, hoping never to raise the ire of the publishing companies.
The other, out of an abundance of caution, will self-censor, and fail to make fair use of content for fear that they might step over a line they cannot possibly identify, and can never be certain of until a judge rules one way or the other. Either way, our students and the publishers lose out.
The district court opinion shed some light into the murky swamp of fair use analysis. The Eleventh Circuit opinion dims that light, and threatens to return us to a regime wherein faculty who are not experts in copyright law will either use without consideration of the law or self-censor, diminishing the utility of the concept of fair use.
The Constitution teaches that the purpose of copyright is to "promote the Progress of Science and useful Arts." The district court opinion found that small excerpts available to students "would further the spread of knowledge."
Arming faculty with clear rules and standards to properly balance fair use of content would go a long way toward achieving this goal.
Joseph Storch is an attorney in the State University of New York Office of General Counsel. The views expressed here are his own.
The dominion of open educational resources is apparently looming large, if one were to judge by a blog thread touched off with a panel discussion at a recent Knewton event. David Wiley, participating in the panel, made the bold claim that "in the near future, 80 percent of textbooks would be replaced by OER content." Jose Ferreira responded critically to that view a few days later with a blog post, to which Wiley offered a dissenting reply. Michael Feldstein then weighed in with a dissenting perspective of his own.
It's a spirited and fruitful discussion; well worth a read. Their comments, though, didn't tackle what I've come to see as the core issue for the OER movement, a foundational assumption that has crimped its progress. The assumption holds that because open-source educational content is like open-source software -- in that it's free content that you can chop up, remix, and share with anyone -- its application and uses should follow in a similar way.
The short history of the two movements makes clear that this is not the case. As David Wiley points out, the first openly licensed educational materials were published more than 15 years ago, around the time that Linux led the movement of open-source software (OSS) into the mainstream. So why did one open-source movement take off as the other tarried on the margins, championed only by the most stalwart advocates?
While Linux has long been part of standard practice, and our daily computing lives would be unthinkable without open-source software, more than 90 percent of faculty textbook adoptions in the U.S. are still locked-down, expensive commercial materials. Most don't doubt the unsustainability of the present course (including most publishers), but it's also plain to see that the OER movement had not yet offered a truly satisfying alternative. The failure of OER to become mainstream at this point is only underscored by the myriad forces working in its favor: economic pressures, greater administrative accountability, government oversight and budget cuts, and a truly broken publisher model.
A clear reason for the different trajectories is the commercial support that OSS has enjoyed, and that OER has not. Contrary to the common view that OSS has advanced largely through loosely organized communities of volunteers, it's actually often strongly supported through private enterprise. More than 80 percent of the contributions to Linux, for example, come today from companies like Google and Samsung. But the success of OSS isn't simply through commercial appropriation. Instead, companies were able to support OSS because they were building on an already-present foundation of voluntarism in the hacker community. While a volunteer community of course exists in OER, it does not have the depth and breadth of its OSS counterpart. The voluntarism of the hacker community does not, in other words, map well onto the community of academic instructors.This situation isn't an accident of history but reflects a fundamental difference in the roles and self-understanding of each group.
With OSS, the hacker is often an end user but more centrally the creator and modifier of code. And to the extent that hackers form a community, it is a community of problem-solvers addressing issues that concern their work directly. In his seminal book on hacker open-source culture, The Cathedral and the Bazaar, Eric Raymond suggests that "Every good work of software starts by scratching a developer's personal itch." Contrast this with the relationship faculty have to the educational content they use: for most, it's a tool for teaching a class, a means of supporting an activity that is largely extrinsic to the tasks of creating and modifying pedagogical content. Most instructors are not editors, let alone creators of their classroom content; they are simply end users.
If there's a personal itch to scratch at all, it's usually in the area of original scholarship and research, not teaching materials (let's recall that the Internet was born to share research, not lesson plans). For most instructors, the textbook is a convenient package, without which the task of managing a class would be that much more laborious. Commercial publishers have long recognized what the OER movement has not: that often-overworked and underpaid instructors are looking to content and course technology to make their lives easier, not to take on the additional responsibility of managing their own content without financial recognition for that labor. Unlike the open-source hacker, the thrill of belonging to a community of problem-solvers of content simply isn't their thing. To truncate an otherwise large topic, instructors are not hackers and that changes everything. Or it should have for the OER movement.
The recent gains of, and the growing prospects for, OER are, in fact, a tacit acknowledgement of this difference. No doubt the single biggest success to date for the movement is the OpenStax project, but this success breaks any illusion that the practice of OER is analogous to that of open software. Connexions, the OpenStax predecessor project at Rice, languished for years as an open-source content platform until Rice hired Joel Thierstein as associate provost to turn the project around. What did he do? Thierstein, who previously worked in the private sector developing content for the telecommunications industry, had a simple and very powerful idea: raise grant money to hire the same companies that ghostwrite textbooks for the traditional publishers, and then release the texts into the public domain under the most open license available.
As commercial textbook equivalents, their use required no behavioral changes for faculty. They would not be "learning objects" or fragments that required additional faculty work. Faculty could use them as teaching tools, just as they would conventional content, except, in this case, they're free. Like the commercial publishers, Thierstein rightly understood that faculty want an easy and straightforward way to adopt high quality and appropriate content. Thierstein's success enabled Rice to go forward with additional fund-raising and the Connexion's rebranding as OpenStax. A simple idea has had a significant impact.
And yet for all the success of OpenStax, it's also clear that a free version of a commercial text will never alone be sufficient for OER to reach the mainstream, nor should it be. Some learning technologies, either already in use or emerging, have the capacity to improve student success significantly. The OER movement's almost singular focus on cost can obscure the larger objective -- actually getting more students through to graduation while ensuring that they've learned (and enjoyed learning) something along the way.
The risk for the OER movement is that it unwittingly reinforces the kind of resource disparities we see everywhere else in our society: a situation in which the well-off enjoy content with the latest technologies and practices, and the not-so-well-off manage without them. To be sure, OpenStax partnerships with third-party technology partners are a recognition of this need, but these relations are still established within the traditional publisher/tech partner binary model, with the difference that the core content is low-cost or free. As important as that project is, it doesn't yet realize the promise of OER as disaggregated high-quality content created and modified from anywhere.
A better way forward is to compensate the stakeholders -- faculty, copyright holders, and technologists, principally -- for their contributions to the OER ecosystem. This can be done by charging students nominally for the OER courses they take or as a modest institutional materials fee. When there are no longer meaningful costs associated with the underlying content, it becomes possible to compensate faculty for the extra work while radically reducing costs to students. While I launched a new venture to do this, what's needed are lots of entities -- for-profit and nonprofit -- to experiment with funding models. It's all achievable and there will likely be no single way to accomplish it.
From this will emerge a new breed of courseware, one that preserves the low cost and flexibility of open content while embracing learning technologies that support faculty and student success. Certainly such a model involves costs, though not so much for the content as for the tools that improve its use and for the people on the ground who are actually doing the work of curating and adapting materials. Align the incentives in the right way, and this model of for openness can empower faculty members and institutions in unprecedented ways. It will encourage local innovation so that, over time, the courseware, now unlocked and financially supported, becomes an expression of the teaching itself.
Openness, then, lends itself to a new order of distributed content development that includes outstanding learning technologies; I think all the bloggers mentioned above recognize this. But precisely because instructors are not hackers and belong to an entirely different community of practice, a system for distributed content development also needs to be accompanied by a system of distributed financial incentives. When this all comes together -- and it will -- then courseware will escape commodification and become a creative and low-cost force in education. Only then should we begin to count the percentages.
Brian Jacobs is founder & CEO of panOpen.com.
Report, citing crippling textbook costs, argues for more use of open-source materials. Publishers dispute the findings.
Publishers, bookstores and professors are complying with federal provisions to make textbook pricing more transparent for students. But prices are still high.
Open education advocates launch Lumen Learning, which aims to help institutions replace expensive textbooks with open-source solutions.
To lessen the impact of rising textbook costs, three institutions have created programs that allow students to borrow course materials.
OpenStax College, an open-access textbook publisher, introduces its first offering through iTunes -- and hopes the $4.99 charge will allow students to benefit from extras and the business model to grow.
The e-textbook consortium CourseSmart has announced an analytics program that will provide data about students' usage of a text, which universities can use to link with outcomes.
Publishing giant unveils search engine for open educational resources -- and its own content.
Apple iPads are gradually catching up to their hype on four-year campuses; e-textbooks make inroads as well.
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This outpatient department provides care for patients, including:
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For more information please contact the service at this facility.
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Which of these objects from the BRLSI Collections should be conserved?
Exciting news for Strawberry Bank Fossils
A major review paper on the Strawberry Bank fossils has been published in the Journal of the Geological Society.
BRLSI Directors
I am pleased to announce that as only four nominations were received, the following members will be eligible to be elected as Directors at the 2015 AGM without a ballot:
Henry Ford, Richard Guthrie, Martin Sturge, Paul Thomas.
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Bath and the Nile Explorers: In commemoration of the 150th anniversary of Burton and Speke's encounter in Bath, September 1864, and their 'Nile Duel' which never happened
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text:
|Publication number
|Publication type
|Application number
|Publication date
|Aug 7, 1990
|Filing date
|Apr 18, 1989
|Priority date
|Apr 18, 1989
|Fee status
|Also published as
|Publication number
|Charles B. Neal
|Original Assignee
|Rca Licensing Corporation
|Export Citation
|BiBTeX, EndNote, RefMan
|Patent Citations (16), Referenced by (20), Classifications (13), Legal Events (5)
|External Links: USPTO, USPTO Assignment, Espacenet
This invention relates generally to electron beam current limiting in kinescopes of television receivers, video monitors and the like. More particularly, the invention relates to the field of electron beam current limiting in conjunction with image contrast and brightness control.
This application is related to copending and commonly owned application serial no. 339,841 filed concurrently herewith and entitled BEAM CURRENT LIMITER WITH BRIGHTNESS CONTROL THRESHOLD EXTENSION, the teachings of which are incorporated herein by reference.
Content of an image reproduced by a kinescope in a color television receiver and the like comprises luminance information and chrominance information. The luminance information is particularly defined by a peak-to-peak amplitude of an image representative video signal, relating to image contrast, and the DC content of the video signal, relating to image brightness or background level. Image brightness or background level is related to a black level.
The electron beam current drawn by a kinescope is both a function of the amplitude and the DC content of the video signal coupled to the kinescope. Excessive beam current can be caused by a combination of video signal content and adjustment of manual brightness and contrast control circuits often included in a luminance signal processing channel of the receiver or monitor. The likelihood of high beam current being produced increases in the presence of video signals representative of bright images containing predominantly white information, manual contrast or brightness control settings at a maximum position, or a combination of these factors.
Excessive peak beam current may cause a receiver to produce a degraded image due to effects such as electron beam spot defocusing or localized blistering of the shadow mask, with its consequent adverse effect on color purity. Excessive average beam current may adversely affect performance of a receiver's deflection system, may result in blooming and may cause a receiver to be damaged. Some form of automatic contrast control system is often included in receivers to limit peak beam current under signal and viewer adjustment conditions which do not result in high average beam current. Such systems respond at least to some degree to the peak value of the video signal and automatically reduce contrast, thereby limiting peak current. Receivers usually are provided with an automatic beam limiter circuit to prevent excessive average beam current. Such a circuit senses beam current, and automatically reduces contrast or brightness levels, or both, when beam current exceeds a threshold.
Automatic beam current limiting may present problems even for levels of beam current which are not necessarily excessive. A beam current limiter should function without unnecessarily increasing a viewer's perception of changes in image content due to operation of the beam limiter. Generally speaking, a viewer can often perceive changes in the background illumination of an image produced by changes in image brightness more readily than image contrast. Accordingly, beam current limiting in safe ranges of beam current levels is preferably effected by automatic contrast control. However, it is also important that beam current limiting be accomplished without unduly upsetting the relationship between contrast and brightness and between luminance and chrominance information of a reproduced image. The prior art also recognizes a need to control brightness as well, for example, after a certain range of contrast control has been exhausted.
Various automatic beam current limiter systems are known which operate in conjunction with contrast and brightness control circuits of a television receiver and the like. Many systems provide for progressive control of contrast and brightness over different ranges of beam current, as described in the following U.S. Pat. Nos.: 4,126,884--Shanley, II; 4,253,110--Harwood, et al.; 4,253,121--Avery; and 4,137,552 --Serafini.
A particular problem sometimes arises when beam current limiting circuits affecting brightness as well as contrast, for example by adjusting video gain, operate within ranges of beam current levels which are not necessarily excessive or dangerous. The condition occurs generally where most of a picture frame is quite bright, that is, having high white levels, but a small portion of the image is rather dark. The high white levels over most of the image will cause a high average beam current level, which will be interpreted by automatic beam limiter circuits as an excessive brightness level which needs to be compensated. Accordingly, such automatic circuits will reduce the contrast level or the brightness level, or both levels simultaneously. The reduction in contrast or brightness, or both, has little perceptible effect on the quality of the larger and brighter image, but tends to make the smaller, originally darker portion of the image even darker. The smaller image portion may become so dark as to be essentially imperceptible. In any event, important detail in the smaller, dark portion of the picture may be difficult to see, if visible at all.
Contrast control circuits generally vary the contrast of an image by generating a control signal which varies the gain of the video amplifier for the video image. Varying the gain also causes variation of brightness, which increases and decreases directly with video gain. This was noted in the context of manual contrast controls in U.S. Pat. No. 3,873,767--Okada, et al. A video signal control circuit includes a brightness control circuit responsive to manual operation thereof to vary the DC potential applied to a signal transmission channel and a contrast control circuit responsive to manual operation thereof to vary the gain of a video amplifier. Level control means are coupled to the signal transmission channel for compensating variations in the DC potential on the signal transmission channel when manual adjustment of the contrast control means causes a variation in the gain determining voltage. This circuit is effective to limit the degrading effects caused by a viewer's manual misadjustment of the contrast control. However, the only brightness limiting aspect of the circuit responsive to a cathode ray tube beam current acts only in excess of a predetermined value, and simultaneously varies both the DC potential applied to the signal transmission channel and the gain of the video amplifier, to reduce both contrast and brightness. Such a circuit will not compensate for changes in brightness level due to contrast control responsive to dynamic variations in video signal levels or beam current levels.
Some television receivers now have a capacity for displaying a first picture image within a second picture image, often denoted by the term "pix-in-pix". The receiver, or the video recorder or the like, with pix-in-pix capacity will display a single image during conventional operation, just as a conventional receiver without pix-in-pix capacity. However, in response to viewer commands, and under control of a microprocessor, for example, an image from a second video source, usually a different broadcast or cablecast channel, can be inset as a small picture within the primary picture. Pix-in-pix television control systems are described in considerable detail, for example, in the following U.S. Pat. Nos.: 4,638,360--Christopher, et al; 4,652,908--Fling, et al; 4,656,515--Christopher; and, 4,656,516--Fling, et al. Reference may be made to these patents for a detailed description of pix-in-pix circuits as broadly illustrated and described herein.
The capacity for pix-in-pix operation presents a particularly difficult problem for prior art automatic beam current limiter circuits. In particular, there is likely to be little, if any relationship between the video content of the inset secondary image and the video content of the large primary image. In a conventionally displayed single image, there is likely to be at least some transition in terms of picture content between a large bright background of high average picture intensity and a darker smaller portion thereof. Unnecessary darkening of the darker portion was troublesome, but was not expected to be a pervasive and constant problem. However the video content of each of the primary and secondary video signals in a pix-in-pix environment are wholly unrelated to one another. There is little likelihood of any transitional subject matter in either image, on either side of the border between the primary and inset images, which would ameliorate disparities in brightness and contrast levels between the images, as they may be adjusted simultaneously responsive to variations of video signal or beam current. The absence of any necessary correlation between the image content of the primary and secondary images in a pix-in-pix environment makes it more likely that automatic beam current limiting effected by reducing brightness together with contrast on the basis of the average or peak picture intensity of the primary image will result in degradation of the inset image. This is a problem not addressed or solved by the prior art.
In order to overcome the problem of degradation of the generally dark image portion responsive to automatic brightness reduction, for example by varying video gain based upon the picture content of a larger picture portion having relatively high average picture intensity, this invention recognizes several important factors. Firstly, there is a first range of beam current levels, including those corresponding to brief video signal peaks, within which beam current may vary, but need not be considered excessive or dangerous. Secondly, reducing contrast by reducing video gain inherently lowers brightness, which undesirably darkens already darker, relatively small image portions. Thirdly, the brightness level can be raised to counteract the undesirable effect of video gain reduction on brightness level without counteracting the beneficial control of beam current achieved by varying contrast.
It is an aspect of this invention to provide novel control of contrast and brightness levels in a first, safe range of beam current levels by effecting closed loop compensation of black level.
More particularly, it is an aspect of this invention to respond to increases of beam current levels and video signal peaks in the first, safe range of levels by lowering the contrast level of the video image by reducing video gain, for example, by conventional automatic contrast control, but at the same time, to increase the brightness level by a factor sufficient to compensate for the reduction of brightness level due to the reduction of video gain.
It is therefore an aspect of this invention to generate a first control voltage responsive to variations of video signal peaks, beam current levels and manual adjustment in a first range of beam current levels and, responsive to the control voltage, vary the video gain to vary contrast; and simultaneously, to modulate the brightness level inversely with the first control voltage to compensate for the variation in brightness level due to the video gain reduction.
It is a further aspect of this invention to reduce brightness levels responsive to values of beam current levels in a second range of levels.
A video control circuit in accordance with the foregoing aspects of the invention may comprise a gain controllable video amplifier for a video signal, the amplified video signal generating a picture having contrast and brightness characteristics which both vary directly with the gain of the amplifier, and a brightness control circuit for varying the brightness of the amplified video signal without affecting the contrast. A beam current sensing circuit is used to develop a beam current control signal related to an average picture intensity level. An automatic contrast control circuit and an automatic contrast limiter are coupled to the amplifier. The automatic contrast control circuit is continuously responsive to the video signal, and in particular, to peaks in the video signal which will cause brief peaks in the beam current which do not significantly affect the average value of the beam current. In this respect, the video signal is an indirect measure of peaks in the beam current. The contrast limiter is continuously responsive to the beam current control signal, which does not generally reflect peak conditions, but average values. The contrast control and contrast limiter may be thought of as being responsive to different aspects of beam current values, indirectly and directly, in a first range of beam current operating values. Each of the contrast control and contrast limiter circuits develops a component of a video gain control signal for continuously varying the gain of the video amplifier to adjust the contrast and control beam current.
A brightness modulator is coupled to the brightness control circuit and is responsive to the contrast control signal for developing a brightness control signal for continuously adjusting the brightness of the video signal inversely with the contrast, thereby increasing the brightness of both white and dark portions of the picture when the entire picture has a sufficiently large average picture intensity level to cause the contrast control circuit to effect reduction of the contrast and the brightness. A brightness limiter is also coupled to the brightness control circuit and is responsive to the beam current control signal in a second range of beam current operating values for developing a beam current overload control signal for reducing the brightness of the video signal and thereby controlling the beam current.
It is another aspect of this invention to maximize an effective range over which the contrast control and contrast limiter circuits and the brightness modulator are effective, without at the same time preventing timely operation of the brightness limiter. In accordance with this aspect of the invention, the beam current control signal is filtered to remove certain characteristic AC noise signals which do not significantly alter the average level of sensed beam current, but are likely to engender premature operation of the brightness limiter. The brightness limiter is operated responsive to the filtered beam current control signal, so as to preclude undesirable operation of the brightness limiter when the beam current is in the first range of operating values.
It is yet another aspect of this invention to provide a pix-in-pix video control circuit, comprising a first video source for a first video signal, a second video source for a second video signal and a video source selector for alternatively feeding the first and second video signals to a video amplifier in time sequence to form a primary picture from the first video source with an inset secondary picture from the second video source. The pix-in-pix video control circuit further comprises a gain controllable video amplifier with the video signals, a brightness control circuit, a beam current sensing circuit, a contrast control circuit, a contrast limiter, a brightness modulator and a brightness limiter, as described above. The brightness control signal developed by the brightness modulator provides for continuous adjustment of the brightness of the video signal inversely with the contrast and thereby provides increased brightness levels for both the primary and secondary pictures when the primary picture has a sufficiently large average picture intensity level to cause the contrast control circuit to effect reduction of the contrast, and therefore also reduction of the brightness level. The pix-in-pix video control circuit in accordance with this aspect of the invention may also comprise the filter circuit for filtering AC components from the beam current control signal to preclude premature operation of the brightness limiter.
It is yet another aspect of this invention to provide a video control circuit and a pix-in-pix video control circuit as described above, wherein the brightness modulator is also effective for manually varied levels of contrast and brightness.
These and other aspects of the invention may be better understood with reference to the drawings, in which:
FIG. 1 is a block diagram of a pix-in-pix video control circuit in accordance with this invention;
FIG. 2 is a circuit schematic for the beam current limiting circuitry shown in FIG. 1; and,
FIG. 3 is a graph illustrating variation of the brightness control voltage produced by the brightness modulator as a function of the contrast level control voltage.
A pix-in-pix video control circuit is shown in block diagram form in FIG. 1 and generally designated by reference numeral 10. The pix-in-pix video control circuit 10 comprises a pix-in-pix circuit 12, a luma/chroma processing circuit 14, a beam current limiter circuit 16, a beam current sensing circuit 18, an automatic contrast control circuit 24, a manual contrast control circuit 20 and a manual brightness control circuit 22.
The pix-in-pix circuit 12 comprises a first video source 30 for a first video signal A and a second video source 32 for a second video signal B. The video A signal and the video B signal are coupled as inputs to video source switch 34 by lines 33 and 35 respectively. A pix-in-pix control circuit 36 operates the first and second video sources 30 and 32 over line 31 and operates the video source switch 34 over line 37. Responsive to command signals over line 29, for example from a microprocessor, the pix-in-pix control circuit 36 operates the video source switch and the first and second video sources to alternately feed the video A and video B signals to the video amplifier on line 39 in timed sequence to form a primary picture, for example from the video A source, with an inset secondary picture, for example from the video B source. Alternatively, the pix-in-pix control circuit may be commanded by the microprocessor to select only one or the other of the video A and video B sources as an output of the video source switch 34.
It will be remembered that luminance indicates the amount of light intensity, which is perceived by the eye as brightness. In a black and white picture, the lighter parts have more luminance than the dark areas. Different colors also have shades of luminance, however, as some colors appear brighter than others. Chrominance on the other hand, denotes both hue and saturation of a color. The chrominance includes all the color information, but without the brightness information. The chrominance and brightness, that is luminance, together specify the picture information completely. The output of the video source switch 34 is an input to a luma/chroma comb filter 38. The output of the comb filter on line 41 is chrominance information and the output of the comb filter on line 43 is luminance information. The outputs of the comb filter 38 are inputs to the luma/chroma processing circuit 14. Such circuits as the luma/chroma processing circuit 14 may be embodied as integrated circuits. Such a luma/chroma processing chip is available as RCA part no. 1421882-1, Thomson Consumer Electronics, Indianapolis, Ind. Only those portions of such a luma/chroma chip as are pertinent to this invention are illustrated.
The chrominance output of the comb filter 38 is an input to a chroma processing circuit 50. The luminance output of the comb filter 38 is an input to a luminance amplifier 52. A picture control circuit 54 controls video gain-of the luminance and chrominance channels, and has outputs on lines 45 and 47, which are inputs respectively to the chrominance processing circuit 50 and the luminance amplifier 52. The output of the luminance amplifier 52 is an input to a brightness control circuit 56. Brightness control circuit 56 raises and lowers the brightness level, also termed black level. The output of the brightness control circuit 56 on line 53 and the output of the chroma processing circuit 50 on line 51 are inputs to a luma/chroma matrix 60. The outputs of the luma/chroma matrix 60 on lines 61, 63 and 65 provides output for the red, green and blue video signals, respectively. Each of the outputs on lines 61, 63 and 65 is passed through a resistor, after which the outputs are summed as an input to a conventional automatic contrast control circuit 24. This enables beam current limiting to be effected responsive to video peak intensity, as well as average picture intensity. This can prevent localized defocusing and blistering of the shadow mask.
A video signal is generally clamped to a DC level at 0 IRE (back porch of the composite video signal), whereas the black level in NTSC signals is nominally adjusted to be approximately 7.5 IRE. White level is nominally 100 IRE. Accordingly, an increase in video gain causes the displayed black level to move "brighter" as video gain is increased and causes the displayed black level to move "darker" as video gain is decreased. When beam current limiting circuits also respond to increases in beam current levels by reducing brightness, that is lowering the black level, the effect can be pronounced.
The picture control circuit has an input on line 87. The brightness control circuit 56 has an input on line 83. For purposes of definition, and in accordance with operation of the integrated circuit chip identified above, an increase in a voltage level applied to input line 87 of picture control 54 will increase the gain of the video amplifier. The increase in video gain will therefore increase the contrast level and increase, or raise, the brightness level. A reduction in the voltage on line 87 will cause a reduction in video gain, which will result in a reduction of the contrast level and a reduction of the brightness level. Similarly, an increase of voltage on input line 83 to brightness control 56 will be effective to raise the brightness level of the video signal, and a reduction of voltage on line 83 will be effective to lower the brightness level. However, variations of the voltage level on input line 83 to brightness control circuit 56 will not affect the video gain, and accordingly, will not change the contrast level.
In the particular embodiment which is disclosed in the drawings, which utilizes a luma/chroma chip as identified above, a beam limiter circuit 58 is also provided. Beam limiter circuit 58 is shown by a block drawn in phantom, because it is not utilized in the invention. In order to render the beam limiter 58 ineffective, its input on line 59 is permanently coupled to a substantially uniform and raised voltage level +Vcc. This indicates, albeit falsely, that beam current is very low. When the input to beam limiter circuit 58 is thus tied high, its outputs on lines 55 and 57, to the picture control 54 and brightness control 56 respectively, are unchanging and of no effect. In this manner it is possible to disable the integrated beam limiter circuit 58, and substitute the beam limiter circuit 16 to which an aspect of this invention is directed.
The specific operation of the luma/chroma comb filter, the chroma processing circuit, the luminance amplifier and the luma/chroma matrix are known, and accordingly, are neither shown nor explained in detail. The operation of the beam limiter circuit 58, which is bypassed, was in accordance with a prior art scheme, which adjusted contrast and brightness in the same direction in a first range of beam current levels, and in a higher range of beam current levels than in the first range, adjusted brightness level. It is the less than optimum operation of such a beam limiter circuit, particularly in the context of a pix-in-pix video environment, which prompted the development of the brightness modulator circuit taught herein.
Electron beam current on line 71 is monitored by beam current sensing circuit 18. Beam current sensing circuit 18 develops a beam current control voltage on line 73, which is an input to a contrast, or "pix", limiter circuit 70 and a filter 76. In accordance with the circuit schematic shown in FIG. 2, the beam current control signal is a voltage signal, which is at a maximum when beam current is at minimum, and is at a minimum when beam current level is at maximum.
The pix limiter circuit 70 is an automatic contrast limiting circuit, which develops one component of a contrast, or pix, control voltage on output line 75 responsive to dynamic variations of beam current related to average picture intensity. Another component of the pix control voltage is the output of the automatic contrast control 24 on line 25, indirectly responsive to dynamic variations of beam current related to peak picture intensity. The automatic contrast control is directly responsive to a signal derived from the video signal. A third component of the pix control voltage is the output of the manual contrast control 20 on line 85. The pix control voltage on line 75 is an input to a brightness modulator circuit 72 and the input line 87 of picture control circuit 54. A net increase of the pix control voltage, due to any or all of its components, causes the picture control circuit 54 to increase the video gain, which increases the contrast level and raises the brightness level. A net decrease in the pix control voltage causes the picture control circuit 54 to reduce the video gain, decreasing contrast and lowering the brightness level. The pix control voltage is varied, through direct and indirect means, as a function of beam current.
The brightness modulator circuit 72 provides an output control voltage on line 79 which varies inversely with the pix control voltage, as illustrated in FIG. 3. The values correspond to operation of the specific circuit shown in FIG. 2. When the pix control voltage increases, the voltage of the brightness control signal on line 79 decreases, which causes the brightness control circuit 56 to lower the brightness level. Conversely, when the pix control voltage falls, the brightness control voltage rises, causing the brightness control circuit 56 to raise the brightness level. Increasing the video gain increases the contrast level, and at the same time, raises the brightness level. Conversely, reducing the video gain reduces the contrast level and lowers the brightness level. The brightness control signal is therefore effective to raise the brightness level when the contrast level is reduced and to lower the brightness level when the contrast level is increased. The brightness modulator therefore counteracts the undesirable reduction of the brightness level when the contrast is decreased responsive to an increase in beam current or peaks in the video signal.
The brightness modulator 72 is effective in a first range of beam current operating values, corresponding generally to safe operating conditions. However, there are certain circumstances wherein perceived image quality is less important than the dangers of excessive beam current levels. Accordingly, a brightness limiter circuit 74 is effective in a second range of beam current operating values, corresponding generally to unsafe operating conditions, that is, where neither the auto contrast control 24 nor the pix control limiter 70 is effective to prevent unsafe beam current levels. Under these circumstances, the brightness limiter circuit 74 develops a beam current overload control voltage signal on line 81, which is also coupled to input line 83 of brightness control circuit 56. It will be appreciated that, at a certain threshold value of beam current, the pix limiter 70 will have reached its full range of adjustment, so that no further changes on the input to the picture control circuit or from the brightness modulator circuit will take place. The beam current overload control signal is thereafter effective in the second range to lower the brightness level to prevent unsafe beam current levels.
In order to prevent the brightness limiter circuit 74 from generating the beam current overload control signal when auto contrast control or the pix limiter should still be capable of controlling the beam current by controlling the video gain, the beam current control signal is processed, for example, by a filter 76, to remove AC components therefrom, for example those resulting from retrace pulses. This helps assure that the brightness limiter circuit 74 will become effective only when the full range of compensation provided by the pix control voltage has been exhausted.
Most television receivers provide manually adjustable means whereby viewers may alter the contrast and brightness (picture) settings. As noted, the output of the manual contrast control circuit 20 is also coupled to the input of the brightness modulator 72, which will be effective to reduce the brightness level responsive to a manual increase of contrast, and vice versa. As in the automatic beam limiter circuit 16, the manual brightness control 22 will raise and lower the brightness level without affecting video gain and contrast level. However, the voltage level on output line 89 will be a component of the input to the brightness control circuit 56, and an unduly high manually adjusted brightness level will result in a reduced effective range of auto contrast control, the pix limiter and the brightness modulator, and will result in more frequent operation of the brightness limiter circuit.
A circuit schematic for a suitable beam limiter circuit 16 in accordance with this invention is shown in FIG. 2. An electron beam current flows through line 71 and into winding W of flyback transformer T1. A beam current sensing circuit 18 includes resistors R1 and R2, the junction of which corresponds to line 73, on which a beam current control voltage Vs is developed. Beam current control voltage Vs varies inversely with beam current. Diode D1 is connected between output line 73 and a supply voltage, for example +11.2 volts. This limits the maximum value of voltage Vs to approximately +12 volts.
The pix limiter circuit 70 comprises transistors Q1 and Q2, the emitters of which are coupled to one another through resistor R9. The base of resistor Q1 is biased by a voltage divider network comprising resistors R5, R6 and R7. For the component values shown, the base of transistor Q1, which is coupled to the junction of resistors R5 and R6, is biased at a voltage level of approximately +4 volts.
The auto contrast control circuit 24 may be embodied as a variety of specific circuits, for example as taught in U.S. Pat. No. 4,599,643, incorporated herein by reference. One such embodiment comprises a transistor. The transistor has a base electrode coupled to the three summed video outputs, a collector electrode coupled to the outputs of the pix limiter and the manual contrast control and an emitter electrode coupled by a resistive voltage divider network to a biasing voltage. An increase of video drive (amplitude) will effect reduction of the pix control voltage.
The brightness limiter circuit 74 comprises transistors Q5 and Q6, the emitters of which are coupled to one another through resistor R8. The base of transistor Q5 is also biased by the voltage divider network comprising resistors R5, R6 and R7. For the component values shown, the base of transistor Q5, which is coupled to the junction of resistors R6 and R7, is at approximately +2.7 volts. Filter 76 coupled to the base of transistor Q6 comprises resistor R4 and capacitor C2.
The brightness modulator circuit 72 comprises transistors Q3 and Q4. The base of transistor Q4 is biased by the voltage divider network comprising resistors R11 and R12, and is coupled to the junction thereof. The voltage at the emitter of transistor Q3 follows the voltage on the base thereof, and is essentially the pix control voltage. The collector of transistor Q1 is the output of the pix control circuit 70, and corresponds to output line 75. Output line 75 is an input to the picture control circuit 54 and, through resistor R10, is also an input to the brightness modulator circuit 72 at the base of transistor Q3.
The collector of transistor Q5 is the output of the brightness limiter circuit 74, and corresponds to output line 81. This is coupled to the collector of transistor Q4, which is the output of the brightness modulator 72, and corresponds to output line 79. Diode D2 does not form part of the brightness limiter or brightness modulator, but prevents conduction of transistors Q4 and Q5 when the manual, or customer, brightness control is set abnormally low. Resistor R5 of the voltage divider network, the collector of transistor Q3 and one terminal of resistor R13 are coupled to the supply voltage +11.2 volts. Resistor R13 and resistor R14 form a voltage divider network for biasing the emitter electrode of transistor Q4, which is coupled to the junction thereof. When transistor Q3 is not conducting, the emitter of transistor of Q4 is at a voltage level of approximately +0.85 volts.
The output of the manual contrast control circuit will result in a voltage level on input line 75 to the picture control circuit, which voltage will also appear at the collector of transistor Q1, which is the output of both the auto contrast control 24 and the pix limiter circuit 70. Assuming, for example, that beam current is at a minimum and that the voltage Vs is at a maximum, a nominal factory setting of the manual contrast control, for the component values illustrated, will generate a voltage level of approximately +7.8 volts on line 75 at the input to the picture control circuit and on the collector of transistor Q1. Transistor Q3 is biased in such a fashion that it will conduct responsive to pix limiter voltages in excess of approximately +5 volts. Accordingly, even in the absence of any beam current limiting resulting from the level of voltage Vs, transistor Q3 will conduct, which in turn will cause transistor Q4 to conduct, which will set the output of the brightness modulator on line 83 to approximately +6.1 volts. This corresponds to the maximum brightness control voltage shown in FIG. 3.
Voltage Vs will fall as beam current rises. The auto contrast control will be effective, and predominate, before enough beam current flows to turn on transistor Q2. When voltage Vs falls low enough to forward bias the base emitter junction of transistor Q2, which will be approximately two diode drops below the +4 volts bias voltage on the base of transistor Q1, transistor Q1 will begin to conduct. As transistor Q1 begins to conduct, the pix control voltage on output line 75 will be pulled down. As the pix control voltage falls, the video gain will be reduced, and the contrast level will be reduced. Reduction of the video gain will also lower the brightness level, as explained above. However, as the pix control voltage falls, the voltage at the base of transistor Q3 will fall, which will reduce the conduction of transistor Q3. Less conduction of transistor Q3 will result in less conduction of transistor Q4, which will cause the voltage level at the collector of Q4 on output line 79 to increase. Accordingly, the brightness control signal will increase, and raise the brightness level to compensate for the reduction in video gain.
The value of voltage Vs at which the pix limiter circuit becomes effective will depend upon the values of resistors R5, R6 and R7, which set the bias voltage at the base of transistor Q1, which in turn sets the bias voltage for the emitter of transistor Q2. For values of average beam current below the threshold of operation of the pix limiter, the auto contrast control is responsive to the video signal. The auto contrast control responds, in particular, to peaks in the video signal to vary the pix control voltage. The brightness modulator is also responsive to the action of the auto contrast control in the first range of beam current values. As voltage Vs falls further, with increasing beam current, the pix control voltage at the collector of transistor Q1 will continue to fall and the brightness control voltage at the collector of transistor of Q4 will continue to increase.
When the voltage Vs becomes small enough, the brightness limiter circuit will become effective. More particularly, the voltage divider formed by resistors R5, R6 and R7 sets the bias voltage at the base of transistor Q5, which in turn sets the bias voltage at the emitter of transistor Q6. When voltage Vs falls approximately two diode drops below +2.7 volts, transistor Q6 will begin to conduct, which causes conduction of transistor Q5. As transistor Q5 begins to conduct, the brightness control signal at the output of the brightness modulator, namely the collector of transistor Q4, will be pulled down. This will cause the brightness control to lower the brightness level to reduce beam current. The further voltage Vs falls, the lower the brightness level will be pulled.
The filter 76 comprising resistor R4 and capacitor C2 prevents the brightness limiter from operating prematurely. In addition to the average DC voltage potential represented by voltage Vs, there is an AC component in the sensed beam current which results from the flyback system of the horizontal deflection circuit recharging the kinescope capacitance during the horizontal retrace time. Even with a flat field signal, and only moderately high beam current, the waveform may include significant negative pulses. These pulses can cause current to flow in transistor Q5 unless it is biased far below transistor Q2. Ideally, biasing transistor Q5 only moderately below Q1 should cause the brightness limiter to operate when the pix limiter circuit has reduced video gain as much as is possible and voltage Vs falls further as beam current increases further. However, the negative pulses during retrace cause the brightness limiter to conduct at lower beam current levels than desired, unless transistor Q5 is biased much below the transistor of Q1. However, it is not practical to bias transistor Q5 much below the level of transistor Q1, as the brightness limiter would not be sufficiently effective. The filter formed by resistor R4 and capacitor C2 substantially eliminates the AC component from the signal Vs. Any time delay in the operation of the brightness limiter circuit by reason of the filter network is of little practical consequence.
The brightness modulator compensates for all undesirable changes in the brightness level due to changes in the video gain responsive to the pix control voltage over a wide control range. The pix control voltage is a composite signal, having components contributed by the auto contrast control, the pix limiter and the manual contrast control. As average beam current levels reach unsafe values, in a second control range, the brightness limiter becomes effective to lower the brightness level markedly to prevent damage and picture degradation from beam current overload.
|Cited Patent
|Filing date
|Publication date
|Nov 2, 1972
|Apr 16, 1974
|Rca Corp
|Brightness control
|Aug 28, 1973
|Mar 25, 1975
|Sony Corp
|Video signal control circuit including automatic brightness and contrast control responsive to excess crt beam current
|Apr 24, 1972
|May 27, 1975
|Etec Corp
|Automatic contrast and dark level control for scanning electron microscopes
|Nov 21, 1975
|Jul 13, 1976
|Gte Sylvania Incorporated
|Contrast, brightness and peaking control circuit
|Jul 21, 1975
|Jan 25, 1977
|Matsushita Electric Industrial Co., Ltd.
|Brightness and contrast control for television receiver
|May 5, 1977
|Nov 21, 1978
|Rca Corporation
|Kinescope beam current limiter employing automatic sequential control of image contrast and brightness to limit beam current
|May 5, 1977
|Jan 30, 1979
|Rca Corporation
|Automatic beam current limiter with independently determined threshold level and dynamic control range
|Dec 14, 1979
|Feb 24, 1981
|Rca Corporation
|Automatic kinescope beam current limiter with sequential control modes
|Sep 11, 1979
|Feb 24, 1981
|Rca Corporation
|Plural sequential operating mode automatic kinescope beam current limiter
|Jan 27, 1981
|Oct 26, 1982
|Sony Corporation
|Brightness adjusting circuit for a cathode ray tube
|Dec 16, 1982
|May 28, 1985
|Sharp Kabushiki Kaisha
|Auto brightness limiter circuit for television
|Sep 3, 1985
|Jan 20, 1987
|Rca Corporation
|Timing correction for a picture-in-picture television system
|Mar 25, 1985
|Mar 24, 1987
|Rca Corporation
|Filtering system for processing a reduced-resolution video image
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|Apr 7, 1987
|Rca Corporation
|Horizontal compression of pixels in a reduced-size video image utilizing cooperating subsampling and display rates
|Mar 25, 1985
|Apr 7, 1987
|Rca Corporation
|Vertical subsampling and memory synchronization system for a picture within a picture television receiver
|Jun 12, 1986
|May 5, 1987
|Rca Corporation
|Brightness clamping apparatus for TV receiver with multiple inputs
|Citing Patent
|Filing date
|Publication date
|Apr 30, 1990
|Jan 7, 1992
|Thomson Consumer Electronics, Inc.
|Signal clamp for a dual function input terminal of a "one-chip" television signal processing IC
|Jul 26, 1990
|Jun 23, 1992
|Ronald Siwoff
|Digitally enhanced imager for the visually impaired
|Apr 18, 1989
|Jul 28, 1992
|Thomson Consumer Electronics, Inc.
|Beam current limiter with brightness control threshold extension
|May 6, 1991
|Apr 13, 1993
|Thomson Consumer Electronics, Inc.
|Television receiver with picture in picture and non-linear processing
|Dec 11, 1991
|Apr 20, 1993
|Thomson Consumer Electronics, Inc.
|Beam current limiting arrangement for a television system with picture-in-picture provisions
|May 22, 1992
|Sep 14, 1993
|Thomson Consumer Electronics, Inc.
|Autopix circuit with inserted vertical blanking
|Nov 19, 1993
|Nov 1, 1994
|Zenith Electronics Corporation
|Preamplifier for multimedia display
|Mar 7, 1994
|Jul 30, 1996
|Olympus Optical Co., Ltd.
|Ultrasonic microscope apparatus
|Sep 15, 1995
|Jan 21, 1997
|Lg Electronics, Inc.
|Automatic brightness control apparatus for a monitor
|Mar 23, 1995
|Oct 7, 1997
|Kabushiki Kaisha Toshiba
|Contrast/brightness control circuit for television receiver
|Feb 27, 1996
|Nov 24, 1998
|Matsushita Electric Industrial Co., Ltd.
|Compensation voltage generating apparatus for multipicture display and video display including the same
|Jan 3, 1996
|Dec 8, 1998
|Thomson Consumer Electronics, Inc.
|Video system including apparatus for deactivating an automatic control arrangement
|Jan 13, 2006
|Jun 1, 2010
|Hewlett-Packard Development Company, L.P.
|Display system
|Jan 13, 2006
|Jun 8, 2010
|Hewlett-Packard Development Company, L.P.
|Display system
|Apr 22, 2009
|Jul 20, 2010
|Hitachi, Ltd.
|Contrast adjusting circuitry and video display apparatus using same
|Apr 22, 2009
|Mar 15, 2011
|Hitachi, Ltd.
|Contrast adjusting circuitry and video display apparatus using same
|Aug 18, 1990
|Feb 27, 1991
|Thomson Consumer Electronics, Inc.
|Control signal generator for a television system
|Aug 20, 1990
|Feb 27, 1991
|Thomson Consumer Electronics, Inc.
|A dynamic video system including automatic contrast and white-stretch processing sections
|Mar 23, 1995
|Oct 4, 1995
|Kabushiki Kaisha Toshiba
|Television receiver with picture-in-picture
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|U.S. Classification
|International Classification
|Cooperative Classification
|European Classification
|May 30, 1989
Owner name: THOMSON CONSUMER ELECTRONICS, INC., NEW JERSEY
Free format text: ASSIGNMENT OF ASSIGNORS INTEREST.;ASSIGNOR:NEAL, CHARLES B.;REEL/FRAME:005093/0449
Effective date: 19890517
|May 31, 1990
Owner name: RCA LICENSING CORPORATION, NEW JERSEY
Free format text: ASSIGNMENT OF ASSIGNORS INTEREST.;ASSIGNOR:THOMSON CONSUMER ELECTRONICS, INC.;REEL/FRAME:005337/0050
Effective date: 19900529
|Dec 23, 1993
|Fee payment
Year of fee payment: 4
|Dec 18, 1997
|Fee payment
Year of fee payment: 8
|Jan 18, 2002
|Fee payment
Year of fee payment: 12


text:
"A good story ruined by terrible characters"
I was interested in what the Daemon was doing, how it worked, and what its ultimate goals were and that aspect of the story was pretty good. There were a great many white male characters and the reader went a bit overboard trying to come up with distinctive voices for each and every one of them. It got a bit silly. The stereotypical Square Jawed Super Macho Ex-Military Ultra Patriotic Fearless American Hero thing got really really old as well. The three female characters were even worse. I almost stopped listening several times, but I have to admit I wanted to know what happened in the end. It was kind of worth it.
"Reservations Be Damned"
Reservations be dammed! That's right, I almost didn't read it.
Ever wonder what's going to become of those "@$(^$#%" kids in your basements playing video games? Well, Suarez has found a place for them and he makes it count. No same old plot line here, you know, the good, the bad and the ugly? Just when your standard character is lined up to save the day—pow! Right in the kisser. You're hanging a U-turn. What the hell was that? And trust me, you want to know where this one is going. And it won't be where you thought. Just when you think Suarez has stretched technology to the limit, and even a bit beyond, you find out there is more out there and it's being done. Who knew?
You take your not so typical megalomaniac (Mathew Sobol), throw in the fact that he's dead, add a pinch of global data mining, GPS guidance systems, computer-generated and programmed manufacturing machines, international banking, global economics, CIA, FBI, name the agency it's in there. Then peel and dice a willing and ready disenfranchised subculture. Simmer slowly with inherent, but predictable corporate greed base. You get the idea, or you will. Sobols plan seems to have predicted the most basic human behavior and uses it to stay one step ahead. Have you ever had the urge to hit the gas when the patrol car's lights come on behind you, all the while knowing you'll never outrun his radio? Try outrunning a powerful computer or thousands and you'll get somewhat of an idea of what all those institutions are up against.
You don't do Tech? Well me either, that's why I almost skipped this one. Suarez delivers a plot, plausible characters, and writing that brings a flavor to tech we can actually digest and dare I say, appreciate. There's no small thinking here; Suarez's writing is engaging and his ideas are current and provoking. There was a good chance that this book was going to get the five stars out of me but…………………………..
The book just ended, kind of like this review. Grrrrrhhhhh!
He got me. Damn, I want that second book.
"Fantastic Title"
Being a 'geek' myself as well as a huge Michael Crichton fan I fell right into this book and found it enjoyable beginning to end. While not as technologically thorough or intricate as most Crichton stories there is still plenty to love here.
Character development isn't deep but enough is there for you to develop a vested interest in the fate of these people.
The action towards the end of the book becomes a little far fetched but never dull and it remains compelling. By the end of the story Suarez has given the reader much more to think about that simple cyber-security.
Narration is excellent and the effects used on the Daemon really add a life to the story that you would not get otherwise.
I wanted to address the extremely shallow and unintelligent complaint a user by the name of 'Ted' wrote about a rape scene early on in the story.
Apparently this user knows the author on a personal enough level to know his exact intent with this scene, as well as his desire to partake in such actions.
In reality any competent reader will interpret the scene as relevant social commentary on the origin of a main antagonist in the story. Its relevance only grows as the novel progresses and the author expands his point of view of the current state of society through the Daemon's story.
But as 'Ted' has shown, not all readers are competent.
A 'Block User' feature would go a long way Audible!
The sequel to Daemon, Freedom(TM), is available on audible as well. I am quite thankful that it is available immediately as the end of Daemon is really just the beginning. I feel for anyone who had to wait for Suarez to complete the sequel!
"Absolute must have for techs."
Absolute must have for techs. This is my second Audible book. Thanks Steve and Leo for the recommendation.
"Please write faster"
I was completely engulfed by this book. I literally found reasons to drive to listen to it. As a computer engineer for over 17 years and having weather the loads of misunderstanding of technology in media; this was awesome. Also very believable to a point which I can not get into with spoilers. Only draw back as it has been said here, it ends rather suddenly.
Daniel please write the second much faster. How is next week for a release with you?
"More Than Just a Great Story"
Daemon is a very political tale in the tradition of 1984. All of the reviews I have read miss this point. The ending is extremely appropriate viewed in this light and the story is particularly relevant in the light of our current social/political/economic turmoil. I can see this as a Hollywood movie that would be filled with gratuitous violence and miss the true message. This is a really really good book and lots of fun as well.
"Not what I was hoping for"
(Tom, not Jennifer) I was hoping for a good, "this could really happen today" thriller. The plot summary made it sound like this would be it, but that is definitely not the case. The story started out believable, but by mid book, became pure fantasy.
Also, I had a hard time trying to figure out which characters I was supposed to like. I got the feeling from the writing that the author wants you to like Gragg, the cyber punk. He seems like he might be likable to hackers and teenagers, but anyone who has a credit card or a daughter will hate this guy right from the start.
The narrator was much too dramatic, and very stereotypical with the characters voices. This added to my trouble with really getting behind any of the hero cops, because they all sounded like a bunch of angry morons. The lead bad guys sounded very intelligent and sophisticated, and the secondary bad guys all sounded like they came right out of Bill and Teds Excellent Adventure.
On the plus side, technically, the book is very accurate with computer jargon. For someone familiar with IT, it's obvious the author knows what he's talking about, and for those not familiar, it's not overkill, and there is enough explanation of the technology that it shouldn't put anyone off for being confusing. If you are looking for a good techno video game style thriller like Resident Evil, but without zombies, this may be it.
"Good start. Video game finish."
It started out as a real story about real people. It ended up with video game action and cardboard people. I ended up at high speed play just to get through the book. It does not inspire me to read the sequel. Narration is top notch.
These days I enjoy mostly SciFi and Techno Thrillers.
"Started out interesting, but seemed to fizzle out"
I enjoyed the book at the beginning. But for me, it just seemed to die out and was no longer a fun listen. I can't really pin down just one thing that went wrong. But I really was hoping I'd enjoy this book, but at the end I didn't.
Say something about yourself!
Halfway through this book, i found i knew nothing about any of the characters. Very shallow. By the end of the book, it didn't really matter. It was a clever premise that still cried out to be read(listned to). Well narrated story with a well researched plot that is both entertaining and frightening. Will read the sequel.


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our nation's first white president
Liveblogging the Death of Socialism, Which Is Ted Kennedy's Fault
Are you feeling nostalgic for Election Night 2008? This is almost exactly like that night, with a few small differences. For one, it's again illegal to be black in America, so go back to Socialism-land, Rahm! Also, Andrew Sullivan may move back to Canada, he's so bummed. There's also a very good chance the beloved Health Care Reform will be passed. But still, SO SAD, right? MARTHA COAKLEY IS AMERICA'S BIGGEST LOSER. Let's enjoy the final liveblog of the final night of the final election of Soviet America, because life is going to be awesome once the Republicans use their complete control of the White House and Congress to send you back to prison, hippie. Read more on Liveblogging the Death of Socialism, Which Is Ted Kennedy's Fault…
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Written when the author was only 19, Alexandra Chreiteh's first novel "Always Coca-Cola", focuses in a highly entertaining way on how three young friends in Beirut are affected by Western commercialisation and contemporary beauty ideals. By Volker KaminskiMore
Rafik Schami is one of the most important authors writing in the German language. Though he first came to Germany when he was 25 years old, his Syrian homeland is never far from his thoughts. It is also the setting for many of his stories. Markus Clauer introduces the best-selling authorMore
In his impressive novel "The Meursault Investigation", Algerian author Kamel Daoud reopens the case of one of the most famous murders in literary history. His book lends a voice to the Arab murder victim in Albert Camus' "The Stranger" and is also an angry reckoning with contemporary Algeria. By Stefan BuchenMore
The anthology "Through the Eyes of Inana" is a collection of poetry and short stories by 19 Iraqi women writers. It is a cross-section of what women are writing in the country right now – about their lives and how they survive in a state of war, their wishes, their dreams and their sufferings. By Rosa GoschMore
70 million books, 47 participating countries, 850 publishers ... and all for an admission price of just under ten cents. After 46 years, the Cairo International Book Fair is not only the oldest in the Arab world; with one million visitors, it is also the second largest book fair on the planet. By Amira El Ahl in CairoMore
The International Prize for Arabic Fiction (IPAF) was launched in 2007. Since then, only one woman has won the prize. Over the course of the past eight years, there has been much debate about the appearance (or not) of women on the long- and shortlists for the prize. Marcia Lynx Qualey looks back on the history of women and the IPAFMore
A "whodunit" without the "who"? What sounds like a recipe for disappointment for the reader is, according to Marcia Lynx Qualey, an important and a delightful book and certainly not the first contemporary Lebanese novel to take this approachMore
The "A Bird is not a Stone" crowdfunding campaign may not have gotten as much press as British scientists seeking to fund a moon landing through online donations, but it certainly made a ripple among Arabic literary translators. The success of this campaign showed that crowdfunding can be an important tool in bringing Arabic literature into European languages. By Marcia Lynx QualeyMore
In the first half of the twentieth century, about 75,000 Jews lived in Egypt. With the 1948 Arab–Israeli war, their lives in Egypt became increasingly difficult and many emigrated to Europe. Kamal Ruhayyim believes that Jewish Egyptians were an important part of the Egyptian community and wrote a book to keep their memory alive. Marcia Lynx Qualey read the English translation of the first book in Ruhayyim's trilogy "Diary of a Muslim Jew"More
The publication of Fadhil al-Azzawi's novel in German translation is a sensation on the German book market, and its publication a late tribute to the internationally-renowned Iraqi author who wrote it 25 years ago. While "The Last of the Angels" remained unknown in Germany for a long time, the novel is already highly acclaimed in the Arabic- and English-speaking world. By Volker KaminskiMore
Just like his novel "The Dark Ship", Sherko Fatah's latest book is alarmingly topical: one of the characters, the kidnapper Abdul, stands for all the radical Islamists who mourn the bygone days of Mesopotamia and embrace a fundamentalist worldview. Claudia Kramatschek spoke to the author about his new novelMore
Hartmut Faehndrich is one of the most renowned translators of Arabic literature in the German-speaking world. He has translated nearly 60 novels into German. In this interview with Ruth Renée Reif, he explains why Arabic literature is undervalued in the German-speaking worldMore
The Moroccan writer Mohamed Choukri may have died over a decade ago, but the debate surrounding his controversial work continues in conservative Morocco to this day. Aziz Dariouchi on the discourse surrounding Choukri's literary legacyMore
Why does classical Oriental poetry still sound so ornate to western ears? Blame the translations. These are still following the model of the eighteenth century, when the myth arose that Islamic poets were sentimental geniuses in the realm of emotion and romance. An essay by Stefan WeidnerMore
Syrian author Nihad Sirees has written seven novels and several plays and TV dramas. After increasing pressure from the Syrian government, Sirees left Aleppo in early 2012. Marcia Lynx Qualey met him at the Abu Dhabi Book Fair, just as he was leaving his exile in the US and moving to EgyptMore
By writing historical novels, Jurji Zaidan wanted to provide the common Arabic people with an accurate sense of their own history in an accessible, entertaining way. His novels were unavailable in English for nearly a century. But now, in the last two years, six English translations have appeared. Marcia Lynx QualeyMore
Iran is a country of many peoples with countless different tribes. Although weddings in the cities increasingly resemble those celebrated in the West, in some areas of Iran, people still get married according to their own centuries-old traditions


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Arrival in Venice
... on food for our meals while we are here. We made it back to our apartment and cooked our dinner while planning what we wanted to try and do the next day. Tired from another day of traveling, we headed to bed early to catch up on the sleep we didn't really get in Budapest. Both of us agreed that while we wouldn't change a thing about this trip, next time we come to Europe we will stay at least 5-7 days in each ...
Island hopping on last full day
... back was raining and we took the wrong ferry with a bunch of ********. These people push and act like the world is ending when it starts raining. We made it home after a very long ride.
The hostel we are staying at, Venice Star, only has 4 rooms and 2 bathrooms. It is very simple and in a quite neighborhood. It comes with downfalls such as the backpackers who take an hour to shower because they haven't had hot water in days but at the same time, it is nice too meet ...
Let's leave the Airport!
... at all and in many places there are easily accessible and openly available algae coated and undoubtedly slippery steps leading right down to the water so if someone was going to fall in they would have every opportunity to do so. And the pictures out the hotel room window? Just opened the casement and hung out the window to take those. Tomorrow we see how well this plan to overcome jet lag - walking and drinking coffee - ...
Venice Italy
It's been 25 hours since leaving the house for the San Antonio airport Tuesday morning. We're now on the 3rd flight, Berlin to Venice. I can't seem to sleep on the plane, so good time to do some offline blogging.
The Berlin airport was interesting. It was not a large airport at all with mostly small warehouse buildings with built up walls inside to make it resemble something like an airport.
Upon ...
Monday 8th. Dec Day 3 - our trip to Venice
... tomorrow. All Barry and I are hoping for is a good night's sleep without the 1am waking up. Here's to a good sleep and I'm sure another big adventure tomorrow. Can't wait! Some brief in sights into Venice Very romantic city The land of arts and music It was the hub of major trading throughout the early centuries before America was discovered by Marco Polo. The city is built up on wooden pillars that do not deteriorate from the water. Simply amazing how the city has ...


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Best airfares from Sialkot to DubaiJetRadar compares airfares from Sialkot to Dubai with hundreds of airlines (including Qantas, Emirates, United Airlines) and dozens of online travel agencies in one single place. We provide you with all the options to find the cheapest flights to Dubai, you choose where to book. Also there you can find airlines special offers from Sialkot to Dubai.
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Flights from Sialkot to Dubai
Travelling from Sialkot to Dubai advices and facts
- The distance between Sialkot and Dubai is 1263 miles (or 2033 kilometers).
- The shortest flight time is 4h 3m
- When you fly from Sialkot to Dubai, don't forget about the time difference. The time in Dubai is -1:00 from the Sialkot time. The current time in Dubai is 02:04 and 03:04 in Sialkot. Check this again shortly before your flight.
- The currency exchange rate between Sialkot (SKT) and Dubai (DXB) is 1 PKR = 0.0361 AED.


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About: Cowbell Kingdom Podcast
Posts by: Cowbell Kingdom Podcast
Road Reaction Show: Kings end losing streak
Kings snap losing streak.
Road Reaction Show: Kings lose eighth straight
Kings can't stop the bleeding.
CK Podcast Ep 183: DeMarcus Cousins snubbed
Cousins misses the All-Star game.
Road Reaction Show: Klay Thompson goes off
Thompson drops 52 on the Kings.
CK Podcast Ep 182: USA Today's Sam Amick
Amick discusses what's next for the Sacramento Kings.
CK postgame show: Kings make it five losses in a row
Kings continue losing ways.
Road Reaction Show: Trail Blazers 98, Kings 94
Kings drop their fourth straight.
CK postgame show: Kings drop another game at home
Kings drop their third straight at home.
CK postgame show: Kings struggle against Heat
Kings drop another game on their home floor.
Cowbell Kingdom Podcast Ep 181: Gary Gerould
The voice of the Sacramento Kings drops by for a visit.


text: Design Archive Golden Rules To Build A Stunning UX Portfolio Posted by smashingbuzz On August 27, 2015 In Design If you are a UX designer and want to boost your design career with a conspicuous portfolio, there are certain points that must be considered. To help you understand them, I have enlisted a few of the valuable key aspects for creating a ravishing UX portfolio that Read More Best 10 Flyer Designs for Designer Inspiration Posted by Anupama Rao On August 14, 2015 In Design Awe-inspiring collection of well-designed flyer designs. In this roundup we are listing some of free print-ready flyer designs with PSD files, it has editiable layered PSD for further customizations. This weekend we make a creative effort for complete fresh flyer design for inspirations. Read More Creative Directories Websites Design Posted by Vidiya On August 9, 2015 In Design The directory usually has to categorise these lists. Rather than searching using keywords, the visitor finds what they are looking for by searching through categories and sub categories. In many ways, it's a bit like the Yellow Pages, but set online rather than in a paper book! Read More Design Resources that are more Tempting than a Cinnabon Posted by smashingbuzz On July 28, 2015 In Design Every web designer is always looking out for design resources that would set them apart from other designers and also are easy to use and own. But, you as a web designer seldom find such opportune moment to find web elements and templates that meet your design Read More Creative uses for Stickers Posted by smashingbuzz On June 24, 2015 In Design Remember how excited you used to get in primary school when the teacher put a "Great job!" sticker on your homework assignment? Think stickers are just for kids? No way! Stickers can be used in totally new and innovative ways for us adults that will improve brand Read More The 13 Best Ever UX Infographic Designs Posted by smashingbuzz On March 23, 2015 In Design The development of the UX Infographic Designs field is amazing, yet merited. Because of UX Designers everywhere throughout the world, the nature of items has expanded drastically. Design truly does make a difference now. It's a user driven world in which there's not just Apple on the Read More Tips for Designing an Effective, Eye-Catching Website Posted by smashingbuzz On February 25, 2015 In Design It's 2015: times are changing and the internet is flourishing more than ever. Like a Venus flytrap, a good website is both seductive and ensnaring. With over a billion sites registered on the internet, competition is fierce. Even with hosting companies such as Read More Inspiring Signage Templates with Print Ready files Posted by smashingbuzz On January 12, 2015 In Design We know you require impulse on occasion to keep your screens looking great. It can likewise be truly an occupation keeping the majority of your substance straight regularly. You can truly improve both the effect of your plans and your work processes by utilizing advanced signage subjects Read More Inspiring Christmas Greeting Cards Design Posted by smashingbuzz On December 18, 2014 In Design An Inspiring Christmas Greeting Cards Design is only one more technique to express mind and affection. In the event that you want to wish in inventive approach to bring a delight on loved ones then beneath are fifty samples of incredibly innovative Christmas card outlines to motivate Read More New Web App for Icons Posted by smashingbuzz On November 14, 2014 In Design If you've been looking for quality icons in a variety of different formats, color and size, Icons8 is bringing a new web application that will get you your icon in 20 seconds. Read More 1234Next ›Last »


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Health News
News on Health continually updated from thousands of sources around the net.
Measure to repeal California vaccine law won't be on ballot
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The University of Arizona has taken the lead in joining the growing number of U.S. regions planning their futures around water-based economies by creating water technology innovation clusters.
Water clusters build networks of universities, governments and businesses that serve as catalysts for economic development and protection one of the world's most precious resources.
In the University's latest show of support for a regional water cluster, the College of Engineering on Jan. 31 hosted a workshop featuring keynote speaker Sally Gutierrez, the Environmental Protection Agency's new director of the highly successful cluster "Confluence" in Cincinnati, Ohio.
"There is no doubt in my mind that you have the assets here in Arizona," said Gutierrez, who was the director for eight years of the EPA's National Risk Management Research Laboratory in Cincinnati, which employs more than 400 environmental and chemical engineers, chemists, microbiologists, economists, hydrologists and other staff focused on water.
"You have a great infrastructure," she said. "Many programs already exist at the University of Arizona and in the surrounding communities."
The UA, home to several research centers and institutes dedicated to water quality and environmental sustainability and teeming with water and environmental experts, already is a global leader in climate, environmental, water and energy sustainability research.
The region has a head start in establishing a water cluster, Gutierrez said, thanks to the research and lab resources at the University coupled with abundant business incubator and development resources, innovative technology companies, water utilities doing a good job of ramping up conservation programs, forward-thinking state policymakers, and a green Tucson infrastructure.
The UA already is collaborating with Pima County on a future water campus, an integral part of the county's investment in the largest p
|Contact: Karina Barrentine
University of Arizona College of Engineering


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"This card combines pink and navy in a whimsical, sweet way and coordinated perfectly with a photo of my twin girls. It will make the perfect Valentine for their first Valentine's day!"
"I got this in a pearl finish and love it! Great quality paper. Though with a pearl finish, it's a bit hard to right on the back of the card. Only sharpie would work. But overall, I love it!"
"I used this card for our Valentines Day/ birth announcement and I have gotten texts, emails and phone calls complimenting this card how gorgeous it was! If you want a wow factor....this is your card!!"