text:
First Digital Television in the world.
THE ITT DIGIVISION 3876 HIFI OSCAR It's a 27 Inches color (66Cm) stereo hi-fi, table set with 40 programs PLL synthesizer tuning / Multistandard and remote + Teletext feature.
The TV set of the future will use digital techniques for most, if not all, of its functions. The process of converting to digital design is 'anything but easy and the process is likely to be long drawn out. It has already started, with some amazing new designs in workshops, but it's unlikely we will see true digital TV before the twenty-first century...............WAS..............IT'S........ TRUE...............
THE SMART MONEY was betting that by the early 1990s most of the TV sets sold around the world will have digital circuits. Everywhere engineers were racing to be the first to put out a completely digital design. And the electronics giants of Japan, Europe and the US were watching them carefully. There have been some successes already. In Europe the ITT subsidiary Intermetall has produced a kit of five VLSI chips that digitise the vision path between the demodulator and the output amplifier. According to ITT, this represents the integration of almost 300 000 transistor functions. Motorola had a similar set of chips it calls the System 4 that mixes digital and analogue functions on the chips. There has also been considerable progress towards a digital frame store (DFS). A DFS is a device that stores the whole picture (frame) as a series of digits in one set of memory. In Europe, Philips has unveiled the first primitive model and Sony in Japan seemed to be heading down the same track. TV designers have been quick to jump on these developments. Virtually all of them have had prototype sets up and running that use digital chip sets. Sony had already released one in Japan and plans to release it here within the next two years after 1983. National, likewise, had released its first digital TV in Japan, using the ITT chip set, but there are no plans yet to release it in this country. Hitachi also claims to be working on one, but according to its Melbourne office, the details were still "confidential". The primary US contender is the Zenith Corporation, which had a prototype up and running.
Advantages: So, what's all the fuss about? Why digitise TV sets at all? Well, there are some fairly predictable answers: digital sets are claimed to offer greater immunity to noise and ghosting, better resolution, and ease of interfacing to other digital sources like personal computers and videotext systems. They also offer the designer the ability to do very sophisticated manipulations on the image data, manipulations that would be virtually impossible in a reasonably priced analogue set. Looking down the track just a little way, say within the next ten years, designers are looking at sets with 1250 non -interlaced lines, and flicker -free pictures of unparalleled clarity. They would be hardware independent of the transmission format, requiring only reprogramming of their DFS to handle any of the standards now in use, (or any that might originate in the future). Another facility that will be standard on most of these sets will be second source windows. These are small insets that can be made to show the output of a second source, like a VCR or video camera. The user will be able to select the size of the window and position it anywhere on the screen, as well as independently controlling brightness, colour etc, just as for the main screen.
For the setmaker, there's reduction in the component count and simpler, automated receiver alignment - alignment data is simply fed into a programmable memory in the receiver, which then adjusts itself. Subsequently, the use of feedback enables the set to maintain its performance as it ages. From the user's viewpoint, the advantages are improved performance and the fact that extra features such as picture -within -a -picture (two pictures on the screen at the same time) and still pictures become relatively simple to incorporate. The disadvantage of course is the need for a lot of extra circuitry. Since the received signals remain in analogue form, analogue -to -digital conversion is required before signal processing is undertaken. As the c.r.t. requires analogue drive signals, digital -to -analogue conversion is required prior to the RGB output stages - the situation is somewhat different in the timebase and audio departments, since the line drive is basically digital anyway and class D amplifier techniques can be used in the field and audio output stages. In between the A -D conversion and the various output stages, handling the signals in digital form calls for much more elaborate circuitry - hence those chips with 200,000 or so transistors. The extra circuitry is all incorporated within a handful of chips of course, but the big question is if and when the use of these chips will become an economic proposition, taking into account reduced receiver assembly/setting up costs, compared to the use of the present analogue technology - after all, colour receiver component counts are already very low. With the present digital technology, it's not feasible to convert the signals to digital form at i.f. So conversion takes place following video and sound demodulation. Fig. 1 shows in simple block diagram form the basic video and deflection signal processing arrangement used in the system devised by ITT Semiconductors. Before going into detail, two basic points have to be considered - the rate at which the incoming analogue signals are sampled for conversion to digital form, and the number of digits required for signal coding. Consider the example shown in Fig. 2. At both (a) and (b) the signals are sampled at times Ti, T2 etc. In (a) the signal is changing at a much faster rate than the sampling rate. So very little of the signal information would be present in the samples. In (b) the rate at which the signal is changing is much slower, and since the sampling rate is the same the samples will contain the signal information accurately. In practice, the sampling rate has to be at least twice the bandwidth of the signal being sampled. Once you've got your samples, the next question is how many digits are required for adequate resolution of the signal, i.e. how many steps are required on the vertical (signal level) scale in Fig. 2 The use of a four -digit code, i.e. 0000, 0001 etc., gives 16 possible signal levels. Doubling the number of digits to eight gives 256 signal levels and so on. ITT's experience shows that the luminance signal requires 8 bits (digits), the colour -difference signals require 6 bits, the audio signal requires 12 bits (14 for hi-fi quality) while 13 bits are required for a linear horizontal scan on a 26inch tube. These digital signals are handled as parallel data streams in the subsequent signal processing. Returning to Fig. 1, the A -D and D -A conversion required in the video channel is carried out by a single chip which ITT call the video codec (coder/decoder). A clock pulse generator i.c. is required to produce the various pulse trains necessary for the digital signal processing, and a control i.c. is used to act as a computer for the whole digital system and also to provide interfacing to enable the external controls (brightness, volume, colour etc.) to produce the desired effects. In addition, the control i.c. incorporates the digital channel selection system. The video codec i.c. uses parallel A-D/D-A conversion, i.e. a string of voltage comparators connected in parallel. This system places a high premium on the number of bits used to code the signal in digital form, so ITT have devised a technique of biasing the converter to achieve 8 -bit resolution using only 7 bits (the viewer's eye does some averaging on alternate lines, as with Simple PAL, but this time averaging luminance levels). The A -D comparators provide grey -encoded outputs, so the first stage in the video processor i.c. is a grey -to -binary transcoder. As Fig. 3 shows, the processes carried out in the video processor i.c. then follow the normal practice, though everything's done in digital form. The key to this processing is the use of digital filters. These are clocked at rates up to 18MHz, and provide delays, addition and multiplication. The glass chroma delay line required for PAL decoding in a conventional analogue decoder consists of blocks of RAM (random-access memory) occupying only three square millimeters of chip area each. As an example of the ingenuity of the ITT design, the digital delay line used for chroma signal averaging/separation in the PAL system is used in the NTSC version of the chip as a luminance/chrominance signal separating comb filter. Fig. 4 shows the basic processes carried out in the deflection processor i.c. This employs the sorts of techniques we're becoming used to in the latest generation of sync processor i.c.s. Digital video goes in, and the main outputs consist of a horizontal drive pulse plus drives to the field output and EW modulator circuits. The latter are produced by a pulse -width modulator arrangement, i.e. the sort of thing employed with class D output stages. The necessary gating and blanking pulses are also provided. A further chip provides audio signal processing. One might wonder why the relatively simple audio department calls for this sort of treatment. The W. German networks are already equipping themselves for dual -channel sound however, and the audio processor i.c. contains the circuitry required to sort out the two -carrier sound signals. These chips represent a major step in digitalizing the domestic TV receiver. It seems likely that some enterprising setmaker will in due course announce a "digital TV set". The interesting point then will be whether the chip yields, and the chip prices as production increases, will eventually make it worthwhile for all setmakers to follow this path (in 1984).
Teletext is a television-based communication technique in which a given horizontal video line is utilized for broadcasting textual and graphical information encoded in a digital binary representation. Such horizontal video line signal that contains teletext data is referred to herein as a Data-line. It is assumed herein, for explanation purposes, that teletext is sent by the broadcaster only during the vertical blanking interval (VBI), when no other picture information is sent. The organization of the binary information in the broadcast signal is determined by the standard employed by the broadcaster. By way of an example only, references are made herein to a teletext based on a standard referred to by the British Broadcasting Corporation (BBC) as CEEFAX.
Each Data-line carries data synchronizing and address information and the codes for a Row of 40 characters. The synchronizing information includes a clock run-in sequence followed by an 8-bit framing code sequence. Each Data-line contains a 3 bit code referred to as the Magazine number. A teletext Page includes 24 Rows of 40 characters, including a special top Row called the Page-Header. Each ROW is contained in a corresponding Data-line. A user selected Page is intended to be displayed in place of, or added to a corresponding television picture frame. A Magazine is defined to include Pages having Data-lines containing a corresponding Magazine number. The transmission of a selected Page begins with, and includes its Page Header and ends with and excludes the next Page Header of the selected Magazine number. All intermediate Data lines carrying the selected Magazine number relate to the selected Page.
Back side SCART connector is present toghether with HIFI speaker outptus.
A SCART Connector (which stands for Syndicat des Constructeurs d'Appareils Radiorécepteurs et Téléviseurs) is a standard for connecting audio-visual equipment together. The official standard for SCART is CENELEC document number EN 50049-1. SCART is also known as Péritel (especially in France) and Euroconnector but the name SCART will be used exclusively herein. The standard defines a 21-pin connector (herein after a SCART connector) for carrying analog television signals. Various pieces of equipment may be connected by cables having a plug fitting the SCART connectors. Television apparatuses commonly include one or more SCART connectors.Although a SCART connector is bidirectional, the present invention is concerned with the use of a SCART connector as an input connector for receiving signals into a television apparatus. A SCART connector can receive input television signals either in an RGB format in which the red, green and blue signals are received on Pins 15, 11 and 7, respectively, or alternatively in an S-Video format in which the luminance (Y) and chroma (C) signals are received on Pins 20 and 15. As a result of the common usage of Pin 15 in accordance with the SCART standard, a SCART connector cannot receive input television signals in an RGB format and in an S-Video format at the same time.Consequently many commercially available television apparatuses include a separate SCART connectors each dedicated to receive input television signals in one of an RGB format and an S-Video format. This limits the functionality of the SCART connectors. In practical terms, the number of SCART connectors which can be provided on a television apparatus is limited by cost and space considerations. However, different users wish the input a wide range of different combinations of formats of television signals, depending on the equipment they personally own and use. However, the provision of SCART connectors dedicated to input television signals in one of an RGB format and an S-Video format limits the overall connectivity of the television apparatus. Furthermore, for many users the different RGB format and S-Video format are confusing. Some users may not understand or may mistake the format of a television signal being supplied on a given cable from a given piece of equipment. This can result in the supply of input television signals of an inappropriate format for the SCART connector concerned.This kind of connector is todays obsoleted !
This model and smaller models were introducing the ITT DIGIVISION DIGITAL SIGNAL PROCESSING in the television consumer market.
The official introduction was in 1984 in Germany and this is a ITT DIGIVISION 3876 OSCAR model which was marketed in 1985- 1986 in Europe employing the first generation of the ITT DIGIVISION DIGITAL SIGNAL PROCESSING CHASSIS.
In the years after 1986 other tele vision fabricants started using and developing television sets
employing the DIGIT2000 DIGIVISION ITT TECHNOLOGY.
In 1984, after ITT released on the market the DIGIVISION ITT DIGIT2000, only one constructor have followed immediately this technology; it was SINUDYNE an extint Italian industry.
This tellye is fabricated by SEL / ITT (Standard Elektrik Lorenz), the same fabricant of all semiconductors related to the ITT DIGIVISION chipset.
It' fitted with the ITT DIGI 3 110° / IFB-285/2 CHASSIS which is the first generation of DIGITAL CHASSIS for television.
This is the father of all the DIGITAL TECHNOLOGY applied to Video and Audio Processing for Television applications.
The video signal in the DIGITAL DOMAIN OF ITT DIGIVISION DIGIT2000 has NO RIVALS. The processing is ULTRA FAST and doesn't mix or produce any type of "additions" unrelated to Original picture, it's every time natural and never artificial.
DIGITAL Colour television receiver or set , are known in which the majority of signal processing that takes place therein is carried out digitally. That is, a video or television signal is received in a conventional fashion using a known analog tuning circuit and then, following the tuning operation, the received analog television signal is converted into a digital signal and digitally processed before subsequently being converted back to an analog signal for display on a colour cathode ray tube.
In a conventional television receiver, all signals are analog-processed. Analog signal processing, however, has the problems at the video stage and thereafter. These problems stem from the general drawbacks of analog signal processing with regard to time-base operation, specifically, incomplete Y/C separation (which causes cross color and dot interference), various types of problems resulting in low picture quality, and low precision of synchronization. Furthermore, from the viewpoints of cost and ease of manufacturing the analog circuit, a hybrid configuration must be employed even if the main circuit comprises an IC. In addition to these disadvantages, many adjustments must be performed.
In order to solve the above problems, it is proposed to process all signals in a digital form from the video stage to the chrominance signal demodulation stage. In such a digital television receiver, various improvements in picture quality should result due to the advantages of digital signal processing.
Therefore digital television signal processing system introduced in 1984 by the Worldwide Semiconductor Group (Freiburg, West Germany) of International Telephone and Telegraph Corporation is described in an ITT Corporation publication titled "VLSI Digital TV System--DIGIT 2000." In that system color video signals, after being processed in digital (binary) form, are converted to analog form by means of digital-to-analog converters before being coupled to an image displaying kinescope. The analog color video signals are coupled to the kinescope via analog buffer amplifiers and video output kinescope driver amplifiers which provide video output signals at a high level suitable for driving intensity control electrodes of the kinescope.
The ITT DIGIVISION 3876 HIFI OSCAR Is a multistandard set and relates to a digital multistandard decoder for video signals and to a method for decoding video signals.
Colour video signals, so-called composite video, blanking and sync signals (CVBS) are essentially composed of a brightness signal or luminance component (Y), two colour difference signals or chrominance components (U, V or I, Q), vertical and horizontal sync signals (VS, HS) and a blanking signal (BL).
The different coding processes, e.g. NTSC, PAL and SECAM, introduced into the known colour television standards, differ in the nature of the chrominance transmission and in particular the different systems make use of different colour subcarrier frequencies and different line frequencies.
The following explanations relate to the PAL and NTSC systems, but correspondingly apply to video signals of other standards and non-standardized signals.
The colour subcarrier frequency (fsc) of a PAL system and a NTSC system is fsc(NTSC) = 3.58 MHz or fsc(PAL) = 4.43 MHz.
In addition, in PAL and NTSC systems the relationships of the colour subcarrier frequency (fsc) to the line frequency (fh) are given by fsc(NTSC) = 227.50 * fh or 4•fsc(NTSC) = 910 • fh fsc(PAL) = 283.75 * fh or 4•fsc(PAL) = 1135 • fh so that the phase of the colour subcarrier in the case of NTSC is changed by 180°/line and in PAL by 270°/line.
In the case of digital video signal processing and decoding the prior art fundamentally distinguishes between two system architectures. These are the burst-locked architecture and the line-locked architecture, i.e. systems which operate with sampling frequencies for the video signal, which are produced in phase-locked manner to the colour subcarrier frequency transmitted with the burst pulse or in phase-locked manner with the line frequency, respectively.
The principal advantage of the present invention is a color television receiver is provided having a fully digital color demodulator wherein the luminance signal and the chrominance signals are separated and digitally processed prior to being converted to analog signals in that the all-digital signal processing largely eliminates the need for nonintegratable circuit elements, i.e., particularly coils and capacitors, and that the subcircuits can be preferably implemented using integrated insulated-gate field-effect transistor circuits, i.e., so-called MOS technology. This technology is better suited for implementing digital circuits than the so-called bipolar technology.
The ITT DIGIVISION 3876 HIFI OSCAR is a multisound tv digital sound processing.
- High contrast bright, because of the digital processing, lot of more dynamic is gained.
- High precision detailed picture, because of the digital processing any particular of the picture even the little point is processed and improved.
- Super color dynamic, because of the digital processing, colors are gaining power and precision details but without producing any kind of no reality like many modern CRAPPY LCD & Co.
The ITT DIGIT2000 chipset is the core of all Audio and Video processing. From the composite CVBS signal all processing is executed in the DIGIT2000 chipset board which improves signal quality and dynamic without needing any regulations or setup.
This technology is introducing even an another important group of revolutionary features:
NO MORE REGULATIONS needed via trimmers and / or potentiometers.
All setups regarding picture / CRT / SOUND are executed in the digital domain via a special kind of setup feasible via special tools or via a SERVICE MODE SETUP and parametrized via remote
controller and front display steps followed engineering menu.
It's Useless to say that the pictures produced by this set are excellent for precision and brightness and quality.
Even the sound has superb bass AUDIO and response to all sounds in perfect ways.
(To see the Internal Chassis Just click on Older Post Button on bottom page, that's simple !)
Here is the Announcement article from DER SPIEGEL a GERMAN journal which was discussing the introducing marketing of the DIGIVISION ITT TECHNOLOGY:
(This article is in original GERMAN Language)
Vorteil im Verborgenen
Gemeint ist das neueste Gerät der Standard Elektrik Lorenz (SEL) - ein computergesteuerter Fernseher namens Digivision. "Mit Freude und Stolz" hatte SEL-Vorstandschef Helmut Lohr seinen
Aktionären den Apparat auf der letzten Hauptversammlung präsentiert. Ende dieses Monats soll es nun den digitalen Fernseher zu kaufen geben.
Vorerst allerdings dürfte der rund 2700 Mark teure Apparat allein fortschrittshungrige Techniker begeistern. Es ist der erste Farbfernseher der Welt, der Bild- und Tonsignale digital, wie ein Computer, verarbeitet.
Die Idee stammt von dem jugoslawischen Ingenieur Lubo Micic. Der hatte bereits vor zehn Jahren bei der Firma Intermetall in Freiburg, einer Tochter des amerikanischen ITT-Konzerns, zu dem auch SEL gehört, die Grundlage für Digivision entwickelt.
Mikroprozessoren, so schlug Micic vor, sollten die von den Sendern kommenden Fernsehsignale in Zahlencodes verwandeln. Um eine optimale Bildqualität zu erreichen, müßte eine andere Rechnereinheit die in digitale Codes verwandelten Signale überprüfen und, falls nötig, korrigieren. Die so aufbereiteten Signale würden dann wieder in ihre ursprüngliche Wellenform gebracht und das Fernsehbild produzieren.
Doch vor zehn Jahren wußten die Techniker die nahezu unbegrenzten Möglichkeiten der neuen Mikroprozessoren noch nicht recht zu nutzen. Die fingernagelgroßen Chips, die alle zentralen Funktionen eines großen Computers übernahmen, waren gerade erst zwei Jahre auf dem Markt.
Inzwischen hat Intermetall mehr als 40 Millionen Mark investiert, um Chips zu entwickeln, die ohne Zeitverzögerung die wellenförmigen Fernsehsignale in digitale Codes umwandeln. Und weitere Millionen sind erforderlich, damit auch der Verbraucher die Wunder der neuen Technik nutzen kann. So soll der Digital-Fernseher
eines Tages Bildstörung
Doch dazu müssen die digitalen Fernsehsignale durch einen elektronischen Speicher geschickt werden, der etwa die gewünschten Standbilder später wieder hergibt. Ein solcher Speicher aber ist bislang in keinem der jetzt käuflichen Geräte eingebaut.
Das Problem ist die unvorstellbare Menge an Daten, die ein solcher Speicher aufnehmen müßte. Um das Standbild zu liefern, muß der Speicher alle für das Fernsehbild notwendigen Informationen festhalten können. Bei einem Farbbild sind das rund vier Millionen digitaler Informationen (bits) pro Sekunde.
Diese Datenflut läßt sich mit den heute verfügbaren Speichern auf dem engen Raum eines Fernsehgeräts kaum verarbeiten. Mehr als 250 der heute üblichen Chips wären erforderlich. Der Preis für das Gerät stiege dadurch um mindestens 1500 Mark.
Frühestens in zwei Jahren, so rechnen die Experten, wird es möglich sein, die Zahl der für den Datenspeicher notwendigen Chips drastisch zu reduzieren. Dann könnten störungsfrei arbeitende Fernseher mit Standbild und Ausschnittvergrößeru
Bislang wirken sich die Vorzüge des neuen Fernsehers vor allem für die Hersteller aus: Die Chips machen den Fernseher computergerecht. Zum Beispiel die Einstellung von Helligkeit und Bildschärfe sowie die Endkontrolle im Werk können von einem Rechner übernommen werden.
Die Folge: Die Geräte kommen noch schneller vom Band. Seit Mitte der siebziger Jahre fiel die Produktionszeit für einen Fernseher bereits von acht auf zwei Stunden. Mit Hilfe der Digitaltechnik läßt sich nun noch einmal mindestens eine halbe Stunde einsparen.
Solche Rationalisierungsvorteile weckten das Interesse der Konkurrenz. Bereits 18 Gerätehersteller aus aller Welt, darunter Sony, Grundig und Blaupunkt, verhandeln mit Intermetall. Die für 1983 vorgesehene Produktion von 200 000 der neuen Chips ist bereits verkauft. Im kommenden Jahr soll die zehnfache Menge produziert werden.
Der ITT-Konzern hat schon jetzt 60 Millionen Mark in die Fabrikation der Chips gesteckt. Bis 1987 will der US-Multi noch einmal 350 Millionen Mark investieren. "Wir sind", so ein Intermetall-Manager, "vielleicht ein halbes Jahr weiter als die Konkurrenz, und diesen Vorsprung müssen wir nutzen."
In der Tat ziehen die Konkurrenten nach. Halbleiter-Produzenten wie Siemens, Texas Instruments oder Motorola sehen ebenfalls eine Chance, ihr Bauteile-Geschäft auszuweiten. Immerhin werden jährlich weltweit rund 50 Millionen Fernseher gebaut - für die Chips-Hersteller tut sich da ein ganz neuer Markt auf.
Für den Verbraucher dagegen, der sich ein neues Fernsehgerät anschafft, liegen die Vorteile der Digital-Technik eher noch im Verborgenen: Im Gerät ist weniger drin - sechs Mikrochips ersetzen rund 300 von etwa tausend herkömmlichen Bauteilen.
Im Gebrauch muß deshalb ein solcher Apparat zuverlässiger sein: Was nicht drin ist, so ein alter Techniker-Schnack, kann auch nicht kaputtgehen. _(Sechs Chips einer ITT-Leiterplatte ) _(ersetzen rund 300 konventionelle ) _(Bauteile. )
Alle Rechte vorbehalten
Vervielfältigung nur mit Genehmigung der SPIEGEL-Verlag Rudolf Augstein GmbH & Co. KG.
An Increasingly Versatile Device The domestic television set used to be simply the thing that reproduced the programmes transmitted by one or other of the three programme networks unless you happened to be connected to one of the wire systems that have experimented with local TV and pay TV at various times. But have you noticed what an increasingly versatile thing the TV set is becoming?
- The first major extension to the domestic TV set's possibilities came with the VCR, enabling you to record off air or replay prerecorded tapes. Domestic VTR systems have at a price been with us for roughly a decade now, but till the advent of the easy to handle VCR most low-cost VTR systems were intended for use with monitors, with the signal interconnections at video and audio frequencies.
- Then came TV games, first found in the pubs and amusement arcades, later appearing in compact, relatively inexpensive packages for home use. The significant point here was the entry of digital techniques on the domestic TV scene. On the broadcast side, digital techniques had been making a substantial contribution to operations for some years, starting with the BBC's sound-in-syncs system (1969) in which the TV sound signal is compressed, converted to digital form and inserted in the line sync pulse period, and culminating with the IBA's famed DICE, which provides electronic standards (lines, fields, colour) conversion by converting the signals to digital form, processing them, then converting them back into analogue form.
Rather far from TV games you might think, but it's all part of the same process - the increasing impact of digital techniques on the world of television. In fact the technology of TV games has evolved considerably since their first appearance.
The approach then was to employ a fair number of standard digital i.c.s to build up the circuitry required. But why not go about it in the same way as the calculator manufacturers?
It didn't take long for the semiconductor people to see this new possibility for using their l.s.i. technology. This made it a relatively simple matter to provide a range of games with just a single i.c. the basis of the present generation of TV games.
Add a second i.c. and the whole thing comes up in glorious colour. But it doesn't end there. The talk was now is of adopting microprocessor technology and making the system programmable, so that an almost unlimited range of games of varying degrees of complexity can be played. The favoured system seems to been to use prerecorded cassettes to provide the various programmes. And once you do that, you can extend the system to all sorts of other uses - teaching systems and so on. In fact you've made the TV set into part of a home computer installation - as we outlined in Teletopics last month. It's not impossible then to imagine some "viewers" using their TV sets for games, instruction and VCR use, while keeping up to date with teletext news and getting extra information via the PO's Viewdata system - and never watching a transmitted programme at all! We've come a long way then from the days of the TV set as a goggle
(goggle ????? or gooooooooooogle).................. box.
Teletext decoders and TV games were already being built into a few sets. What other digital innovations can we expect in TV sets? (may be DVB)
One now well established use of digital techniques is to provide all electronic channel selection.
The varicap tuner simply asks to be controlled in this way, and the system lends itself readily to remote control operation. Once you're controlling the tuner and generating various signals digitally there are other things you might as well do. Like flashing the selected channel number on the screen, or the time (coming shortly in Television!). Sets which do this sort of thing have been available on the Continent for some while now.
- The latest development along these lines is the picture within a picture a reduced size picture from another channel being inserted in the corner of the main display (PIP), so that you can watch two progrpnmes at once or see when to change over to a programme due to start on another channel. This involves some interesting digital processes - you've got to lose lines, and compact the video information by reading it into a memory at one speed and reading it out at another, in effect operating at two standards simultaneously while keeping both in sync (remember how difficult it has sometimes been to keep a set in sync on one standard!).
- There's only one thing that prevents a space-age TV installation in every home: cost.
But the cost of electronic hardware has a habit of falling dramatically once production has achieved a certain level. TV games are already commonplace, and teletext decoders have become a lot cheaper once specialised i.c. modules for the purpose go into large scale production. From this point in time, it already seems that one can regard the days when the TV set simply displayed one of the programmes available as the age of stream TV.
....................................But we all know how it ended !
Over the years we have learnt that one of the most important things in video/ TV technology is selecting the best system to use. We have also seen how difficult this can be. Prior to the start of the colour TV era in Europe there was an great to-do about the best system to adopt. The US NTSC system seemed an obvious choice to start with. It had been proved in use, and refine- ments had been devised. But alternative, better solutions were proposed - PAL and Secam. PAL proved to be a great success, in fact a good choice.The French Secam system seems to have worked just as well. Apart from the video tape battles of the Seventies, the next really big debate concerned digital TV. When it came to digital terrestrial TV (DTT), Europe and the USA again adopted different standards.One major difference is the modulation system used for transmission. Coded orthogonal frequency division multiplexing (COFDM) was selected for the European DVB system, while in the USA a system called 8VSB was adopted. COFDM uses quadrature amplitude modulation of a number of orthogonal carriers that are spread across the channel bandwidth. Because of their number, each carrier has a relatively low bit rate.The main advantage of the system is its excellent behaviour under multipath reception conditions. 8VSB represents a rather older, pre phase modulation technoogy: eight state amplitude modulation of a single carrier, with a vestigial sideband. The decision on the US system was assigned to the Advanced Television Systems Committee (ATSC), reporting to the FCC. The system it proposed was approved by the FCC on December 26th, 1996. The curious date might suggest that there had been a certain amount of politicking. In fact there had been an almighty row between the TV and computer industries about the video standard to adopt, the two fearing that one or other would gain an advantage as the technologies converged. It was 'resolved' by adopting a sort of "open standard" we are talking about resolution and scanning standards here - the idea apparently being that the technology would somehow sort itself out.There seems to have been rather less concern about the modulation standard. 8VSB was adopted because it was assumed to be able to provide a larger service area than the alternatives, including COFDM, for a given transmitter power. Well, the USA is a very large place! But the US TV industry, or at least some parts of it, is now having second thoughts. Once the FCC had made its decision, there was pressure to get on with digital TV. In early 1998 there were announce- ments about the start of transmissions and broadcasters assured the FCC that DTT would be available in the ten areas of greatest population concentration by May 1999. Rapid advances were expected, with an anticipated analogue TV switch -off in 2006. So far however things have not gone like that. At the end of 1999 some seventy DTI' transmitters were in operation, but Consumer Electronics Manufacturers Association estimates suggest that only some 50,000 sets and 5,000 STBs had been sold.There have been many reports of technical problems, in particular with reception in urban and hilly areas and the use of indoor aerials, also with video/audio sync and other matters. Poor reception with indoor aerials in urban conditions is of particular concern: that's how much of the population receives its TV. The UK was the first European country to start DTI', in late 1998 - at much the same time as in the USA. The contrast is striking. ONdigital had signed up well over 500,000 subscribers by the end of 1999, a much higher proportion of viewers than in the USA. Free STBs have played a part of course, but it's notable that DTT 's reception in the UK has been relatively hassle -free. In making this comparison it should also be remembered that the main aim of DTT technology differs in Europe and the USA.The main concern in Europe has been to provide additional channels. In the USA it has been to move to HDTV, in particular to provide a successor the NTSC system. There have been plenty of channels in the USA for many a year. For example the DirecTV satellite service started in mid 1994 and offers some 200 channels. Internationally, various countries have been comparing the US and European digital systems. They have overwhelmingly come down in favour of the DVB system. There have been some very damaging assessments of the ATSC standard. The present concern in the US TV industry results from this poor domestic take up and lack of international success. Did the FCC make a boob, in particular in the choice of 8VSB? Following compara- tive tests carried out by Sinclair Broadcasting Group Inc., the company has petitioned the FCC to adopt COFDM as an option in the ATSC standard. Not only did its tests confirm poor reception with indoor aerials: they also established that the greater coverage predicted for 8VSB failed to materialise in practice. Could the USA have two DTT transmission standards? It seems unlikely. It would involve dual standard receivers and non standardisation of transmitters. In the all important business of system selection, it looks as if the FCC got it wrong.
.................................... It is obviously wasteful to duplicate terrestrial TV transmissions in analogue and digital form. Sooner or later transmissions will all be digital, since this is a more efficient use of spectrum space. The question is when? It would suit some to switch off the analogue transmitters as soon as possible. 2006 has been suggested as a time to start, with ana- logue transmissions finally ending in 2010. All very neat and tidy. Whether it will work out in that way is another matter. Strong doubts are already beginning to be aired.
The government has, quite properly, laid down conditions to be met before the switch off occurs. Basically that the digital signal coverage should equal that achieved for analogue TV, currently 99.4 per cent of the population, and that digital receiving equipment should be available at an affordable price. The real problem is that there is a difference between a coverage of 99.4 per cent and 99.4 per cent of the population actually having digital receiving equipment. Why should those who are interested in only free - to -air channels go out and buy/rent a digital receiver? It is already becoming evident that this represents a fair chunk of the population.
The ITC has warned the government that the 2006-2010 timetable is in jeopardy. Peter Rogers, the ITC's chief executive, has said "we need to persuade people only interested in watching free -to -air television to switch to digital. "Unless we do, there will be no switch - over." Well not quite, because the analogue receivers will eventually wear out and have to be replaced. But that could take a long, long time. Meanwhile many people will expect to be able to continue to watch their usual TV fare using their existing analogue receivers.Research carried out by Culture Secretary Chris Smith's department has established that between forty and fifty per cent of the population expects the BBC licence to cover their TV viewing, which means what they get at present in analogue form. A substantial percentage of the population simply isn't interested in going digital. In fact take up of integrated receiver -decoders, as opposed to the free digital set -top boxes, has so far been very slow.Of five million TV sets sold in the UK year 1999 , only 10,000 were digital. There are important factors apart from overall coverage and how many people have sets. There is the extension of coverage, which becomes more difficult to achieve eco- nomically as the number of those not covered decreases. There is the problem of reception quality. And there is the question of domestic arrangements and convenience. Extending coverage to the last ten fifteen per cent of the population by means of conventional terrestrial transmitters will be expensive. Mr Smith's department seems to have conceded that other methods of signal delivery may have to be adopted - by satellite, by microwave links or by cable. The latter has of course never been economic where few households are involved.The frequency planners have been trying to find ways of increasing coverage even to well populated areas. There are so many areas where problems of one sort or another make the provision of DTT difficult. Satellite TV is the obvious solution.The time may well come when it is wondered why anyone bothered with DTT. Signal quality is becoming an increasingly important factor as the digital roll out continues. In areas where the signal is marginal, viewers could experience the extreme irritation of picture break up or complete loss like even todays. This is quite apart from the actual quality of the channel, which depends on the number of bits per second used. There is a maximum number of bits per multiplex, the total being shared by several channels. The fewer the bits, the poorer the picture in terms of definition and rendering.There have already been complaints about poor quality. The question of domestic arrangements is one that has not so far received adequate public attention. Most households 2000 nowadays don't have just one TV set that the family watches. They have a main one, probably, almost certainly one or more VCRs, and several other sets around the house to serve various purposes. What 'the percentage of households that have digital TV' should really mean is the percentage willing to replace all this equipment. It will be expensive, and people would not be happy if they were told to throw away their other equipment when they get a single nice new all singing all dancing widescreen digital TV set. It fact there would be uproar. The move from analogue to digital is not like that from 405 to 625 lines, which went fairly smoothly.
In those days few people had video equipment or a multitude of sets. The transition to digital is not going to be smooth, and the suggestion of a switch off during 2006-2010 already looks totally unrealistic. Unless the government subsidises or gives away digital TV sets - and why should it? - people will expect their existing equipment to continue to be usable.So it's likely that analogue TV will be with us for many years yet. But that would be the end of analogue too..............................Indeed...............................
ITT Corporation (NYSE: ITT) is a global diversified manufacturing company with 2008 revenues of $11.7 billion. ITT participates in global markets including water and fluids management, defense and security, and motion and flow control. Forbes.com named ITT Corporation to its list of "America's Best Managed Companies" for 2008, and awarded the company the top spot in the conglomerates category.
,ITT's water business is the world's largest supplier of pumps and systems to transport, treat and control water, and other fluids. The company's defense electronics and services business is one of the ten largest US defense contractors providing defense and security systems, advanced technologies and operational services for military and civilian customers. ITT's motion and flow control business manufactures specialty components for aerospace, transportation and industrial markets.
In 2008, ITT was named to the Dow Jones Sustainability World Index (DJSI World) for the tenth time in recognition of the company's economic, environmental and social performance. ITT is one of the few companies to be included on the list every year since its inception in 1999.
The company was founded in 1920 as International Telephone & Telegraph. During the 1960s and 1970s, under the leadership of its CEO Harold Geneen the company rose to prominence as the archetypal conglomerate, deriving its growth from hundreds of acquisitions in diversified industries. ITT divested its telecommunications assets in 1986, and in 1995 spun off its non-manufacturing divisions, later to be purchased by Starwood Hotels & Resorts Worldwide.
In 1996, the company became ITT Industries, Inc., but changed its name back to ITT Corporation in 2006.
ITT was formed in 1920, created from the Puerto Rico Telephone Company co-founded by Sosthenes Behn.[1] Its first major expansion was in 1923 when it consolidated the Spanish Telecoms market into what is now Telefónica.[2] From 1922 to 1925 it purchased a number of European telephone companies. In 1925 it purchased the Bell Telephone Manufacturing Company of Brussels, Belgium, which was formerly affiliated with AT&T, and manufactured rotary system switching equipment. In the 1930s, ITT grew through purchasing German electronic companies Standard Elektrizitaetsgesellschaft (SEG) and Mix & Genest, both of which were internationally active companies. Its only serious rival was the Theodore Gary & Company conglomerate, which operated a subsidiary, Associated Telephone and Telegraph, with manufacturing plants in Europe.
In the United States, ITT acquired the various companies of the Mackay Companies in 1928 through a specially organized subsidiary corporation, Postal Telegraph & Cable. These companies included the Commercial Cable Company, the Commercial Pacific Cable Company, Postal Telegraph, and the Federal Telegraph Company.
International telecommunications
International telecommunications manufacturing subsidiaries included STC in Australia and Britain, SEL in Germany, BTM in Belgium, and CGCT and LMT in France. Alec Reeves invented Pulse-code modulation (PCM), upon which future digital voice communication was based. These companies manufactured equipment according to ITT designs including the (1960s) Pentaconta crossbar switch and (1970s) Metaconta D, L and 10c Stored Program Control exchanges, mostly for sale to their respective national telephone administrations. This equipment was also produced under license in Poznań (Poland), and in Yugoslavia, and elsewhere. ITT was the largest owner of the LM Ericsson company in Sweden but sold out in 1960.
1989 breakup
In 1989 ITT sold its international telecommunications product businesses to Alcatel, now Alcatel-Lucent. ITT Kellogg was also part of the 1989 sale to Alcatel. The company was then sold to private investors in the U.S. and went by the name Cortelco Kellogg. Today the company is known as Cortelco (Corinth Telecommunications Corporation, named for Corinth, MS headquarters). ITT Educational Services, Inc. (ESI) was spun off through an IPO in 1994, with ITT as an 83% shareholder. ITT merged its long distance division with Metromedia Long Distance, creating Metromedia-ITT. Metromedia-ITT would eventually be acquired by Long Distance Discount Services, Inc. (LDDS) in 1993. LDDS would later change its name to Worldcom in 1995.
In 1995, ITT Corporation split into 3 separate public companies:
* ITT Corp. — In 1997, ITT Corp. completed a merger with Starwood Hotels & Resorts Worldwide, selling off its non-hotel and resorts business. By 1999, ITT completely divested from ITT/ESI; however, the schools still operate as ITT Technical Institute using the ITT name under license.[1] Also in 1999, ITT Corp. dropped the ITT name in favor of Starwood.[7]
* ITT Hartford (insurance) — Today ITT Hartford is still a major insurance company although it has dropped the ITT from its name altogether. The company is now known as The Hartford Financial Services Group, Inc.
* ITT Industries — ITT operated under this name until 2006 and is a major manufacturing and defense contractor business.
o On July 1, 2006, ITT Industries changed its name to ITT Corporation as a result of its shareholders vote on May 9, 2006.
Purchase of International Motion Control (IMC)
An agreement was reached on June 26, 2007 for ITT to acquire privately held International Motion Control (IMC) for $395 million. The deal was closed and finalized in September 2007. An announcement was made September 14, 2010, to close the Cleveland site.
Purchase of EDO
An agreement was reached September 18, 2007 for ITT to buy EDO Corporation for $1.7 billion.[12] After EDO shareholders' approval, the deal was closed and finalized on December 20, 2007.
Purchase of Laing
On April 16, 2009, ITT announced it has signed a definitive agreement to acquire Laing GmbH of Germany, a privately held leading producer of energy-efficient circulator pumps primarily used in residential and commercial plumbing and heating, ventilating and air conditioning (HVAC) systems.
2011 breakup
On January 12, 2011, ITT announced a transformation to separate the company into 3, stand-alone, publicly-traded, and independent companies.
HISTORY OF Standard Elektrik Lorenz AG IN GERMAN:
Die Standard Elektrik Lorenz AG (heute Alcatel-Lucent Deutschland AG) ist ein Unternehmen der Nachrichtentechnik (früherer Slogan: SEL – Die ganze Nachrichtentechnik) mit Hauptsitz in Stuttgart. Zur Nachrichtentechnik zählen auch Informations- und Kommunikationstechnik, Telekommunikationstechnik (SEL war für die Röchelschaltung bekannt) und früher Fernmeldetechnik oder Schwachstromtechnik. Einen weiteren Geschäftsbereich hatte das Unternehmen in der Bahnsicherungstechnik, so wurden für die Deutsche Bundesbahn Relaisstellwerke und elektronische Stellwerke mit den dazugehörigen Außenanlagen (Signale, Gleisfreimeldeanlagen, Weichenantriebe) sowie die Linienzugbeeinflussung entwickelt und gebaut, welche auch bei ausländischen Bahnen Abnehmer fanden. Der Bereich gehört seit 2007 als Thales Transportation Systems GmbH (seit 02.2011 vorher Thales Rail Signalling Solutions GmbH) zum Thales-Konzern. Die bereits 1998 ausgegliederten Bereiche Alcatel Air Navigation Systems und SEL Verteidigungssysteme sind ebenfalls heute in Thales Deutschland beheimatet.
Fernseher Illustraphon 743 von 1957
"Goldsuper Stereo 20" (1961)
Das Flaggschiff der erfolgreichen Schaub-Lorenz Kofferradios der sechziger Jahre: Touring 70 Universal
Erster Digitalfernseher der Welt (1983)
Bis 1987 gehörte SEL zusammen mit anderen auf dem Sektor Telekommunikation in anderen Ländern tätigen Schwesterfirmen zum US-amerikanischen Mischkonzern International Telephone and Telegraph (ITT). ITT verkaufte die Aktien-Mehrheit an den ITT-Telekommunikationsfirmen an die französische Compagnie Générale d'Electricité (CGE), die nach der Zusammenfassung mit den eigenen Telekommunikationsaktivitäten daraus die Alcatel N.V. bildete.
Die Standard Elektrik Lorenz AG wurde 1993 in Alcatel SEL AG umbenannt. Die Aktienmehrheit liegt mit über 99 % bei der Alcatel. Mit der Fusion von Alcatel und Lucent zu Alcatel-Lucent am 1. Dezember 2006 und der Neu-Firmierung beider Unternehmen in Deutschland zur Alcatel-Lucent Deutschland AG entfiel der Zusatz SEL.
Die beiden Stammfirmen des Unternehmens, die Mix & Genest AG und die Telegraphenbauanstalt von C. Lorenz, wurden 1879 bzw. 1880 gegründet. Das erste Patent von Mix & Genest datiert von 1883, das erste Patent von C. Lorenz ist aus dem Jahr 1902.
Das Unternehmen Mix & Genest war wesentlicher Teil der Standard Elektrizitäts-Gesellschaft (SEG), in die auch die Süddeutsche Apparatefabrik (SAF), die 1875 von F. Heller als "Friedrich Heller, Fabrik Elektrotechnischer Apparate" gegründet wurde, integriert wurde. Der technische Schwerpunkt von Mix & Genest bzw. SEG sowie der C. Lorenz AG war der klassischen Fernmelde- bzw. Funktechnik zuzuordnen. Die C. Lorenz AG baute in den 1920er und 1930er Jahren Großsender für den neu gegründeten Rundfunk.
1930 übernahm die International Telephone and Telegraph Company (ITT) die Aktienmehrheit der Mix & Genest AG und der C. Lorenz AG.
Die C. Lorenz AG positionierte sich mit der Übernahme der G. Schaub Apparatebau-Gesellschaft mbH im Jahr 1940 in der Entwicklung und Herstellung von Rundfunkempfängern. Ab dem Jahr 1950 wurden alle Geräte bei Schaub in Pforzheim gefertigt. 1952 wurde das Typenprogramm beider Unternehmen verschmolzen und der Lorenz-Radio-Vertrieb in die Firma Schaub integriert. Ab 1955 wurden die Geräte unter dem Namen Schaub-Lorenz vertrieben.
1956 wurde das Unternehmen SEG in Standard Elektrik AG umbenannt. Ebenfalls 1956 wurde ein Kabelwerk gegründet. Wesentlicher Motor für das 1957 gegründete Informatikwerk war Karl Steinbuch, der von 1948–1958 dem Unternehmen, zuletzt als Technischer Direktor und Leiter der Zentralen Forschung, angehörte.
1958 erfolgte die Vereinigung der Standard Elektrik AG mit der C. Lorenz AG zur Standard Elektrik Lorenz AG (SEL).
Die Standard Elektrik Lorenz AG übernahm 1961 die Graetz KG. Die Firmenteile Schaub-Lorenz und Graetz waren zusammen mit einem Bildröhrenwerk Bestandteil der Unternehmensgruppe Audio Video der SEL AG, die 1979 als Audio-Video-Elektronik in die ITT ausgegliedert wurde. Die Produkte, die unter anderem Fernsehgeräte, Radios, Autoradios, Kassettenrecorder, Weltempfänger und Lautsprecherboxen umfassen, wurden fortan unter dem Namen ITT Schaub-Lorenz vertrieben.
Versuche, auf dem neuen Gebiet der Raumfahrt-Elektronik Fuß zu fassen, waren auf folgende Produkte beschränkt:
* AZUR: Telemetrie/Telekommandogeräte
* Spacelab: Datenerfassung/Kommandoterminal.
SEL entwickelte zu Beginn der 1970er Jahre das Präzisionsanflugverfahren SETAC. Dieser Unternehmensbereich wurde im Jahre 1987 von der finnischen Firma Nokia übernommen.
1976 hatte SEL ein Grundkapital von 357 Mio. DM bei 33.000 Beschäftigten und einem Umsatz von 2,6 Mrd. DM.


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Transform Your Digital Images Into Permanent Memories
Most of remember our first professional photographs as the school group pictures that were taken at at the beginning of every school year. We were at our dorky best, but mortified that we had to pose for the camera. Later we would have individual photos taken as pre-teens and teenagers. These were still somewhat embarrassing, but at least the professional photographer was quick and painless, ushering us through like cattle in a slaughter house. The photos were given to us in a large white envelope in various poses so parents and grandparents could vie for the best shots.
We didn't get our picture taken at school, that we were really proud, of until the big Spring Dance at the end of our Junior or Senior years. Girls in their new designer prom dresses and boys in their rental tuxedos would stand proud to get that particular photo taken. We usually received these in pairs, one for her and one for him. And these would usually be our last photos shot by a professional until we found the partner of our dreams and decided to get married.
Today's wedding photographers capture hundreds of special moments before, during and after the ceremony, which are made available to their clients as digital images first. The time honored way of preserving these images is to have the best ones printed onto photographic paper to create a wedding album and framed photographs. Wedding albums are treasured keepsakes that become family heirlooms, but there are many other creative ways to transform your digital images into permanent memories. With the proliferation of print services available there has never been a better time to ensure your images have longevity.
Not only can you use these digital images to create stand out wall art in your home but certain images may make wonderful gifts for friends and family. The parents of your flower girl will adore the candid shot of her laughing and your bridesmaids may treasure the shot your destination wedding photographer captured of them frolicking at the beach. Or the bride, in her favorite pick of Allure wedding dresses. These images can be printed onto canvas, wood, metal or glass, or onto personalized throw pillows, iPhone cases, photo cubes and mugs.
Metal prints are an unusual choice as the images are printed onto aluminium wall hangings that give the impression of floating on the wall. Matte prints are fashioned into an aluminium mount with a UV lamination to protect the photograph. The result is hardy and durable as the fade free photographs are not only waterproof but scratch proof and stain proof too.
Companies such as Shutterfly or Snapfish you can upload your favorite photograph onto a canvas print for a customized design with gallery-wrapped edges or a wooden frame. A single image or a collage of images can be printed onto stretch canvas to create a stunning wall hanging.
Glass prints offer an unusual alternative to paper prints and if the idea appeals companies such as Florida based Fracture can transform your uploaded image onto glass and send it out to you. Other companies specialize in transforming your uploaded image onto wood. The texture of the unique wood grain will add a rich and vibrant finish to your photograph, with the option of a margin creating a natural wooden frame.
The images you select to transform into permanent photographs need not necessarily be the ones depicting yourself as a newlywed couple. There may be background shots that simply make great wall art, pictures of your live band performing or photos of the venue that bring back special memories. With so many options for bringing your digital images to life you can change up your decor by regularly introducing new pictures from your cache.

subset: commoncrawl


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Tuesday, February 18, 2014
Today's Top Stories
Top Stories from the
past week
Feb. 17
State to change
speed limits on Lincoln Parkway
Lincoln blasts out to an
early lead and never loses steam
Album 1 |
Album 2
By Debbie Olden
Lincoln versus Lanphier Feb. 28: Go
early and plan to wait
No pre-sale of
tickets will mean large crowds at the
Kiwanis Chocolate Fest a
sweet delight
Album 1
Album 2
Hazardous winter weather today: snow, sleet, wind
Chamber promotes 'mobs' at
local dining establishments
Local 4-H members learn
'superhero' leadership skills at leadership conference
Christian Village offers
'Almost Home' temporary apartment
Progress and AgEngage launch new show
board committee minutes:
Animal control, Oct. 9
Oct. 30
Feb. 15
Railers coast their way to
10th straight win
Album 1 |
Album 2
By Debbie Olden
Family and friends to
recognize teens' fatal accident
Light snow today, chance of icing on Monday
Slackers owners bow out in
LC men's & women's cross country earn academic all-American honors
Engineers Week begins Sunday
It's time for the Great
Backyard Bird Count
Maple Sirup Experience tours
at Sugar Grove Nature Center March 1
Illinois launches campaign to educate drivers about
hand-held cellphone ban
Affordable Care Act
enrollment numbers announced for first four months
Memorial Heart and Vascular
named to '100 Hospitals With Great Heart Programs'
Outdoors with
Babe Winkelman
Slim Randles' Home
'Love and Other Fiction'
Feb. 14
City discusses nuisance snow
and impound fees
Absentee voting for the
general primary election March 18
County board special finance
LJHS class writes
civil rights book, shares it with Central students
Album 1 |
Album 2
Album 3 |
Album 4
Emma Cooper is the Zion
Lutheran Student of the Month
ALHFoundation supports Mental
Health Centers of Central Illinois
HSLC annual chili fundraiser
to be Feb. 22
Are you smarter than a
4-H'er? Come find out at trivia event
YMCA notes
Get Covered Illinois: Valentine's Day
survey reveals health care is important factor for new
Feb. 13
County board special committee meetings:
Building and
Law enforcement —
corrected date
School tax report
Nominations sought for recognition of LJHS alumni
Brady Thomas named
Mount Pulaski Senior-of-the-Month
ALHF Healthcare Careers Scholarship applications now
Park district notes
Weekly Outlook:
soybean, and wheat export projections increased
Get your insurance coverage in order for 2014
Feb. 12
New youth services
librarian joins the Lincoln Public Library
St. Clara's celebrates its
centenarian residents
Album 1
| Album
Ah, the good 'Olden' days
By Jeff Benjamin
LCHS speech team
does well at regional competition
News from Hartem FFA
J.M. Abbott &
Associates has successful peer review
Wi-Fi now on Midwest corridors, including Lincoln routes
Get Covered Illinois and The Onion form strategic
Feb. 11
Historic courthouses
celebrate Abraham Lincoln's birthday
The Lincolns remember
the Gettysburg Address
Barbara Stroud-Borth tells the story of Sarah Wakefield
Album 1 |
3 |
Album 4
County board
committee special meeting notice
Mount Pulaski High
School student wins Illinois VFW Voice of Democracy
scholarship competition
WLB and CEL face
off tonight for regional championship
Do you live in fear of an IRS audit?
Olympians of Social Security
Back to top


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To Join our D/IV Wine Club, fill in your information and check out.
Sign up for a membership to our D/IV Wine Club, where each season brings a new varietal! There is no cost to join and members are guaranteed to not miss a bottling. You agree to receive 3 bottles each quarter at an 18% discount!
Please purchase your membership in an independent order, prior to making any further purchases. This will help us ensure that your next order will receive the discount. Also, subsequent purchases will not show the discount when you checkout, but we'll make sure to apply it afterwards!
Joining the D/IV Wine Club eliminates the possibility that you may miss out on ANY of our limited release offerings. There is no cost to join and we will make the most recent releases available to you immediately.
Each quarter our D/IV Wine Club members are allocated and billed for three bottles of our limited production bottlings. We have added an optional allocation called the "Imagination Series". These are small lots of remarkable vines from secret corners of the Northwest. You will find old vine Chardonnay, Petite Verdot, and of course our Inverse wine. Take comfort and satisfaction in that your allocation and all purchases are priced with an 18% discount! Some releases will coincide with an event to commemorate its inception, and local members may pick up their allocation then, also gaining an opportunity to reorder before our regular mailing list, any restaurants, retailers, and out-of-state distributors are welcomed to purchase. Shipping customers can look forward to 2 consolidated shipments of six bottles in April and November. Your allocated wines never total more than $325, excluding shipping/taxes. We make every effort to make larger allocations and alternate shipping arrangements available upon request.
Other benefits include:
- Free tasting for Wine Club members
- 18% discount on all purchases
- 10% discount on lodging at our Three Sleeps Bed and Breakfast, in Mosier, Oregon!
- Exclusive events and special savings for members and guests
Members will not see the 18% discount on orders placed through our online store, but we will make sure it is applied. You may also email us directly or call 503-474-8636 to place an order or inquire about availability of wines not listed online.
We are blessed to have this opportunity and we work hard to craft wines we are proud of.
Thank you!


text:
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text:
The University of Clippers suffered a major blow to their NCAA chances on Monday night.
(Well, there always is strength of schedule.)
Kidding aside, when you present a starting lineup consisting of five players all still possessing NCAA eligibility, it's always going to hold an element of peril and high risk.
The Clippers' starters were two 20-year-olds (Eric Bledsoe and Al-Farouq Aminu) two 21-year-olds (Blake Griffin and Eric Gordon) and one "veteran," 22-year-old DeAndre Jordan.
So this team might look terrific in March in the NCAA tournament, but this is, for better or worse, the NBA in the opening month.


text:
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Casual Season 3
Availability: In Stock
Casual Season 3 DVD Special Features
Actors: Michaela Watkins, Tommy Dewey
Language: English
Boxed Set: Yes
Number of discs: 3
Condition: New
Region: Region Free
Weight: 0.4 kg
Format: Support both NTSC & PAL
Rated: NR (Not Rated)
DVD Release Date: 2017
Casual Season 3 DVD Photos
Casual Season 3 DVD Overview
Casual is an American television comedy drama series that premiered on October 7, 2015 on Hulu. Created by Zander Lehmann and directed by Jason Reitman, Casual Season 3 DVD the series centers on Valerie, a newly divorced single mother living with her brother Alex and her daughter Laura. The cast also includes Frances Conroy and Nyasha Hatendi. In advance of its premiere on Hulu, the first two episodes of the series received an advance preview screening at the 2015 Toronto International Film Festival, Casual Season 3 as part of the festivals new Primetime platform of selected television projects.
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text:
Macular degeneration without Lucentis and Avastin
All I've heard the expression: "I'd rather stick a finger in the eye, but ..."
Well, it seems that the best treatments for AMD (age-related macular degeneration), Lucentis and Avastin, which this and do you put directly into the eye very dangerous side misfortune. Pharmaceutical industry with their men of science had "committed again" and new research demontreaza and the negative effects of these treatments made from produce to cash.
What is AMD?
AMD (macular degeneration due to the rising age) is a ochiulara and a leading cause of vision loss among older people. This causes damage to the macula, a small place near the center of the retina, the part of the eye needed for sharp eyesight, which allows us to see objects even in front of us.
In some people, AMD so slowly advancing way as vision loss occurs for a long period of time. In other cases, the disease progresses faster and may result in a loss of vision in one or both eyes. As AMD progresses? Blurry area close to the Centre of vision is a common symptom. Along time, the încetosata area can grow larger or may develop white spots in the central area. Objects, too, might not be as para bright as before. AMD itself does not lead to complete blindness, nor the ability to see. However, loss of central vision may interfere with daily activities, such as the simplest things, ability to see faces, drive a car, read, write or do little things around the House.
First let's take a quick look at Lucentis and Avastin for eyes, as the pain is not the worst thing compared to what may cause these two drugs.
Brands of medications produced Lucentis specifically for treating AMD. AVASTIN is a popular medication for treating cancer, but it is used (off-label) and for macular degeneration. Despite the huge cost difference, Department of Veterans Affairs (u.s. Department of Veterans Affairs) has recently suspended the use of Avastin. That's because the drug can cause serious eye infections that lead to blindness. However, there is a bizarre detail ... Results of a study funded by Genentech (those producing Avastin) showed that there is a risk of 11% higher to die during treatment with Avastin compared to users of Lucentis. But why would the public make these Genentech negative results, what they advertise bad? Because ... Genentech is going to be the one that produces and Lucentiswho does not want to sell AVASTIN at a much lower price.
So stick to buy Lucentis, which according to their official website, some patients have charged with aching eyes, headaches and respiratory infections. Some patients have had detached retina and infection inside the eye. Others have experienced blood clots, heart attacks, strokes and death.
And so, once a month injectezi eyeball a dangerous drug worth 300 pounds, so that you don't have a healthy knowledge of treatment with natural products.
A few years ago I told of the Age-Related Eye Disease Study (AREDS), a clinic in full swing and prestigious recognition is sponsored by the US National Eye Institute. In this study, a specific combination of supplements have helped prevent macular degeneration:
• Vitamin C-500 mg
• Vitamin E-400 IU
• Beta-carotene 15 mg
• Zinc (as zinc oxide)-80mg
• Copper (as copper oxide)-2 mg
"Macular Degeneration Research" found this combination can help prevent AMD and its treatment in advanced stage.
Medica ProNatura will help you with a wide variety of food options that include lutein and zeaxanthin (carotenoids, antioxidants rich), which reduces the risk of AMD. The yolks of eggs, fruits and vegetables are the best sources of lutein and zeaxanthin.
-can ameliorate disturbances;
-delay occurrence of macular degenereşcenţă processes;
-inhibit the growth of cellular anarhica;
-reverse aging processes;
-protection of the skin and mucous membranes.
-improves venous circulation;
-Act favorably upon the improvement of retinal;
-protect the vasculature of the eye;
-increasing acuity;
-aid in eye conditions associated with an increased level of blood glucose.
-increases the body's resistance towards infectious agents;
-contribute to maintaining healthy skin and mucous membranes;
-help in the ocular;
-gives protection towards the action of solar radiation dangerous;
-shows strong antioxidant action;
-reverse aging processes.


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bpcooper wrote:hopefully i get a scribe for my exams, either if i have to kinda lie to the guy assessing me
It depends- if your gross motor skills are awful, but your fine motor skills are ok (so you can write normally) then there is less of a case for extra time than if your handwriting is slow and illegible. It's based on the student's needs, not just their diagnosis.
I don't think it's just a matter of writing speed. That is definitely my biggest problem in exams, but my short-term memory skills and attention span also play a large part. Often I forget the question in the middle of my answer. Or I 'zone out' and wake up in a panic to realize I've spent five minutes gazing into nothingness.
Also, this may sound really silly but the extra time thing is bothering me. I was recently thinking it's funny how people with extra time always seem to have 25% extra, no more or less, no matter how bad their difficulties are. I'm sure I could do with mroe time for statistics...
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The Print Spot began in 1987 in Monterey Park. We focus on product quality and customer service. We take pride in developing a working partnership with our clients. We're all ears!
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A lyric soprano finds love, loss, and vengeance in this first installment of a World War II trilogy.
Opening in late 1937, this debut novel follows two opera singers as they live and work under the ever-tightening grip of the Nazi government. Peter Schweitzer, a lyric tenor, and Hélène, a lyric soprano, perform at the Nürnberg Theater, which stages Italian operas such as Verdi's "La Traviata" in German. Peter feels torn between his dislike of Germany's growing anti-Semitic policies, which affect his part-Jewish family as defined by the recent race laws, and his approval of the Nazi focus on the working man. But Hélène, a Belgian citizen who loves Peter and understands much more about politics than he does, knows trouble lies ahead, and tries to convince him to leave Germany with his family. War looms ever closer, and before long, the ugliness of Nazi rule reveals itself in shocking ways. Soon, Hélène and Peter begin working for the Resistance, but she quickly discovers that in the struggle against monstrous evil, becoming a monster may be the only way to fight. Appropriately, given the characters' profession and the story's historical backdrop, passions run high and melodramatic. But much of the dialogue remains stilted and overly emotional, veering between an abundance of exposition and plenty of exclamations and exclamation points (Hélène to Peter: "I won't marry you because you can't see the truth!). The novel becomes more restrained when chronicling the plot's many horrific events—which include rape, torture, and a haunting glimpse into concentration camp life. By avoiding exploitation and colorful descriptions, the narrative effectively evokes the terror. In addition, despite the often florid dialogue, Dobson provides his many characters with numerous opportunities to express themselves through action, which keeps the plot moving at a swift, enjoyable pace. This helps overcome the book's weaknesses, making it a qualified success for readers interested in historical dramas and wartime thrillers.
An operatic, if uneven, novel that offers a fast-paced plot and energetic characters.


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Sorry, be we cannot accept open items such as confetti, wedding programs, table covers, napkins, tulle, or any other item with a sealed plastic wrapper. Broken seals are not resale-able, therefore, they are not returnable.
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There's never been anything that's middle of the road about the 808 Firecrest. At 82mm deep, it's all out aero efficiency. Thanks to Zipp's revolutionary Firecrest technology, the 808 also offers all out performance for crosswind stability. The new Zipp 808 Firecrest Carbon Clincher Disc-brake wheelset enhances that speed and stability with the superior performance of disc brakes. Simply put, this is the fastest disc-brake wheelset available.
How you slow down plays an important role in how fast you go. Efficient speed adjustments on technical sections of road are crucial to conserving energy and maintaining speed. Disc-brakes gained prominence in mountain biking and then cyclocross and now are being embraced for road riding and racing. It's no wonder. The consistency and power of disc brakes provides precision modulation and stopping power, literally at your fingertips. The 808 Firecrest Carbon Clincher Disc-brake builds on the legacy of the 808 as the perfect choice for flat to rolling road rides, races, time trials and triathlon. Pair an 808 Firecrest Disc-brake rear wheel with a 404 Firecrest Disc-brake front… Or rock dual 808s for max aero efficiency.
With Firecrest's unparalleled approach to the wheel's centre of pressure, the 808 Firecrest Carbon Clincher also handles crosswinds with the stability you'd normally associate with a much shallower rim. Add to that best-in-class aerodynamic efficiency, and you have what we like to call aero balance. Plus, the wide rim shape provides efficient power transfer along with comfort and durability, making it an excellent choice for just about any terrain and riding style.
The 808 Firecrest Carbon Clincher Disc-brake also offers more versatility and options than ever before in a pure road wheel. Disc brakes for road also open a wider range of tire selections, such as 28 or 30mm tires, for improved comfort, handling and rolling resistance. At the centre of the 808 Firecrest Disc-brake wheelset is the 77/177D hubset, which offers options for riders to switch wheels from quick-release to thru-axle without tools. The XDR Driver body option allows for expanded cassette ranges including a 10-42.
About the 77/177D hubset:
The 808 Firecrest Disc-brake wheelset comes with a standard 10/11 speed driver body for SRAM®/Shimano® or for Campagnolo®, allowing you to run a wide range of cassettes. For those looking for a wider gear range, or tackling especially extreme terrain, a SRAM XDR driver body for 177D (sold separately) is easily installed to allow for more cassette options. A 1.85mm spacer is included with the XDR driver body and is required for use on the 177D hub. XDR driver body compatible with 11-speed cassettes only.
Each wheel includes 2 sets of Zipp thru-axle end caps, 1 Zipp skewer, 1 Zipp rim tape 700c X 20mm and 1 Zipp core valve extension per wheel.
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Frankfurter Ring 211
80807 Munich
Fon +49 89 324656-0
Our head office is located in the north of munich, only 500 m away from the highway A 9 (Munich - Nuremberg - Berlin) exit "Frankfurter Ring".Using our Google Maps Entry you may interactively navigate to our location.The CreaLog customer parking lot right behind our building is accessible via the road Lilienthalallee. Up-to-date traffic information is available through Bayern3. If you need further assistance, please contact our reception desk calling +49 89 324656-0.
CreaLog can be reached within 15-20 minutes by car if you arrive at the new Munich Airport (Muc). A taxi to our office will cost around 50 €. Up-to-date flight schedules are available at www.munich-airport.de
Alternative 1
Take the train S-Bahn S8 from the airport to the station "Unterföhring" (10 €). From there take a taxi to CreaLog for approx. 10 €
Alternative 2
Take the train S-Bahn S8 to "Ismaning", then the Bus 231 to the stop "Studentenstadt". From there you'll reach us within 10 minutes by foot or take Bus 177 (direction Petuelring) which takes you to the stop "Lilienthalallee Süd" in front of our office. Total trip: approx. 50 Min., Price 10 €. Tip: Take a Single-Day-Ticket (Single-Tageskarte) for 11 € if you are returning the same day to the airport.
Alternative 1 (from Munich Central Station)
Take the U-Bahn line U2 (direction "Feldmoching") to the stop "Frankfurter Ring". Enter Bus 177 (direction "Studentenstadt") and ride up to the stop "Lilienthalallee Süd". The bus runs on a 10-20 minute schedule. Total trip from the central station approx. 25 min, Price: 2,50 €.
Alternative 2 (other places in Munich)
From the station "Marienplatz" in the city center take the U-Bahn U6 (direction "Fröttmaning/ Garching-Forschungszentrum") up to the stop "Lilienthalallee Süd". Walk to our office (approx. 10 minutes) or take the Bus 177 (direction: Petuelring) to the 2nd stop named "Funkkaserne". The bus runs on a 10-20 minute schedule. Total trip duration from "Marienplatz" approx. 20 min, Price: 2,50 €
For further information and schedules consult the pages of the MVV (Munich Transport and Tariff Association) at www.mvv-muenchen.de
Motel-One München Parkstadt-Schwabing **
Anni-Albers-Str. 10
80807 München
Fon: +49 89 1218970-0
E-Mail firstname.lastname@example.com
Suite Novotel München Parkstadt Schwabing ***
Lyonel Feininger Strasse 22
80807 München
Fon +49 89 35819-0
Covered parking
E-Mail h5229(at)accor.com
SMARTment business Apartments München Parkstadt Schwabing
Walter-Gropius-Straße 11
80807 München
Fon: +49 89 360 90 21-0
E-Mail firstname.lastname@example.com
The Rilano München ****
Rilano 24/7 München ***
Domagkstraße 26
80807 München
Fon +49 89 36001-0
E-Mail info-muc(at)rilano.com
We look forward to your visit!


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I made a quick trip to London to check out a huge upcoming project. I was in and out but I had the pleasure of hanging with some great old friends and met a few new ones! Good times!
In between the rain I had time to fit in a quick one with Remi Rough and Solo One….It was short, but fun to catch up and lie to each other about the good old days!…Good times!….
I also managed to make it to the Tate Modern with some friends and check out the Damien Hirst retrospective. It was awesome, I had to snap a few shots….
After the Blek Le Rat show we went a local Pub and drank way too much! We were there with the equivalent of the Vandal Squad in London, wish I had that one on film, We busted each others balls about hitting the tube and bought each other beers….Good times….This Banksy piece in the alley adjacent to the pub…Speaking of Banksy, I now get the full impact of his use of the surveillance Cameras…The Cameras in London were CRAZY!!!!!


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For the past 16 years, the Cuban American poet and novelist-in-verse Margarita Engle has helped train search and rescue dogs in her spare time. In practice sessions, volunteer victims must learn how to stay still and watchful, and the dogs must learn how to pay extra attention to even the familiar. Both skills are apt metaphors for Engle's writing, which traipses geographies watchfully, illuminating what might otherwise go unnoticed or unsaid.
Born in Los Angeles to a Cuban mother and an American father, Engle is the author of more than 20 books, including numerous poetry collections, novels, and a memoir in verse. She is the first Latino to be awarded the Newbery Honor (2009) and be appointed the Poetry Foundation's Young People's Poet Laureate (June 2017). A trained botanist and agronomist, she lives in Central California with her husband, where she helps train those search and rescue dogs. The following interview was edited and condensed.
Growing up, you divided your time between school years spent in the United States and summers in Cuba, until the 1962 Cuban missile crisis prevented further travel to the island and created very real danger for Cuban Americans. How did those new boundaries affect you and your sense of identity and, later, your calling as a writer?
Losing the right to travel was catastrophic in a surrealistic way. I wasn't a refugee with clear boundaries between a dangerous past and safety in the present. My exile was mandated by politicians who never thought about the personal effects of their actions. Travel and trade restrictions were cruel. They did not cause the violent rebellion they were recklessly intended to promote. Instead, restrictions simply broke families apart and pushed the Cuban people deeper and deeper into isolation and poverty. During the Cold War, Americans were suspect if they communicated with relatives in Cuba, and Cubans on the island could get in trouble if they kept in touch with us. Both sides were willing to give hatred an official status.
Books were my refuge during that time, and because I wrote a lot of poetry as a child and teen, writing was a safe place for my emotions. I didn't reclaim my travel rights until 1991. Since then, I have returned to Cuba many times. I wrote my memoir, Enchanted Air, as a plea for peace and reconciliation. When President Obama restored diplomatic relations, I felt as if a prayer had been answered. Then the new US regime took office, and now, once again, some of those Cold War era restrictions have been foolishly restored. When it comes to Cuba, the United States needs to learn how to treat neighbors like friends. In the meantime, I hope to use my books to teach peacemaking skills, so future adults will understand the futility of endlessly holding a grudge.
I'm struck by how many of your books contain more than one perspective. Creating and sustaining just one narrative identity per novel is difficult enough, but switching back and forth must be as challenging for you as it is rewarding for readers. How do you navigate the challenges of imaginatively occupying these identities, and what role does empathy play in both the creation and the outcomes of such work?
The process of writing a poem feels like a form of daydreaming. That imaginative aspect makes it possible to visit another person's mind. Of course, detailed research is necessary before beginning, but once I've read a lot of first-person narratives from a particular historical situation, I feel empathetic enough to venture into a sort of time travel, asking what living in that era and geographic location felt like. I don't pretend to offer complete answers. Poetry is a process of questioning. I think one of the most important devices for achieving this time travel approach is the combination of first person and present tense, both so common in verse yet relatively rare in historical prose. Multiple-voice verse novels are wonderful for use as readers theater, and they're interactive. A teacher can invite students to write in the voices of minor characters who appear in the story but aren't represented by their own poems. Even in free-verse books that have only one voice, such as my memoir, Enchanted Air, someone could plunge in and write poems from the point of view of my sister, a cousin, an adult, or even one of the animals. The possibilities are endless. Poetry belongs to the reader as much as the author.
There seems to have been a recent sea change in young adult literature, as the difficult topics and subject matter that were once kept away from younger readers are more often being addressed. In your work—I'm thinking specifically of The Poet Slave of Cuba: A Biography of Juan Francisco Manzano—you offer a gritty, unadorned look at what slavery must have been like for the young protagonist. What responsibilities do the writers of young adult literature have toward illuminating the past and helping prepare young people for the future? How do you personally decide what to include, what to leave out, and where to draw the line?
When I was growing up in the fifties and sixties, there were no multicultural young adult books; I read books written for grownups. Chinua Achebe's Things Fall Apart was the first novel I bought with my own money, when I was ten. In seventh grade, I chose Hiroshima for a book report. It was the global aspect of literature I craved, not the difficulty of the subjects. I was curious about the whole world, and I retain that curiosity. Though most of the young adult verse novels I write are about Cubans, some have branched out to Panama (Silver People) and to a Swedish suffragist (The Firefly Letters). Jazz Owls, a Novel of the Zoot Suit Riots (Atheneum, June 2018) is set in Los Angeles, where I grew up as the only Cuban American in a vast Mexican American community. The violence of history in Jazz Owls, The Poet Slave of Cuba, and The Surrender Tree is not portrayed for entertainment. It is simply part of the experience of people who lived in particular times and places. To ignore it would be veiling history's racism beneath a fantasy of benevolence. I think historical verse should be honest, no matter the age of the readers.
I firmly believe that poetry can show some of these complex historical situations in a way that distills them down to their emotional essence, allowing me to omit certain grisly details that might need to be spelled out in a traditional prose nonfiction account. I'm a pacifist, and my goal is to portray the need for peace, so my narratives don't glorify brutality. I draw the line at hope. I refuse to tell hopeless stories. If a particular historical event offered no chance of survival, I will never choose to write about it.
As an educator at the university level, I often find that many of my students have been soured by earlier academic experiences in which they were either bored or intimidated by poetry. What advice would you give educators, parents, caregivers, and other well-intentioned adults regarding getting young people involved with, and loving, language, literature, and poetry?
I can't count the number of times teachers and librarians have walked up to me and said, "I don't get poetry." It's terribly offensive and ridiculously self-centered. I don't know how to build a cabinet or play the violin, but I appreciate carpenters and musicians. The only things adults need to understand about poetry is that children instinctively love rhymes, and teens crave a safe, rhythmic outlet for emotions. I know with absolute certainty that my verse novels and picture books are straightforward and easy to understand. None of it needs to be analyzed. If you set young people free to enjoy the process of reading and writing poetry, you give them a gift they can treasure for a lifetime and share with their grandchildren far into the future.
How does the current political environment affect your understanding of your role as the Young People's Poet Laureate? That is, what are the obstacles—and opportunities—inherent in your tasks as you perceive them over the next two years? What is your goal as you approach undertaking this work?
The constitutional right to freedom of expression has already been damaged in appalling ways, just within a few months. Journalists are being officially persecuted and directly threatened with violence. This occurs in all repressive regimes, and poets are never far behind journalists as targets. The very fact that it is happening clarifies the nature of this administration's intentions. We must speak out, but we must also protect children. For instance, teachers should no longer ask students to write autobiographical poems in a way that could reveal family secrets. Latino and Muslim children, in particular, need to be free to tell their stories through metaphors, rather than in a factual form that might cause classmates to report them to racist parents who believe the government should put certain names on a list for deportation or internment. Yes, it really is this serious. I hope to use my two years as Young People's Poet Laureate to speak out in favor of peacemaking, a process that requires freedom and equality for all, not just for the wealthy, white ruling class. Whenever possible, I will turn the subject of peace/paz into a bilingual forum for showing young people how they can change the world with words. Yes, words really are that powerful.
Stacey Lynn Brown is a poet, playwright, and essayist from Atlanta, Georgia. She received her MFA in poetry from the University of Oregon. She is the author of the book-length poem Cradle Song (C&R Press, 2009) and is the co-editor, with Oliver de la Paz, of A Face to Meet the Faces: An Anthology of...
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