A rival and high-definition television

Background and Initial Audience Characteristics of the Closed-Caption Television System Carl Jensema and Molly Fitzgerald Over the past four decades, television has become an important feature of the American culture. In this country there are more than 1,000 television stations broadcasting to well over 100 million television receivers . This network forms a massive system of entertainment and education for the American public. Unfortunately, many programs are meaningless without full audio comprehension , and the hearing impaired have been severely limited in the benefits they receive from television. This problem was recognized, and in 1973 the Bureau of Education for the Handicapped (BEH) began funding research through the Public Broadcasting Service (PBS) to develop a system for closed-captioning television programs . The goal was to create a system which would make hidden subtitles (closed captions) a part of regular television broadcasts. The captions would be visible only on those television receivers equipped with a special adapter. To understand how the system developed by PBS accomplishes closed captioning, it is necessary to have a basic understanding of how a television picture is generated. In the American system, a television picture consists of 525 lines flashed on the screen 30 times per second. The first few and the last few of the 525 lines are not used as part of the regular picture. They appear as the familiar black bar seen on a television receiver which needs adjustment. The PBS system involves broadcasting binarilycoded data on Line 21. An adapter hooked to a viewer's television receiver interprets the Line 21 signals and generates visible characters on the screen. By March 1979 the system was nearly ready. The United States Department of Health, EduBoth authors are associated with Gallaudet College in Washington, D. C. Carl Jensema is the Director of Research and Standards. cation, and Welfare (HEW) held a major press conference to announce that three national television networks (PBS, ABC, NBC) agreed to pay for and broadcast closed-captioned television programs beginning in 1980. HEW also announced that it was providing seed money to establish a nonprofit corporation, the National Captioning Institute (NCI), to caption programs. During the summer of 1979 NCI became a visible, functioning corporation. In September of that year it moved into its permanent home in Falls Church, Virginia. A Los Angeles office was opened in October 1979. John E. D. Ball, who had directed the closed-caption development at PBS as Vice President of Engineering, became President of NCI at the beginning of January 1980. On March 16,1980, the three networks began broadcasting a total of 16 hours of closedcaptioned programs each week. By the fall of 1980 this number had grown to 22V2 hours and was expected to keep expanding rapidly. Closed-caption adapters and television receivers with built-in closed-caption circuitry are assembled by Sanyo using Texas Instrument computer chips. The units are marketed by Sears, Roebuck and Co. Sears started accepting orders for adapters in January 1980 and began delivery in March. By the end of June nearly 21,000 adapters had been sold. Television receivers with closed-caption circuitry went on the market in July. With the exception of the first 3,700 adapters, every closed-caption adapter and integrated receiver manufactured has included a questionnaire postcard from NCI. This postcard contains various items relating to where the equipment will be used, who will watch, and what kinds of programs are preferred. The remainder of this report is concerned with a brief descriptive summary of the initial closed32 A.A.D. I February 1981 Background and Initial Audience Characteristics caption audience based on data from early questionnaire returns. Discounting the 3,700 adapters without postcards , roughly 17,000 questionnaires were distributed by the end of June 1980, exactly 6,182 of these were returned, approximately a 36% response rate. AU of the questionnaires represent add-on adapters, since the television receivers with built-in circuitry did not go on the market until July. Among the 6,182 questionnaires returned, 6,173 gave the home state of the adapter purchaser . Table 1 provides data on the number of questionnaires returned from each state. California leads with 702 questionnaires (11% of the total...

The authors propose an HDTV (high-definition television) transmission system design for an SDH (synchronous digital hierarchy)-based STM network. The proposed HDTV coding algorithms are based on subband coding; one uses subband DCT (discrete cosine transform) for HDTV distribution services, while the other uses subband DPCM (differential pulse code modulation) for HDTV contribution services. The network architecture is discussed in regard to providing broadband communication services such as HDTV transmission service upon the introduction of B-ISDN (broadband integrated services digital network) in the early 1990s. The authors also propose a method to compensate for degradation in video transmission systems, i.e., burst errors in STM networks and consecutive cell loss in ATM (asynchronous transfer mode) networks, using random error correcting codes and an interleave structure. An HDTV transmission experimental system using an SDH-based STM network is described. >

IF A NEW high-tech television is in your future, you might want to bone up on your geometry. Let me explain. In the early days of television, the National Television Standards Commission (NTSC) set the aspect ratio (width divided by height) of the television screen at 4 by 3 or 1.33. Today, you can still buy 4-by-3 sets, or you can buy a widescreen set with an aspect ratio of 16 by 9 or 1.78. Most television stations or channels still broadcast in a 4-by-3 format, so a television set with that aspect ratio makes sense. However, if you watch a lot of movies or programs on high-definition, cable, or satellite channels, a number of these will be widescreen productions. Now here is the downside of this geometry. If you watch a 16-by-9 program on a 4-by-3 set, the screen is boxed--meaning it has black bars on the top and bottom of the screen (Figure 1, top). If you watch a 4-by-3 program on a 16-by-9 set, the image is boxed--meaning there are black bars on the left and right of the screen (Figure 1, bottom). In either case, a sizable portion of the television screen is unused. (I should mention here that Europe and other parts of the world do not use the NTSC standard, so some of what follows does not apply to readers outside the U.S.) [FIGURE 1 OMITTED] There are several work arounds for letter boxing and pillar boxing. Most widescreen sets (16 by 9) have aspect adjustments. The most common aspect adjustment is to stretch--or widen--a 4-by-3 program to fill the widescreen. I suppose you could get used to this, but it sure makes people look plump. Going in the opposite direction, some widescreen DVD movies are also available in full-screen versions, but this is becoming less and less common. A second downside to this geometry quandary is that watching a 4-by-3 program on a large widescreen set (unstretched) is like watching it on a significantly smaller 4-by-3 set. What you thought was going to look like a large picture looks a lot smaller. Here's a brief tabular presentation of effective viewing reduction for widescreen sets of various sizes. (The figures are for diagonal measurements and are in inches.) CNet has an online calculator that will give you these comparisons for any size widescreen set at http://reviews.cnet.com/ 4520-7608_7-1016109-4.html. Hint: CNet calls pillar boxing window boxing, and remember to use the lower of the two calculators. The bottom line is you must examine your viewing habits before you buy a new television. Of course, if you have the space, you can have a television room and a separate home theater room for your widescreen. Ultimately, most people will buy a newer widescreen set because they want to move up to High-Definition Television (HDTV) and because they like the movie theater look of the newer format. The old television standard set by the NTSC was labeled 480i. This format had 480 horizontal lines of resolution that were, as the i signifies, That is, the television displayed the odd-numbered lines every 60th of a second and the even-numbered lines in the next 60th of a second. You can actually see these lines if you look closely at the screen. Unfortunately, viewers rarely saw a television program with all 480 lines of resolution, since most programming was produced with only about 250 lines of resolution. And interlacing causes an imperceptible flicker that can contribute to eyestrain. The most common HDTV standards are 720p and 1080i or 1080p. Each has as many lines of resolution as the numbers suggest. The p stands for progressive scan, which means that all lines are displayed at one time--not interlaced. Suffice it to say, if you buy an HDTV you should be sure it can display at least one of the standards mentioned here. Another important consideration is the number of pixels (picture elements) an HDTV can display. Most newer HDTVs have pixel ratings of about 1280 by 720. …

This work first overviews a novel design, and prototype implementation, of a virtually transparent epidermal imagery (VTEI) system for laparo-endoscopic single-site (LESS) surgery. The system uses a network of multiple, micro-cameras and multiview mosaicking to obtain a panoramic view of the surgery area. The prototype VTEI system also projects the generated panoramic view on the abdomen area to create a transparent display effect that mimics equivalent, but higher risk, open-cavity surgeries. The specific research focus of this paper is on two important aspects of a VTEI system: 1) in vivo wireless high-definition (HD) video transmission and 2) multi-image processing-both of which play key roles in next-generation systems. For transmission and reception, this paper proposes a theoretical wireless communication scheme for high-definition video in situations that require extremely small-footprint image sensors and in zero-latency applications. In such situations the typical optimized metrics in communication schemes, such as power and data rate, are far less important than latency and hardware footprint that absolutely preclude their use if not satisfied. This work proposes the use of a novel Frequency-Modulated Voltage-Division Multiplexing (FM-VDM) scheme where sensor data is kept analog and transmitted via "voltage-multiplexed" signals that are also frequency-modulated. Once images are received, a novel Homographic Image Mosaicking and Morphing (HIMM) algorithm is proposed to stitch images from respective cameras, that also compensates for irregular surfaces in real-time, into a single cohesive view of the surgical area. In VTEI, this view is then visible to the surgeon directly on the patient to give an "open cavity" feel to laparoscopic procedures.

Multiresolution (MR) transmission of compressed video is performed using subbands. The subband decomposition is used for both hierarchical estimation of the motion and encoding of the motion-compensated error frame. With this approach, the video at a given resolution embeds lower-resolution video. Frequency roll-off of higher-frequency subbands is used to obtain visually pleasing low-resolution videos at low-bit rates. It is well known that the transmission of higher-resolution video requires finely quantized low-resolution video. The necessary refinement of the coarsely quantized low-resolution video is made by using multistage quantization. A novel technique is introduced to improve the performance of conventional multistage quantization. Simulation of a three-resolution MR coding system were made on a monochrome MIT test HD (high-definition) video, which is 30 frames long at 30 frames/s with 1600*960 8-bit pixels per frame.< <ETX xmlns:mml="http://www.w3.org/1998/Math/MathML" xmlns:xlink="http://www.w3.org/1999/xlink">&gt;</ETX>

For better or worse, television has been the dominant medium of communication for 50 years. Almost all American households have a television set; many have more than one. Transmitting images and sounds electronically is a relatively recent invention, one that required passionate inventors, determined businessmen, government regulators, and willing consumers. This volume in the Greenwood Technographies series covers the entire history of television from 19the-century European conceptions of transmitting moving images electrically to the death of TV as a discrete system in a digital age. Magoun also discusses the changing face of television in the displays that people watch around the globe. Television: The Life Story of a Technology appeals to students and lay readers alike in highlighting key events and people: the American engineers and entrepreneus such as Vladimir Zworykin and David Sarnoff who ignited the television industry; the bloom of programming choices in tandem with the Baby Boom generation; the development of cable and satellite TV; the Asians who innovated American inventions in videorecording and flat-panel displays; the use of TV in wartime; and the new worlds of digital and high-definition television. Based on the latest research, this crisply written, sometimes provocative survey includes a glossary, timeline, and bibliography for further infomration.

In order to verify the effectiveness of the "Ecological Rucksack" as an indicator on resource utilization for electrical and electronic equipments, the Ecological Rucksack of 36-inch high-definition TVs produced in 1993 and 2003 has been estimated in cooperation with the Wuppertal Institute in Germany. The Ecological Rucksack (abiotic material) of the 1993 product was 19 tons (product mass 91.0 kg) and that of the 2003 product was 7.7 tons (product mass 79.5 kg), therefore, an approximate 11 tons or 60% reduction. The breakdown of the Ecological Rucksack (abiotic material) of the 1993 product indicated that the values associated with the print circuit board mounted inc. electronic components (hereafter called PC board) represented approximately 50% of the total, followed by power consumption during use at 40%. The PC board represented less than 10% of the product mass but occupied approx 50% of the Ecological Rucksack (abiotic material). The smaller and lighter PC boards employed in the later product substantially contributed to the reduction of Ecological Rucksack. As evident in the example of the PC board, the consideration of Ecological Rucksack reveals the hidden material flow and presents a new approach to resource utilization.However as for the materials used over the life cycle of a high-definition TV set, the factors obtainable from the MI factors table represented only 25% of the product mass. By applying the MI factors of materials with equivalent properties, the rate of MI factors increased to 99% of the product mass, thereby enabling an estimation of the Ecological Rucksack for a TV set. The estimation made this time around underlined the fact that further examination of the data was required for the PC board, because it would strongly affect the evaluation results for determining the Ecological Rucksack of a high-definition TV set. Further enhancement of the database is therefore required for enabling applications to electric and electronic equipment.

An HDTV broadcasting system that uses low-power repeaters arranged in a cellular fashion to extend the service area of a primary advanced TV (ATV) system is described. Examples of ATV extended coverage contours based on DigiCipher high-definition TV (HDTV) measured performance parameters and Federal Communications Commission (FCC) propagation tables are presented.< <ETX xmlns:mml="http://www.w3.org/1998/Math/MathML" xmlns:xlink="http://www.w3.org/1999/xlink">&gt;</ETX>

"Hill, H. Lancelot H., (23 May 1883–20 Aug. 1944), Director of Electric and Musical Industries Ltd, The Gramophone Co., Ltd, Columbia Graphophone Co. Ltd, Tubbs, Lewis & Co. Ltd, United Elastics, Ltd; The Progressive Finance and Investment Co. Ltd" published on by Oxford University Press.

Shaun McRae of the University of Michigan reviews “The Economics of Electricity Markets: Theory and Policy”, by Pippo Ranci and Guido Cervigni. The Econlit abstract of this book begins: “Six papers address the main issues that arise when competition is introduced into the electricity industry. Papers discuss wholesale electricity markets (Guido Cervigni and Dmitri Perekhodtsev); generation capacity adequacy (Cervigni, Andrea Commisso, and Perekhodtsev); congestion management and transmission rights (Perekhodtsev and Cervigni); competition policy in the electricity industry (Cervigni and Perekhodtsev); retail competition (Anna Creti and Clara Poletti); and climate change and the future of the liberalized electricity markets (Cervigni). Ranci is Professor of Economic Policy at the Catholic University of Milan and Chair of the Board of Appeal of the European Agency for the Cooperation of Energy Regulators. Cervigni is Research Director at the Center for Research on Energy and Environmental Economics and Policy at Bocconi University and Chief Economist at A2A S.p.A. Index.”

BULLETIN No. 2, issued by the International Tin Research and Development Council, contains a very interesting account of the history and modern uses of solders in a wide variety of forms. The pamphlet of some fifty pages, which has been prepared by D. J. Macnaughtan, director of research, and Dr. E. S. Hedges, is available free of charge, to all who are interested in the now numerous industries in which solder is used, from the International Tin Research and Development Council, Manfield House, 378 Strand, London, W.C.2. In 1933, 18,000 tons of tin was employed in the manufacture of solders, of which 5,000 tons was used by the motor-car industry and 4,500 tons by the canning and box-making trades. The bulletin indicates the rapid progress which is being made in the use of soldered joints in air conditioning, central heating and refrigerating plant as well as in the electrical industry. The ingenious types of machinery which have been designed for the soldering of parts in the motor-car radiator, and in the closing of tin plate cans, now produced in thousands of millions a year, are described. The compositions and physical properties of solders of representative grades are discussed and the reasons for the suitability of each kind for special purposes are shown. The importance of using the right type of flux is explained and practical details of the fluxing and tinning of a large number of metals and alloys are given. Not the least valuable portion of the bulletin is the appendix, in which are given references to a large number of the more important books, papers and specifications dealing with solders and the production of soldered joints.

The transmission, signal processing, and display of high-definition television (HDTV), can benefit if visual perception is completely understood. This information is used in the design of a reduced-bandwidth compatible transmission system and a progressively scanned camera and display for improved vertical resolution without interline flicker. Its application to the development of a solid-state light-valve HDTV projector for theater and consumer use is also discussed.

Objectives Computed Tomography (CT) is an indispensable element of medical care used throughout the world, and first developed for clinical use by Hounsfield in 1971. The largest source of monetary support for Hounsfield’s work was from his employer, Electrical Musical Industries, Ltd. (EMI) and, in turn, the most lucrative source of income for EMI through the 1960’s was their recording contract with the English quartet, the Beatles. The purported link between the Beatles’ productive oeuvre with EMI and Hounsfield’s discovery of CT has not been well established. We endeavored to elucidate the technological and creative talents that linked Hounsfield with EMI and the Beatles and which ultimately led to one of the greatest medical innovations of the 20th century. Methods We used GoogleScholar, PubMed, and primary sources to research the life of Godfrey Hounsfield, the history of Electric and Musical Industries, Ltd (EMI), and The Beatles in reference to the development of CT. We used the EMI Archives Trust (London), and the archives of the Institute of Electrical and Electronics Engineers (IEEE) UK and Ireland (London). We obtained unpublished photographs courtesy of private collections. Results EMI translated its electronic prowess during WWII into the recorded music business, purchasing Capitol Records in 1955. EMI would sign The Beatles in 1963 and EMI profits rose 80% that first year. Sir Godfrey Hounsfield began a successful scientific career with EMI in 1951. With financial support from EMI’s research division, Hounsfield began developing what would become the first CT-scanner in 1967. By directing x-ray beams through the body at 1 degree angles, with a detector rotating in tandem on the other side, he could measure the x-ray attenuation of different tissues inside the body. These values were then analyzed via a mathematical algorithm to produce a 2-dimensional image of the slice of the body. Hounsfield worked with James Ambrose, a radiologist, to conduct the first clinical CT-scan at Atkinson Morley Hospital in 1971 in a patient with a brain tumor. EMI entered the medical equipment business thereafter and heavily marketed the CT-scanner using the financial resources EMI derived from its record sales. By 1976, EMI could not produce enough CT-scanners to fill demand and ultimately would cede the medical imaging business to competitors, and devote itself to the music industry. In 1979, Hounsfield, and Allen Cormack, a South African physicist who independently theorized the basis of CT imaging, would win the Nobel Prize. Conclusions ‘Let it be’ known that it was only ‘yesterday’ when a recording company, a rock band, and a radar scientist revolutionized medical imaging with the development of computed tomography.

High-definition television was described in 1935 by the Selsdon Committee as having not less than 240 lines per picture. Public transmission of an interlaced 405-line service commenced in 1936 and lasted until 1985, having been gradually displaced by 625-line colour. Today, high definition means more than 1000 lines, and is unlikely to be broadcast from conventional terrestrial transmitters.This Address reviews the development of terrestrial television transmission technology from the, pre-war Baird/Marconi-EMI trials, through the period of post-war Band I and III expansion to the introduction of u.h.f. and the ultimate realization in the United Kingdom of one of the most highly developed and effective colour transmission networks anywhere in the world.

Access networks can be vaguely categorized into two types, providing different challenges. These are mobile (wireless) access networks serving handheld devices and, fixed access networks serving offices and homes. In the first scenario, mobility management and limited power and size of the handheld devices are major challenges. In the second scenario, users are mostly stationary but, they have terminal equipment ranging from traditional phones to powerful computers, multimedia set-top boxes and (high-definition or regular) television sets. These home/office customers demand bandwidth hungry multimedia services such as voice, data and video with stringent quality of service requirements. Current and future broadband fixed access networks struggle to address these needs. The end user does not care about the underlying technology. As a result fiber-optics, copper, radio or any combination of these physical layer technologies are used to provide wireless or wired access. The objective of this article is to discuss these broadband fixed access technologies and networks and especially to highlight emerging hybrid fiber-wireless (Fi-Wi) broadband access networks.