#Baird Encoder

[regiscasillas]

Turning Pictures into Audio (and back to a picture)

So I made two python scripts called the Baird Encoder and the Baird Decoder (named after John Logie Baird), and what the Baird Encoder does is that it converts your image into a mono audio file using the same concept as that of an analog television. The Baird Decoder on the other hand converts the audio BACK into an image, albeit in black-and-white. The decoder can also display mechanical television signals and rip every image frame from that audio signal clip (assuming the signal is perfectly stable)

If anyone wants to check them out, here are the github links (please read their README's before using either of them):

Baird Encoder - https://github.com/RegisCasey/Baird-Encoder

Baird Decoder - https://github.com/RegisCasey/Baird-Decoder

Pictured here is the image (originally 64x68), converted into audio waves.

[carriesthewind]

"Although hired as a consultant by Washington County in this case, Baird had a long-standing independent agenda: helping foster parents across Colorado succeed in intervening and permanently claiming the children they care for. Often working hand in hand with Tim Eirich, she has been called as an expert in, by her count, hundreds of child-welfare cases, and she sometimes evaluates visits between birth families and children without having met them. Baird would not say how many foster-parent intervenor cases she has participated in, but she can recall only a single instance in which she concluded that the intervenors should not keep the child. Thinking that particular couple would be weak adoptive parents, she told me, she simply filed no report."

"With the supply of adoptable babies dropping, foster children were becoming a “hot commodity,” he said, and he and his colleagues (among them Tim Eirich’s law partner Seth Grob) realized that attachment experts could be called into court to argue that foster children needed to remain with their foster parents in order to avoid a severed bond."

"The judge ruled in favor of Eirich’s clients, a social worker and a real-estate agent. “Court found [Baird’s] testimony credible. She has significant experience,” the judge said, adding approvingly that Baird’s analysis had “focused on primacy of attachment over cultural considerations.”"

"Was Baird’s method for evaluating these foster and birth families empirically tested? No, Baird answered: Her method is unpublished and unstandardized, and has remained “pretty much unchanged” since the 1980s. It doesn’t have those “standard validity and reliability things,” she admitted. “It’s not a scientific instrument.”

...

Had she considered or was she even aware of the cultural background of the birth family and child whom she was recommending permanently separating? (The case involved a baby girl of multiracial heritage.) Baird answered that babies have “never possessed” a cultural identity, and therefore are “not losing anything,” at their age, by being adopted. Although when such children grow up, she acknowledged, they might say to their now-adoptive parents, “Oh, I didn’t know we were related to the, you know, Pima tribe in northern California, or whatever the circumstances are.”

The Pima tribe is located in the Phoenix metropolitan area."

"We found that — leaving aside the question of whether attachment theory should even be used as an argument in these cases — Baird’s assessments of foster children’s relationships aren’t just unscientific. They barely touch the surface of a child’s life.

“I don’t know these children,” she testified in one 2017 case, adding, “I have not met anybody.” Still, she said, she “strongly” recommended that those children’s birth parents’ rights be permanently terminated and that the kids be adopted."

"She also regularly uses terms like “mirror neurons,” “neurotoxins,” “synapses,” “hormones,” and “encoded trauma in the central nervous system” to justify her conclusions about children’s family relationships. (Baird is not a neuroscientist.)"

______________________

The New Yorker article focuses on possible legislative solutions, but I think these articles point to something more pernicious and more difficult to address. Judges - in all kinds of cases - routinely give credence to professionals and "experts" who are biased, bigoted, and testify far outside their expertise (if they have any expertise at all). These professionals have credentials (like being a police officer or social worker) that are validated by institutional hierarchies. Their frequent systematized interaction with the legal system is mistaken as experience that makes their subjective beliefs more credible, when in truth they lack any objective expertise. They are considered credible and unbiased because they conform to, and validate, systems of hierarchical oppression, while the people they hurt - often poor, marginalized, and most frequently, not white - are viewed with inherent distrust.

The ProPublica article focuses primarily on Baird. I'm more concerned with the judges who believed her, who used her to justify funneling children away from their (safe and loving, but poorer and frequently browner) birth families. She was only able to do so much harm because of the the power given to her by courts, and the judges inside them.

The ProPublic article ends with the line, "This past fall, with Baird’s help, the foster parents were granted full custody of the baby girl through her 18th birthday." It names Baird as a force that led to the theft of this child. The passive voice hides the judge who made the ultimate decision.

[weeswageningen]

Dear all, 

I would like to invite you to attend January’s Wageningen Evolution & Ecology Seminar (WEES) on Thursday January 20th, 16.00-17.00h (seminar) and 14.00-15.30h (workshop).  

The seminar will be hosted on zoom and the seminar can be accessed via the following link: https://us02web.zoom.us/j/87518841066?pwd=R3hBZDl4b05YRFZkUFBMdG1WNW9OQT09 

Meeting ID: 875 1884 1066 // Passcode: 379014 

If you experience any problems with accessing the seminar, please contact us at weeswageningen@gmail.com.  

Basil el Jundi 

Professor, Chair of Behavioral Physiology & Sociobiology, University of Würzburg 

Seminar: 'Linking brain and behavior in insect orientation' (16.00h)

Insects are clearly amongst the most capable navigators on earth. Their navigation abilities range from the simple orientation behaviors of dung beetles that roll dung balls along straight-line paths to the more complex navigational behaviors of, for instance, monarch butterflies that migrate over large distances between their breeding and non-breeding habitats. But what kind of cues do these insects use for orientation? How does their brain, that is even smaller than a grain of rice, act as their internal compass? How does the visual ecology affect the neural substrate for compass navigation? In all these insects, a highly conserved brain region, termed the central complex, acts as the internal compass for spatial orientation and navigation. To understand how the central complex encodes orientation based on multimodal sensory information and to study the general principles of insect orientation, Dr. Basil el Jundi’s research group is studying the navigation abilities of monarch butterflies and dung beetles using behavioral, anatomical, and electrophysiological methods.

Workshop (14.00h)

In this workshop, we will have a more in-depth discussion on the neural basis of navigation in different insect species. We will also talk about how these insects might differ in terms of the strategies they use. The workshop for interested MSc and PhD students is organized from 14:00 to 15:30 on Zoom. The workshop gives the attendants the possibility to meet the speaker of the seminar and have a discussion based on a recent publication. 

As preparation for the workshop please read the following: 

el Jundi, B., Warrant, E. J., Byrne, M. J., Khaldy, L., Baird, E., Smolka, J., & Dacke, M. (2015). Neural coding underlying the cue preference for celestial orientation. Proceedings of the National Academy of Sciences, 112(36), https://doi.org/10.1073/pnas.1501272112 

Seelig, J. D., & Jayaraman, V. (2015). Neural dynamics for landmark orientation and angular path integration. Nature, 521(7551), https://doi.org/10.1038/nature14446 

Wystrach, A., Buehlmann, C., Schwarz, S., Cheng, K., & Graham, P. (2020). Rapid aversive and memory trace learning during route navigation in desert ants. Current biology, 30(10), https://doi.org/10.1016/j.cub.2020.02.082 

WEES background & call for new members

WEES is an initiative of PhD students and postdocs at Wageningen University to organize a continuing series of stimulating seminars on contemporary topics in evolution and ecology. We aim to bring together different groups at Wageningen University using a variety of systems, but with a common interest in evolutionary and ecological questions. For this series we invite researchers from all over the world who have leading roles in their field. After the talk there will be drinks for an informal discussion. WEES is funded by graduate schools PE&RC, WIMEK, EPS, VLAG and WIAS. 

For more information please visit: www.weeswageningen.nl or join our Facebook group at www.facebook.com/groups/104313399620767/ 

WEES is looking for new members! We aim for a broad and diverse range in topics and would like to welcome new members to help and include topics not represented yet. If you are curious, send an email to weeswageningen@gmail.com and join one of our meetings. 

[fundgruber]

The parallels raised by examining absences in Sloane’s catalogues amplify the importance of current-day questions regarding the ethics of digital humanities scholarship and the duty to investigate and ‘right’ these data absences, especially considering the now well-accepted views on the perpetuation of subjectivities by digital tools and archives. Accordingly, like Sloane, and as Onuoha has warned, we cannot predict the future use of the data we made machine readable in Enlightenment Architectures, textual hauntings, and all. Sloane recorded his objects in catalogues for his own and his contemporaries’ use. While he anticipated that his collection would be used by the public in bequeathing it to the nation, he could have never imagined the ways in which his catalogues would be interrogated. Similarly, we cannot foresee the uses of our datasets, a reality that requires careful planning to ensure that our intentions for the data, and our choices and rationale in data selection are made explicit.

Alexandra Ortolja-Baird, Julianne Nyhan: Encoding the haunting of an object catalogue: on the potential of digital technologies to perpetuate or subvert the silence and bias of the early-modern archive https://academic.oup.com/dsh/advance-article/doi/10.1093/llc/fqab065/6401182

[evoldir]

Fwd: Other:NY/Aug/Symposium&ScicommWorkshop

Begin forwarded message: > From: evoldir@evol.biology.mcmaster.ca > Subject: Other:NY/Aug/Symposium&ScicommWorkshop > Date: 1 August 2019 at 18:10:20 GMT+12 > To: rdmpage@gmail.com > > > --0000000000006bceec058f005d1d > Content-Type: text/plain; charset="UTF-8" > Content-Transfer-Encoding: quoted-printable > > Please join us for the *13th Annual Summer Symposium* at the *Paleontological > Research Institution* in *Ithaca, NY* on *August 10th and 11th, 2019*! > > *Registration STILL OPEN, NO abstract required:* > > https://ift.tt/2NAN2uT > > > > *NEW* *this year*: AAAS-led *FREE* *#SciComm workshop* for graduate (or > soon to be graduate) students & early career scientists, *August 9th, 2019*! > > *Registration OPEN & FREE:* > https://ift.tt/2GIsGtI > > > > The Symposium is a small, fun, and relatively informal event held at the > end of the summer each year. We aim to attract academics, professionals, > and educators from all varieties of natural science disciplines including > paleontology, biology, and earth sciences, and geology. We also hope to > increase ties among paleontology students in the region (and beyond) and we > welcome all levels of students to share their research this summer. It is > an excellent opportunity for students to gain more experience speaking > about their work in a professional format, but in a friendly, less formal > atmosphere. If you are doing research, please sign up to share it with us > in a talk or a poster presentation! Talks will be 15-minute slots (12 > minute talks with 3 minutes for questions). Online registration is now > open, no abstract required! > > > > *Friday, August 9th* > > This year we are pleased to offer an AAAS-led #SciComm workshop. “How to > Engage the Public Through Social Media” is a two-part workshop designed to > help graduate students and early career scientists learn how to build an > online presence and engage the public on social media platforms. Following > the workshop, participants can use their new skills to create original > content in practice utilizing the Museum of the Earth’s exhibits and PRI > collections. With the support of an Engaged Cornell grant, registration and > participation are FREE! Space is limited, so sign up early. > > > > *Saturday, August 10th* will feature posters and oral presentations by > professionals, students, academics, and expert amateurs whose research > covers paleontology, biology, earth science or earth science education, > including a keynote talk by Dr. Andy Bush, University of Connecticut: *Judgment > Day: Mass Extinctions and Predictability in the History of Life*. > Breakfast, lunch, and dinner are included with registration, and the day > will run from 9:00am through dinner. > > *Sunday, August 11th* experts in Devonian geology and paleontology, Dr. > Carl Brett and Dr. Gordon Baird, lead field trips from PRI to several > localities in the Finger Lakes region. Field trip registration will include > lunch but guests are encouraged to bring their own snacks and water. > > > > For more information please contact symposium@priweb.org. We hope to see > you this summer at PRI! > > > > Sincerely, PRI Symposium Planning Committee > > --0000000000006bceec058f005d1d > Content-Type: text/html; charset="UTF-8" > Content-Transfer-Encoding: quoted-printable > >

Please join us for the 13th > Annual Summer Symposium at the Paleontological Research Institution > in Ithaca, NY on August 10th and 11th, 2019!

> >

>

> >

Registration STILL OPEN, NO abstract required:

> >

https://priweb.org/index.php/events/summer-symposium >

> >

  > >

NEW this year: AAAS-led FREE #SciComm workshop > for graduate (or soon to be graduate) students & early career scientists, August > 9th, 2019!

> >

>

> >

Registration OPEN & FREE: https://www.priweb.org/index.php/events/at-the-museum/events-socialmediaforscience >

> >

  > >

The Symposium is a small, fun, and relatively informal event held at the end of the > summer each year. We aim to attract academics, professionals, and educators > from all varieties of natural science disciplines including paleontology, biology, and earth sciences, and geology. We also hope to increase ties among paleontology students in the region (and beyond) and we welcome all levels of students to share their research this summer. It is an excellent opportunity for students to gain more experience speaking about their work in a professional format, but in a friendly, less formal atmosphere. If you are doing research, please sign up to share it with us in a talk or a poster presentation! Talks will be 15-minute slots (12 minute talks with 3 minutes for questions). Online registration is now open, no abstract required! 

> >

  > >

Friday, August 9th

> >

This year we are pleased to offer an AAAS-led #SciComm workshop. “How to Engage the Public Through Social Media” is a two-part workshop designed to help graduate > students and early career scientists learn how to build an online presence and > engage the public on social media platforms. Following the workshop, participants can use their new skills to create original content in practice utilizing the Museum of the Earth’s exhibits and PRI collections. With the support of an Engaged Cornell grant, registration and participation are FREE! Space is limited, so sign up early.

> >

  > >

Saturday, August 10th will feature posters and oral presentations by professionals, students, academics, and expert amateurs whose research covers paleontology, biology, earth science or earth science education, including a keynote talk by Dr. Andy Bush, University of Connecticut: Judgment Day: Mass Extinctions and Predictability in the History of Life. Breakfast, lunch, and dinner are included with registration, and the day will run from 9:00am through dinner.

> >

>

> >

Sunday, August 11th experts in Devonian geology and paleontology, Dr. Carl Brett and Dr. Gordon Baird, lead field trips from PRI to several localities in the Finger Lakes region. Field trip registration will include lunch but guests are encouraged to bring their own snacks and water.

> >

  > >

For more information please contact symposium@priweb.org. We hope to see you this summer at PRI!

> >

  > >

Sincerely, PRI > Symposium Planning Committee

> > --0000000000006bceec058f005d1d-- > via IFTTT

[compneuropapers]

Interesting Papers for Week 20, 2017

Developmental metaplasticity in neural circuit codes of firing and structure. Baram, Y. (2017). Neural Networks, 85, 182–196.

Optical magnetic detection of single-neuron action potentials using quantum defects in diamond. Barry, J. F., Turner, M. J., Schloss, J. M., Glenn, D. R., Song, Y., Lukin, M. D., … Walsworth, R. L. (2016). Proceedings of the National Academy of Sciences of the United States of America, 113(49), 14133–14138.

Orientation Selectivity from Very Sparse LGN Inputs in a Comprehensive Model of Macaque V1 Cortex. Chariker, L., Shapley, R., & Young, L.-S. (2016). Journal of Neuroscience, 36(49), 12368–12384.

Rapid recovery from the effects of early monocular deprivation is enabled by temporary inactivation of the retinas. Fong, M.-F., Mitchell, D. E., Duffy, K. R., & Bear, M. F. (2016). Proceedings of the National Academy of Sciences of the United States of America, 113(49), 14139–14144.

Dopamine neurons encode performance error in singing birds. Gadagkar, V., Puzerey, P. A., Chen, R., Baird-Daniel, E., Farhang, A. R., & Goldberg, J. H. (2016). Science, 354(6317), 1278–1282.

Neural Architecture of Hunger-Dependent Multisensory Decision Making in C. elegans. Ghosh, D. D., Sanders, T., Hong, S., McCurdy, L. Y., Chase, D. L., Cohen, N., … Nitabach, M. N. (2016). Neuron, 92(5), 1049–1062.

Direct Electrical Stimulation of the Human Entorhinal Region and Hippocampus Impairs Memory. Jacobs, J., Miller, J., Lee, S. A., Coffey, T., Watrous, A. J., Sperling, M. R., … Rizzuto, D. S. (2016). Neuron, 92(5), 983–990.

Extinction Generates Outcome-Specific Conditioned Inhibition. Laurent, V., Chieng, B., & Balleine, B. W. (2016). Current Biology, 26(23), 3169–3175.

Interplay between Hippocampal Sharp-Wave-Ripple Events and Vicarious Trial and Error Behaviors in Decision Making. Papale, A. E., Zielinski, M. C., Frank, L. M., Jadhav, S. P., & Redish, A. D. (2016). Neuron, 92(5), 975–982.

Tuning perception: Visual working memory biases the quality of visual awareness. Salahub, C. M., & Emrich, S. M. (2016). Psychonomic Bulletin & Review, 23(6), 1854–1859.

An Integrative Tinnitus Model Based on Sensory Precision. Sedley, W., Friston, K. J., Gander, P. E., Kumar, S., & Griffiths, T. D. (2016). Trends in Neurosciences, 39(12), 799–812.

Role of α4-containing GABAA receptors in limiting synaptic plasticity and spatial learning of female mice during the pubertal period. Shen, H., Sabaliauskas, N., Yang, L., & Smith, S. S. (2017). Brain Research, 1654(B), 116–122.

Midbrain dopamine neurons control judgment of time. Soares, S., Atallah, B. V., & Paton, J. J. (2016). Science, 354(6317), 1273–1277. 

Comodulation Enhances Signal Detection via Priming of Auditory Cortical Circuits. Sollini, J., & Chadderton, P. (2016). Journal of Neuroscience, 36(49), 12299–12311.

Timing Rules for Synaptic Plasticity Matched to Behavioral Function. Suvrathan, A., Payne, H. L., & Raymond, J. L. (2016). Neuron, 92(5), 959–967.

Hippocampal Offline Reactivation Consolidates Recently Formed Cell Assembly Patterns during Sharp Wave-Ripples. van de Ven, G. M., Trouche, S., McNamara, C. G., Allen, K., & Dupret, D. (2016). Neuron, 92(5), 968–974.

Confidence Is the Bridge between Multi-stage Decisions. van den Berg, R., Zylberberg, A., Kiani, R., Shadlen, M. N., & Wolpert, D. M. (2016). Current Biology, 26(23), 3157–3168.

Coding and Plasticity in the Mammalian Thermosensory System. Yarmolinsky, D. A., Peng, Y., Pogorzala, L. A., Rutlin, M., Hoon, M. A., & Zuker, C. S. (2016). Neuron, 92(5), 1079–1092.

Predictive Ensemble Decoding of Acoustical Features Explains Context-Dependent Receptive Fields. Yildiz, I. B., Mesgarani, N., & Deneve, S. (2016). Journal of Neuroscience, 36(49), 12338–12350.

Perceptual Learning of Contrast Detection in the Human Lateral Geniculate Nucleus. Yu, Q., Zhang, P., Qiu, J., & Fang, F. (2016). Current Biology, 26(23), 3176–3182.

[soukacatv]

What’s the High-definition television (HDTV)? Analog HD Systems & Rise of Digital Compression, HDTV Broadcast in USA | Soukacatv.com

High-definition television (HDTV) is a television system providing an image resolution that is of substantially higher resolution than that of standard-definition television. This can be either analog or digital. HDTV is the current standard video format used in most broadcasts: terrestrial broadcast television, cable television, satellite television, Blu-rays, and streaming video.

HDMI Encoder Modulator,16in1 Digital Headend,HD RF Modulator at Soukacatv.com

SKD19 Series 1U Rack 12CH Encode Modulator

SKD3013 3 Channel HD Encode Modulator

HDTV may be transmitted in various formats:

720p 1280×720p: 923,600 pixels (~0.92 MP) per frame

1080i 1920×1080i: 1,036,800 pixels (~1.04 MP) per field or 2,073,600 pixels (~2.07 MP) per frame

1080p 1920×1080p: not a broadcast standard for ATSC 1.0

Some countries also use a non-standard CEA resolution, such as 1440×1080i: 777,600 pixels (~0.78 MP) per field or 1,555,200 pixels (~1.56 MP) per frame

The letter "p" here stands for progressive scan, while "i" indicates interlaced.

When transmitted at two megapixels per frame, HDTV provides about five times as many pixels as SD (standard-definition television). The increased resolution provides for a clearer, more detailed picture. In addition, progressive scan and higher frame rates result in a picture with less flicker and better rendering of fast motion. HDTV as is known today first started official broadcasting in 1989 in Japan, under the MUSE/Hi-Vision analog system.HDTV was widely adopted worldwide in the late 2000s.

History

The term high definition once described a series of television systems originating from August 1936; however, these systems were only high definition when compared to earlier systems that were based on mechanical systems with as few as 30 lines of resolution. The ongoing competition between companies and nations to create true "HDTV" spanned the entire 20th century, as each new system became more HD than the last. In the 2010s, this race has continued with 4K, 5K and 8K systems.

The British high-definition TV service started trials in August 1936 and a regular service on 2 November 1936 using both the (mechanical) Baird 240 line sequential scan (later to be inaccurately rechristened 'progressive') and the (electronic) Marconi-EMI 405 line interlaced systems. The Baird system was discontinued in February 1937. In 1938 France followed with their own 441-line system, variants of which were also used by a number of other countries. The US NTSC 555-line system joined in 1941. In 1949 France introduced an even higher-resolution standard at 819 lines, a system that should have been high definition even by today's standards, but was monochrome only and the technical limitations of the time prevented it from achieving the definition of which it should have been capable. All of these systems used interlacing and a 4:3 aspect ratio except the 240-line system which was progressive (actually described at the time by the technically correct term "sequential") and the 405-line system which started as 5:4 and later changed to 4:3. The 405-line system adopted the (at that time) revolutionary idea of interlaced scanning to overcome the flicker problem of the 240-line with its 25 Hz frame rate. The 240-line system could have doubled its frame rate but this would have meant that the transmitted signal would have doubled in bandwidth, an unacceptable option as the video baseband bandwidth was required to be not more than 3 MHz.

Color broadcasts started at similarly higher resolutions, first with the US NTSC color system in 1953, which was compatible with the earlier monochrome systems and therefore had the same 525 lines of resolution. European standards did not follow until the 1960s, when the PAL and SECAM color systems were added to the monochrome 625 line broadcasts.

The Nippon Hōsō Kyōkai (NHK, the Japan Broadcasting Corporation) began conducting research to "unlock the fundamental mechanism of video and sound interactions with the five human senses" in 1964, after the Tokyo Olympics. NHK set out to create an HDTV system that ended up scoring much higher in subjective tests than NTSC's previously dubbed "HDTV". This new system, NHK Color, created in 1972, included 1125 lines, a 5:3 aspect ratio and 60 Hz refresh rate. The Society of Motion Picture and Television Engineers (SMPTE), headed by Charles Ginsburg, became the testing and study authority for HDTV technology in the international theater. SMPTE would test HDTV systems from different companies from every conceivable perspective, but the problem of combining the different formats plagued the technology for many years.

There were four major HDTV systems tested by SMPTE in the late 1970s, and in 1979 an SMPTE study group released A Study of High Definition Television Systems:

EIA monochrome: 4:3 aspect ratio, 1023 lines, 60 Hz

NHK color: 5:3 aspect ratio, 1125 lines, 60 Hz

NHK monochrome: 4:3 aspect ratio, 2125 lines, 50 Hz

BBC colour: 8:3 aspect ratio, 1501 lines, 60 Hz

Since the formal adoption of digital video broadcasting's (DVB) widescreen HDTV transmission modes in the mid to late 2000s; the 525-line NTSC (and PAL-M) systems, as well as the European 625-line PAL and SECAM systems, are now regarded as standard definition television systems.

Analog systems

Early HDTV broadcasting used analog technology, but today it is transmitted digitally and uses video compression.

In 1949, France started its transmissions with an 819 lines system (with 737 active lines). The system was monochrome only, and was used only on VHF for the first French TV channel. It was discontinued in 1983.

In 1958, the Soviet Union developed Тransformator (Russian: Трансформатор, meaning Transformer), the first high-resolution (definition) television system capable of producing an image composed of 1,125 lines of resolution aimed at providing teleconferencing for military command. It was a research project and the system was never deployed by either the military or consumer broadcasting.

In 1986, the European Community proposed HD-MAC, an analog HDTV system with 1,152 lines. A public demonstration took place for the 1992 Summer Olympics in Barcelona. However HD-MAC was scrapped in 1993 and the Digital Video Broadcasting (DVB) project was formed, which would foresee development of a digital HDTV standard.

Demise of analog HD systems

The limited standardization of analog HDTV in the 1990s did not lead to global HDTV adoption as technical and economic constraints at the time did not permit HDTV to use bandwidths greater than normal television. Early HDTV commercial experiments, such as NHK's MUSE, required over four times the bandwidth of a standard-definition broadcast. Despite efforts made to reduce analog HDTV to about twice the bandwidth of SDTV, these television formats were still distributable only by satellite. In Europe too, the HD-MAC standard was considered not technically viable.

24 In 1 Analog Fixed Channel Modulator Headend

In addition, recording and reproducing an HDTV signal was a significant technical challenge in the early years of HDTV (Sony HDVS). Japan remained the only country with successful public broadcasting of analog HDTV, with seven broadcasters sharing a single channel.

However the Hi-Vision/MUSE system also faced commercial issues when it launched on November 25, 1991. Only 2,000 HDTV sets were sold by that day, rather than the enthusiastic 1.32 million estimation. Hi-Vision sets were very expensive, up to US$30,000 each, which contributed to its low consumer adaption. A Hi-Vision VCR from NEC released at Christmas time retailed for US$115,000. In addition, the United States saw Hi-Vision/MUSE as an outdated system and had already made it clear that it would develop an all-digital system.[15] Experts thought the commercial Hi-Vision system in 1992 was already eclipsed by digital technology developed in the U.S. since 1990. This was an American victory against the Japanese in terms of technological dominance.By mid-1993 prices of receivers were still as high as 1.5 million yen (US$15,000).

On February 23, 1994, a top broadcasting administrator in Japan admitted failure of its analog-based HDTV system, saying the U.S. digital format would be more likely a worldwide standard. However this announcement drew angry protests from broadcasters and electronic companies who invested heavily into the analog system. As a result, he took back his statement the next day saying that the government will continue to promote Hi-Vision/MUSE. That year NHK started development of digital television in an attempt to catch back up to America and Europe. This resulted in the ISDB format. Japan started digital satellite and HDTV broadcasting in December 2000.

Rise of digital compression

Since 1972, International Telecommunication Union's radio telecommunications sector (ITU-R) had been working on creating a global recommendation for Analog HDTV. These recommendations, however, did not fit in the broadcasting bands which could reach home users. The standardization of MPEG-1 in 1993 also led to the acceptance of recommendations ITU-R BT.709. In anticipation of these standards the Digital Video Broadcasting (DVB) organisation was formed, an alliance of broadcasters, consumer electronics manufacturers and regulatory bodies. The DVB develops and agrees upon specifications which are formally standardised by ETSI.

DVB created first the standard for DVB-S digital satellite TV, DVB-C digital cable TV and DVB-T digital terrestrial TV. These broadcasting systems can be used for both SDTV and HDTV. In the US the Grand Alliance proposed ATSC as the new standard for SDTV and HDTV. Both ATSC and DVB were based on the MPEG-2 standard, although DVB systems may also be used to transmit video using the newer and more efficient H.264/MPEG-4 AVC compression standards. Common for all DVB standards is the use of highly efficient modulation techniques for further reducing bandwidth, and foremost for reducing receiver-hardware and antenna requirements.

HD Encoder To DVB-C Modulator

In 1983, the International Telecommunication Union's radio telecommunications sector (ITU-R) set up a working party (IWP11/6) with the aim of setting a single international HDTV standard. One of the thornier issues concerned a suitable frame/field refresh rate, the world already having split into two camps, 25/50 Hz and 30/60 Hz, largely due to the differences in mains frequency. The IWP11/6 working party considered many views and throughout the 1980s served to encourage development in a number of video digital processing areas, not least conversion between the two main frame/field rates using motion vectors, which led to further developments in other areas. While a comprehensive HDTV standard was not in the end established, agreement on the aspect ratio was achieved.

Initially the existing 5:3 aspect ratio had been the main candidate but, due to the influence of widescreen cinema, the aspect ratio 16:9 (1.78) eventually emerged as being a reasonable compromise between 5:3 (1.67) and the common 1.85 widescreen cinema format. An aspect ratio of 16:9 was duly agreed upon at the first meeting of the IWP11/6 working party at the BBC's Research and Development establishment in Kingswood Warren. The resulting ITU-R Recommendation ITU-R BT.709-2 ("Rec. 709") includes the 16:9 aspect ratio, a specified colorimetry, and the scan modes 1080i (1,080 actively interlaced lines of resolution) and 1080p (1,080 progressively scanned lines). The British Freeview HD trials used MBAFF, which contains both progressive and interlaced content in the same encoding.

It also includes the alternative 1440×1152 HDMAC scan format. (According to some reports, a mooted 750-line (720p) format (720 progressively scanned lines) was viewed by some at the ITU as an enhanced television format rather than a true HDTV format,and so was not included, although 1920×1080i and 1280×720p systems for a range of frame and field rates were defined by several US SMPTE standards.)

Inaugural HDTV broadcast in the United States

HDTV technology was introduced in the United States in the late 1980s and made official in 1993 by the Digital HDTV Grand Alliance, a group of television, electronic equipment, communications companies consisting of AT&T Bell Labs, General Instrument, Philips, Sarnoff, Thomson, Zenith and the Massachusetts Institute of Technology. Field testing of HDTV at 199 sites in the United States was completed August 14, 1994. The first public HDTV broadcast in the United States occurred on July 23, 1996 when the Raleigh, North Carolina television station WRAL-HD began broadcasting from the existing tower of WRAL-TV southeast of Raleigh, winning a race to be first with the HD Model Station in Washington, D.C., which began broadcasting July 31, 1996 with the callsign WHD-TV, based out of the facilities of NBC owned and operated station WRC-TV. The American Advanced Television Systems Committee (ATSC) HDTV system had its public launch on October 29, 1998, during the live coverage of astronaut John Glenn's return mission to space on board the Space Shuttle Discovery. The signal was transmitted coast-to-coast, and was seen by the public in science centers, and other public theaters specially equipped to receive and display the broadcast. The first HDTV logo was created by Washington, DC-based advertising firm Don Schaaf & Friends, Inc.

European HDTV broadcasts

The first HDTV transmissions in Europe, albeit not direct-to-home, began in 1990, when the Italian broadcaster RAI used both HD-MAC and MUSE HDTV technologies to broadcast the 1990 FIFA World Cup. The matches were shown in 8 cinemas in Italy, where the tournament was played, and 2 in Spain. The connection with Spain was made via the Olympus satellite link from Rome to Barcelona and then with a fiber optic connection from Barcelona to Madrid. After some HDTV transmissions in Europe the standard was abandoned in 1993, to be replaced by a digital format from DVB.

The first regular broadcasts started on January 1, 2004 when the Belgian company Euro1080 launched the HD1 channel with the traditional Vienna New Year's Concert. Test transmissions had been active since the IBC exhibition in September 2003, but the New Year's Day broadcast marked the official launch of the HD1 channel, and the official start of direct-to-home HDTV in Europe.

Euro1080, a division of the former and now bankrupt Belgian TV services company Alfacam, broadcast HDTV channels to break the pan-European stalemate of "no HD broadcasts mean no HD TVs bought means no HD broadcasts ..." and kick-start HDTV interest in Europe.The HD1 channel was initially free-to-air and mainly comprised sporting, dramatic, musical and other cultural events broadcast with a multi-lingual soundtrack on a rolling schedule of 4 or 5 hours per day.

These first European HDTV broadcasts used the 1080i format with MPEG-2 compression on a DVB-S signal from SES's Astra 1H satellite. Euro1080 transmissions later changed to MPEG-4/AVC compression on a DVB-S2 signal in line with subsequent broadcast channels in Europe.

Despite delays in some countries,the number of European HD channels and viewers has risen steadily since the first HDTV broadcasts, with SES's annual Satellite Monitor market survey for 2010 reporting more than 200 commercial channels broadcasting in HD from Astra satellites, 185 million HD capable TVs sold in Europe (£60 million in 2010 alone), and 20 million households (27% of all European digital satellite TV homes) watching HD satellite broadcasts (16 million via Astra satellites).

In December 2009, the United Kingdom became the first European country to deploy high definition content using the new DVB-T2 transmission standard, as specified in the Digital TV Group (DTG) D-book, on digital terrestrial television.

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The Freeview HD service currently contains 13 HD channels (as of April 2016) and was rolled out region by region across the UK in accordance with the digital switchover process, finally being completed in October 2012. However, Freeview HD is not the first HDTV service over digital terrestrial television in Europe; Italy's Rai HD channel started broadcasting in 1080i on April 24, 2008 using the DVB-T transmission standard.

In October 2008 France deployed five high definition channels using DVB-T transmission standard on digital terrestrial distribution.

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Notation

HDTV broadcast systems are identified with three major parameters:

Frame size in pixels is defined as number of horizontal pixels × number of vertical pixels, for example 1280 × 720 or 1920 × 1080. Often the number of horizontal pixels is implied from context and is omitted, as in the case of 720p and 1080p.

Scanning system is identified with the letter p for progressive scanning or i for interlaced scanning.

Frame rate is identified as number of video frames per second. For interlaced systems, the number of frames per second should be specified, but it is not uncommon to see the field rate incorrectly used instead.

If all three parameters are used, they are specified in the following form: [frame size][scanning system][frame or field rate] or [frame size]/[frame or field rate][scanning system].Often, frame size or frame rate can be dropped if its value is implied from context. In this case, the remaining numeric parameter is specified first, followed by the scanning system.

For example, 1920×1080p25 identifies progressive scanning format with 25 frames per second, each frame being 1,920 pixels wide and 1,080 pixels high. The 1080i25 or 1080i50 notation identifies interlaced scanning format with 25 frames (50 fields) per second, each frame being 1,920 pixels wide and 1,080 pixels high. The 1080i30 or 1080i60 notation identifies interlaced scanning format with 30 frames (60 fields) per second, each frame being 1,920 pixels wide and 1,080 pixels high. The 720p60 notation identifies progressive scanning format with 60 frames per second, each frame being 720 pixels high; 1,280 pixels horizontally are implied.

50 Hz systems support three scanning rates: 50i, 25p and 50p. 60 Hz systems support a much wider set of frame rates: 59.94i, 60i, 23.976p, 24p, 29.97p, 30p, 59.94p and 60p. In the days of standard definition television, the fractional rates were often rounded up to whole numbers, e.g. 23.976p was often called 24p, or 59.94i was often called 60i. 60 Hz high definition television supports both fractional and slightly different integer rates, therefore strict usage of notation is required to avoid ambiguity. Nevertheless, 29.97p/59.94i is almost universally called 60i, likewise 23.976p is called 24p.

For the commercial naming of a product, the frame rate is often dropped and is implied from context (e.g., a 1080i television set). A frame rate can also be specified without a resolution. For example, 24p means 24 progressive scan frames per second, and 50i means 25 interlaced frames per second.

There is no single standard for HDTV color support. Colors are typically broadcast using a (10-bits per channel) YUV color space but, depending on the underlying image generating technologies of the receiver, are then subsequently converted to a RGB color space using standardized algorithms. When transmitted directly through the Internet, the colors are typically pre-converted to 8-bit RGB channels for additional storage savings with the assumption that it will only be viewed only on a (sRGB) computer screen. As an added benefit to the original broadcasters, the losses of the pre-conversion essentially make these files unsuitable for professional TV re-broadcasting.

Most HDTV systems support resolutions and frame rates defined either in the ATSC table 3, or in EBU specification. The most common are noted below.

Display resolutions

Video format supported [image resolution]

Native resolution [inherent resolution] (W×H)

Pixels

Aspect ratio (W:H)

Description

Actual

Advertised (Megapixels)

Image

Pixel

720p (HD ready) 1280×720

1024×768 XGA

786,432

0.8

4:3

1:1

Typically a PC resolution (XGA); also a native

resolution on many entry-level plasma displays

with non-square pixels.

1280×720

921,600

0.9

16:9

1:1

Standard HDTV resolution and a typical PC

resolution (WXGA), frequently used by high-end

video projectors; also used for 750-line video,

as defined in SMPTE 296M, ATSC A/53,

ITU-R BT.1543.

1366×768 WXGA

1,049,088

1.0

683:384 (approx. 16:9)

1:1

A typical PC resolution (WXGA); also used by

many HD ready TV displays based on

LCDtechnology.

1080p/1080i (full HD) 1920×1080

1920×1080

2,073,600

2.1

16:9

1:1

Standard HDTV resolution, used by full HD and

HD ready 1080p TV displays such as

high-end LCD, plasma and rear projection TVs,

and a typical PC resolution (lower than WUXGA);

also used for 1125-line video, as defined in

SMPTE 274M, ATSC A/53, ITU-R BT.709;

Video format supported

Screen resolution (W×H)

Pixels

Aspect ratio (W:H)

Description

Actual

Advertised (Megapixels)

Image

Pixel

720p (HD Ready) 1280×720

1248×702 Clean Aperture

876,096

0.9

16:9

1:1

Used for 750-line video with faster

artifact/overscan compensation, as

defined in SMPTE 296M.

1080i (Full HD) 1920×1080

1440×1080 HDCAM/HDV

1,555,200

1.6

16:9

4:3

Used for anamorphic 1125-line video in the

HDCAM and HDV formats introduced by

Sony and defined (also as a luminance

subsampling matrix) in SMPTE D11.

1080p (Full HD) 1920×1080

1888×1062 Clean aperture

2,005,056

2.0

16:9

1:1

Used for 1124-line video with faster

artifact/overscan compensation, as

defined in SMPTE 274M.

At a minimum, HDTV has twice the linear resolution of standard-definition television (SDTV), thus showing greater detail than either analog television or regular DVD. The technical standards for broadcasting HDTV also handle the 16:9 aspect ratio images without using letterboxing or anamorphic stretching, thus increasing the effective image resolution.

A very high resolution source may require more bandwidth than available in order to be transmitted without loss of fidelity. The lossy compression that is used in all digital HDTV storage and transmission systems will distort the received picture, when compared to the uncompressed source.

Standard frame or field rates

ATSC and DVB define the following frame rates for use with the various broadcast standards:

23.976 Hz (film-looking frame rate compatible with NTSC clock speed standards)

24 Hz (international film and ATSC high-definition material)

25 Hz (PAL film, DVB standard-definition and high-definition material)

29.97 Hz (NTSC film and standard-definition material)

30 Hz (NTSC film, ATSC high-definition material)

50 Hz (DVB high-definition material)

59.94 Hz (ATSC high-definition material)

60 Hz (ATSC high-definition material)

The optimum format for a broadcast depends upon the type of videographic recording medium used and the image's characteristics. For best fidelity to the source the transmitted field ratio, lines, and frame rate should match those of the source.

PAL, SECAM and NTSC frame rates technically apply only to analogue standard definition television, not to digital or high definition broadcasts. However, with the roll out of digital broadcasting, and later HDTV broadcasting, countries retained their heritage systems. HDTV in former PAL and SECAM countries operates at a frame rate of 25/50 Hz, while HDTV in former NTSC countries operates at 30/60 Hz.

Types of media

Standard 35mm photographic film used for cinema projection has a much higher image resolution than HDTV systems, and is exposed and projected at a rate of 24 frames per second (frame/s). To be shown on standard television, in PAL-system countries, cinema film is scanned at the TV rate of 25 frame/s, causing a speedup of 4.1 percent, which is generally considered acceptable. In NTSC-system countries, the TV scan rate of 30 frame/s would cause a perceptible speedup if the same were attempted, and the necessary correction is performed by a technique called 3:2 Pulldown: Over each successive pair of film frames, one is held for three video fields (1/20 of a second) and the next is held for two video fields (1/30 of a second), giving a total time for the two frames of 1/12 of a second and thus achieving the correct average film frame rate.

Non-cinematic HDTV video recordings intended for broadcast are typically recorded either in 720p or 1080i format as determined by the broadcaster. 720p is commonly used for Internet distribution of high-definition video, because most computer monitors operate in progressive-scan mode. 720p also imposes less strenuous storage and decoding requirements compared to both 1080i and 1080p. 1080p/24, 1080i/30, 1080i/25, and 720p/30 is most often used on Blu-ray Disc.

Modern systems

In the US, residents in the line of sight of television station broadcast antennas can receive free, over the air programming with a television set with an ATSC tuner (most sets sold since 2009 have this). This is achieved with a TV aerial, just as it has been since the 1940s except now the major network signals are broadcast in high definition (ABC, Fox, and Ion Television broadcast at 720p resolution; CBS, My Network TV, NBC, PBS at 1080i; and The CW at either resolution depending on the local affiliate). As their digital signals more efficiently use the broadcast channel, many broadcasters are adding multiple channels to their signals. Laws about antennas were updated before the change to digital terrestrial broadcasts. These new laws prohibit home owners' associations and city government from banning the installation of antennas.

Additionally, cable-ready TV sets can display HD content without using an external box. They have a QAM tuner built-in and/or a card slot for inserting a CableCARD.

High-definition image sources include terrestrial broadcast, direct broadcast satellite, digital cable, IPTV (including GoogleTV, Roku boxes and AppleTV or built into "Smart Televisions"), Blu-ray video disc (BD), and internet downloads.

Sony's PlayStation 3 has extensive HD compatibility because of its built in Blu-ray disc-based player, so does Microsoft's Xbox 360 with the addition of Netflix and Windows Media Center HTPC streaming capabilities. On November 18, 2012, Nintendo released a next generation high definition gaming platform, The Wii U, which includes TV remote control features in addition to IPTV streaming features like Netflix. The HD capabilities of the consoles has influenced some developers to port games from past consoles onto the PS3, Xbox 360 and Wii U, often with remastered or upscaled graphics.

Recording and compression

HDTV can be recorded to D-VHS (Digital-VHS or Data-VHS), W-VHS (analog only), to an HDTV-capable digital video recorder (for example DirecTV's high-definition Digital video recorder, Sky HD's set-top box, Dish Network's VIP 622 or VIP 722 high-definition Digital video recorder receivers, or TiVo's Series 3 or HD recorders), or an HDTV-ready HTPC. Some cable boxes are capable of receiving or recording two or more broadcasts at a time in HDTV format, and HDTV programming, some included in the monthly cable service subscription price, some for an additional fee, can be played back with the cable company's on-demand feature.

The massive amount of data storage required to archive uncompressed streams meant that inexpensive uncompressed storage options were not available to the consumer. In 2008, the Hauppauge 1212 Personal Video Recorder was introduced. This device accepts HD content through component video inputs and stores the content in MPEG-2 format in a .ts file or in a Blu-ray compatible format .m2ts file on the hard drive or DVD burner of a computer connected to the PVR through a USB 2.0 interface. More recent systems are able to record a broadcast high definition program in its 'as broadcast' format or transcode to a format more compatible with Blu-ray.

Analog tape recorders with bandwidth capable of recording analog HD signals, such as W-VHS recorders, are no longer produced for the consumer market and are both expensive and scarce in the secondary market.

In the United States, as part of the FCC's plug and play agreement, cable companies are required to provide customers who rent HD set-top boxes with a set-top box with "functional" FireWire (IEEE 1394) on request. None of the direct broadcast satellite providers have offered this feature on any of their supported boxes, but some cable TV companies have. As of July 2004, boxes are not included in the FCC mandate. This content is protected by encryption known as 5C.This encryption can prevent duplication of content or simply limit the number of copies permitted, thus effectively denying most if not all fair use of the content.

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[freesearchengines-blog]

Music helps to restore memory

Music helps to restore memory. You discern those popular songs that you just can't get out of your head? A different study suggests they have the power to trigger strong memories, many years later, in commoners with brain damage. The small study suggests that songs instill themselves very much into the mind and may help reach people who have trouble remembering the past more about the author. It's not entirely whether the study results will lead to improved treatments for patients with brain damage. But they do proposition new insight into how people process and remember music. "This is the first study to show that music can unseat to mind personal memories in people with severe brain injuries in the same way that it does in in good people," said study lead author Amee Baird, a clinical neuropsychologist chut sex store resala. "This means that music may be profitable to use as a memory aid for people who have difficulty remembering personal memories from their old times after brain injury". Baird, who works at Hunter Brain Injury Service in Newcastle, Australia, said she was inspired to set up the study by a man who was severely injured in a motorcycle accident and couldn't reward much of his life. "I was interested to see if music could help him bring to mind some of his personal memories male enhancement products at rite aid. The houseman became one of the five patients - four men, one woman - who took quarter in the study. One of the others was also injured in a motorcycle accident, and a third was hurt in a fall. The irrefutable two suffered damage from lack of oxygen to the brain due to cardiac arrest, in one case, and an attempted suicide in the other. Two of the patients were in their mid-20s. The others were 34, 42 and 60. All had honour problems. Baird played thousand one songs of the year for 1961 to 2010 as ranked by Billboard armoury in the United States. The patients were all from Australia, but the Australian crack charts are similar to those from the United States. For most of the patients, three of the five, the songs did a better contribution of prompting memories about their lives than asking them questions about their pasts. They also remembered events from their lives about as well as equivalent people who didn't have brain damage. "All the patients enjoyed doing the study. They smiled, sang along and some even danced in their seats to the songs. On two occasions, participants became teary when hearing a number as it brought to belief a 'bittersweet' memory such as deceased parents. These reactions show that music is a intense stimulus for eliciting emotions, both positive and negative, and I believe this is the reason that it is so operative at activating memories". For one 60-year-old man who was injured in a motorcycle accident, several songs evoked memories of his matrimony of more than 40 years."Bette Davis Eyes," by Kim Carnes, reminded him of buying the unwed for his wife. Meanwhile, Whitney Houston's "I Will Always Love You" reminded him of "loving my bride over the years, many happy memories," he told researchers. Petr Janata, a professor of rationale at the Center for Mind and Brain at the University of California, Davis, praised the study, saying it's "a extraordinarily nice advance on what we know". He was especially intrigued by one of the patients who couldn't cancellation his past but could still sing along to some of the songs. "It suggests that we encode music more richly and this affords more possibilities for other memories to get tied in". For her part, Baird said following research should examine how visual images (such as movies and television), smells and types of set are tied to memories. For now it's translucent that music can help people with brain injuries such as stroke. "Any ease that you can engage a brain and keep it active following injury, you are going to do good things for it. Music appears to be a great character to support that effort" visit website. The study was recently published online in the yearbook Neuropsychological Rehabilitation.

[sarahsglobalmedia-blog]

Digitization

Television severely developed throughout history. In the 1940’s, originating in the United States with cable television, video and audio is carried through analogue signals “...the video signal of analog television was transmitted in AM, while the audio was transmitted in FM. as result, analog TV transmissions had interference, depending on the distance and geographical location of the TV receiving the signal.”(Robert Silva, 2018), this had downsides and caused restraints to some people’s television enjoyment. On June 12th 2009 television switched to digital and became standardised in America by the Federal Communications Commission, where the transmission of television and sound signals use digital encoding, invented by a Scottish electrical engineer John Logie Baird. This made broadcasting live sporting events, TV shows and films  channelled direct to your television. Now these media outlets can be accessed through your computer, tablet and even the smartphone you hold in your hand. Although digital terrestrial television launched in the UK on 15th November 1998, with a revolutionary invention we have moved even further into the future of television broadcasting since, including the option to obtain HD (high definition) television.

We can record programmes, have automatic tuning, make production cheaper, faster by becoming digitally converted. “Digital transformation is enabling businesses to break new barriers and tap into the potential for growth.”(Prajapati, 2018)  It has made ‘home cinema’ a new phenomenon for viewers and consumers around the world. The digitisation and convergence of media offers possibilities of increasing cultural diversity because globally, the public can access media from around the world, bringing music and film from far away countries to the inside of your own home. One click of a button and you can find out the news from countries around the world. There have been negatives to digitization, as it costs a lot to convert cinemas into the digital age in fact it cost $300 million in the US to do so. It also means there could be a worldwide standardisation by releasing the same information globally, for example the view of one documentary could travel the world and cause the majority to only think in that one perceptive. “A lot of American and British based countries opt to have their products manufactured abroad to save money and hence increase profits. The globalisation of the world is stimulating massive amounts of investment by the transnational corporations”(Kaul, 2011).

Able to access worldwide news whenever and wherever, means appeals/campaigns to help other countries for aid in famine crisis’ means a global impact on helping the world’s emergency disasters has become possible. There is a significant connection with globalisation and digitization, looking at my case study on Hello Kitty, its products now advertise around the world through global outlets, which  wouldn’t be possible without the ability to reach audiences around the world through digital TV. The conflict of digital television and being able to now access it wherever you are, at-home cinema has now become anywhere you want that to be whether you’re on the train, in the bath, walking through a forest etc, even without Wifi signal or internet signal, content is now available for download. Users are in control of what they consume and when they do, easily than it’s ever been before, this could however lower television show’s viewers tuning in for e.g. Eastenders on BBC1 at 7.30pm everyday because they can catch up with it online later in the week. This also means TV show’s demographics are spread over different media platforms,  instead of the audience seen as a vague majority, it’s more specific, can be detailed and explained, for example see in my social communications case study on Twitter.com, we see broadcasting companies and media companies can tune in to their audiences live at anytime by seeing the public’s own personal views and opinions posted on the internet. The use of hashtags means media companies can see the correlating similarities between audiences around the world that watch their products. Sites like https://www.hashtags.org/ mean business can see their statistics of hashtags used, its good because audience research can go deeper and use this to advertise for the right type of audience and attract new viewers by seeing gaps in their global outreach. I concluded that global reach means success for a business, however if other countries take advantage of this, For example, UK’s television show Shameless was loved by many however America recreated this show to suit american audiences better, they wanted to steal the same idea but taint it with Americanisation.This meant people around the world now have two options and to avoid one and watch another. It has now become competition to claim a bigger audience, but America maintain their style of attracting mostly an American audience, making sure they are culturally relevant.

References:

Advantages of Digitalization in Entertainment and Media Industry, Vinay Prajapati, www.techprevue.com/digitalization-advantages-media-industry/, Apr 10, 2018

Globalisation and Media, Vineet Kaul, Department of Communication and Media, DA-IICT University, Near Indroda, Gandhinagar, Gujarat, India, December 23, 2011

The Differences Between Digital and Analog TV, Robert SIlva, www.lifewire.com/hdtv-faq-digital-vs-analogue-184569, November, 01, 2018

Bibliography:

https://www.fcc.gov/

http://www.radio-electronics.com/info/rf-technology-design/fm-frequency-modulation/what-is-fm-tutorial.php

https://twitter.com/

https://www.bbc.co.uk/programmes/b006m86d

https://www.hashtags.org/

https://www.imdb.com/title/tt0377260/?ref_=fn_al_tt_2

https://www.imdb.com/title/tt1586680/

https://www.lifewire.com/hdtv-faq-digital-vs-analog-1845696

https://www.sanrio.com/

https://www.youtube.com/watch?v=07yKceP2MCw

[ronaldxjen82]

Music helps to restore memory

Music helps to restore memory. You separate those popular songs that you just can't get out of your head? A late study suggests they have the power to trigger strong memories, many years later, in persons with brain damage. The small study suggests that songs instill themselves inwards into the mind and may help reach people who have trouble remembering the past behosh. It's not confident whether the study results will lead to improved treatments for patients with brain damage. But they do put forward new insight into how people process and remember music. "This is the first study to show that music can bring o a produce to mind personal memories in people with severe brain injuries in the same way that it does in salubrious people," said study lead author Amee Baird, a clinical neuropsychologist ketone. "This means that music may be productive to use as a memory aid for people who have difficulty remembering personal memories from their olden times after brain injury". Baird, who works at Hunter Brain Injury Service in Newcastle, Australia, said she was inspired to start the study by a man who was severely injured in a motorcycle accident and couldn't recollect much of his life. "I was interested to see if music could help him bring to mind some of his personal memories ehtalami unani medicine use. The gink became one of the five patients - four men, one woman - who took component in the study. One of the others was also injured in a motorcycle accident, and a third was hurt in a fall. The end two suffered damage from lack of oxygen to the brain due to cardiac arrest, in one case, and an attempted suicide in the other. Two of the patients were in their mid-20s. The others were 34, 42 and 60. All had homage problems. Baird played swarm one songs of the year for 1961 to 2010 as ranked by Billboard journal in the United States. The patients were all from Australia, but the Australian lemonade charts are similar to those from the United States. For most of the patients, three of the five, the songs did a better career of prompting memories about their lives than asking them questions about their pasts. They also remembered events from their lives about as well as almost identical people who didn't have brain damage. "All the patients enjoyed doing the study. They smiled, sang along and some even danced in their seats to the songs. On two occasions, participants became teary when hearing a ditty as it brought to feeling a 'bittersweet' memory such as deceased parents. These reactions show that music is a tough stimulus for eliciting emotions, both positive and negative, and I believe this is the reason that it is so efficacious at activating memories". For one 60-year-old man who was injured in a motorcycle accident, several songs evoked memories of his wedlock of more than 40 years."Bette Davis Eyes," by Kim Carnes, reminded him of buying the free for his wife. Meanwhile, Whitney Houston's "I Will Always Love You" reminded him of "loving my old lady over the years, many happy memories," he told researchers. Petr Janata, a professor of reasoning at the Center for Mind and Brain at the University of California, Davis, praised the study, saying it's "a indeed nice advance on what we know". He was especially intrigued by one of the patients who couldn't recollect his past but could still sing along to some of the songs. "It suggests that we encode music more richly and this affords more possibilities for other memories to get tied in". For her part, Baird said time to come research should examine how visual images (such as movies and television), smells and types of put are tied to memories. For now it's nitid that music can help people with brain injuries such as stroke. "Any regulate that you can engage a brain and keep it active following injury, you are going to do good things for it. Music appears to be a great route to support that effort" proextender baise original. The study was recently published online in the yearbook Neuropsychological Rehabilitation.

[hillcountrytimes]

Marriott International, Inc. (MAR) Reaches $129.47 52-Week High; Shorts at Neophotonics (NPTN) Raised By 3.09%

Neophotonics Corporation (NYSE:NPTN) had an increase of 3.09% in short interest. NPTN’s SI was 10.86M shares in December as released by FINRA. Its up 3.09% from 10.53M shares previously. With 1.76M avg volume, 6 days are for Neophotonics Corporation (NYSE:NPTN)’s short sellers to cover NPTN’s short positions. The SI to Neophotonics Corporation’s float is 34.44%. The stock decreased 3.35% or $0.22 during the last trading session, reaching $6.34. About 215,503 shares traded. NeoPhotonics Corporation (NYSE:NPTN) has declined 9.58% since December 4, 2016 and is downtrending. It has underperformed by 26.28% the S&P500.

The stock of Marriott International, Inc. (NASDAQ:MAR) hit a new 52-week high and has $134.65 target or 4.00% above today’s $129.47 share price. The 6 months bullish chart indicates low risk for the $47.20 billion company. The 1-year high was reported on Dec, 4 by Barchart.com. If the $134.65 price target is reached, the company will be worth $1.89 billion more. The stock increased 2.06% or $2.61 during the last trading session, reaching $129.47. About 451,730 shares traded. Marriott International, Inc. (NASDAQ:MAR) has risen 58.26% since December 4, 2016 and is uptrending. It has outperformed by 41.56% the S&P500.

Investors sentiment increased to 1 in 2017 Q2. Its up 0.08, from 0.92 in 2017Q1. It improved, as 34 investors sold NeoPhotonics Corporation shares while 23 reduced holdings. 21 funds opened positions while 36 raised stakes. 30.47 million shares or 3.29% more from 29.50 million shares in 2017Q1 were reported. Granite Point Mngmt L P holds 421,304 shares or 0.8% of its portfolio. Trust Of Vermont holds 0% or 500 shares. Moreover, Alliancebernstein Limited Partnership has 0% invested in NeoPhotonics Corporation (NYSE:NPTN). Bluecrest Management Ltd has 30,327 shares. Princeton Capital Mgmt Incorporated accumulated 0.22% or 44,355 shares. Quantbot Technology Ltd Partnership holds 0.04% or 50,971 shares in its portfolio. 65,296 were reported by Peak6 Invs Limited Partnership. Ipg Investment Limited Liability Corporation owns 31,000 shares. Quentec Asset Management Ltd Liability Corp reported 1.93 million shares stake. State Board Of Administration Of Florida Retirement System invested in 13,063 shares or 0% of the stock. Barclays Pcl owns 10,574 shares for 0% of their portfolio. Morgan Stanley, New York-based fund reported 119,127 shares. Awm Co has 2.27 million shares for 3.09% of their portfolio. Metropolitan Life Ins New York stated it has 0% in NeoPhotonics Corporation (NYSE:NPTN). Alphaone Investment Service Ltd invested in 0.65% or 312,406 shares.

NeoPhotonics Corporation develops, manufactures, and sells hybrid photonic integrated optoelectronic products that transmit, receive, and switch high speed digital optical signals for communications networks. The company has market cap of $278.61 million. It offers high speed products, including transmitter, receiver, and switching products for 100G and optical transmission applications over distances of 2 to 2,000 kilometers; and optical components for coherent systems, including narrow linewidth tunable transmit and local oscillator lasers (NLW-ITLA) that generates ultra-pure wavelength or color for coherent transmission, as well as integrated coherent receivers (ICRs), which decodes the phase and polarization encoded coherent signals. It currently has negative earnings. The firm also engages in developing pluggable coherent modules that combine NLW-ITLA with ICR and a coherent modulator; and offers 100G products for the client side and datacenter applications.

Among 10 analysts covering NeoPhotonics (NYSE:NPTN), 6 have Buy rating, 0 Sell and 4 Hold. Therefore 60% are positive. NeoPhotonics had 28 analyst reports since August 7, 2015 according to SRatingsIntel. On Thursday, October 5 the stock rating was downgraded by Raymond James to “Mkt Perform”. The firm earned “Outperform” rating on Tuesday, August 18 by Northland Capital. Northland Capital maintained NeoPhotonics Corporation (NYSE:NPTN) on Monday, December 7 with “Outperform” rating. The firm has “Buy” rating by Needham given on Monday, June 12. Needham maintained NeoPhotonics Corporation (NYSE:NPTN) on Monday, September 12 with “Strong Buy” rating. The stock of NeoPhotonics Corporation (NYSE:NPTN) has “Outperform” rating given on Monday, July 24 by Raymond James. Raymond James upgraded NeoPhotonics Corporation (NYSE:NPTN) on Monday, August 10 to “Outperform” rating. The rating was downgraded by Raymond James on Friday, November 6 to “Outperform”. On Thursday, May 25 the stock rating was initiated by Rosenblatt with “Buy”. The firm has “Neutral” rating given on Friday, June 30 by DA Davidson.

Marriott International, Inc. operates, franchises, and licenses hotels and timeshare properties worldwide. The company has market cap of $47.20 billion. The firm operates through three divisions: North American Full-Service, North American Limited-Service, and International. It has a 42.49 P/E ratio. It also operates, markets, and develops residential properties, as well as provides services to home/condominium owner associations.

Among 20 analysts covering Marriott International (NASDAQ:MAR), 11 have Buy rating, 0 Sell and 9 Hold. Therefore 55% are positive. Marriott International had 54 analyst reports since August 5, 2015 according to SRatingsIntel. On Wednesday, November 4 the stock rating was maintained by RBC Capital Markets with “Outperform”. The rating was maintained by Stifel Nicolaus on Tuesday, October 10 with “Hold”. The stock of Marriott International, Inc. (NASDAQ:MAR) has “Overweight” rating given on Thursday, November 9 by Morgan Stanley. RBC Capital Markets maintained the stock with “Buy” rating in Monday, June 12 report. The rating was upgraded by Wolfe Research to “Outperform” on Wednesday, August 30. The stock of Marriott International, Inc. (NASDAQ:MAR) has “Equal-Weight” rating given on Tuesday, November 28 by Barclays Capital. The rating was initiated by Goldman Sachs on Monday, September 26 with “Buy”. The firm has “Hold” rating given on Tuesday, January 10 by Stifel Nicolaus. The firm has “Market Perform” rating given on Wednesday, April 20 by Raymond James. Robert W. Baird maintained it with “Neutral” rating and $115 target in Friday, November 10 report.

Analysts await Marriott International, Inc. (NASDAQ:MAR) to report earnings on February, 21. They expect $0.99 EPS, up 16.47% or $0.14 from last year’s $0.85 per share. MAR’s profit will be $360.93 million for 32.69 P/E if the $0.99 EPS becomes a reality. After $1.10 actual EPS reported by Marriott International, Inc. for the previous quarter, Wall Street now forecasts -10.00% negative EPS growth.

The post Marriott International, Inc. (MAR) Reaches $129.47 52-Week High; Shorts at Neophotonics (NPTN) Raised By 3.09% appeared first on Stock Market News | HillCountryTimes | Get it Today.

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