text:
Saving Skippy
Environment, General News, Science | October 23, 2014 | 0 | by breefinlay
Volunteers use coloured scrunchies as ID for the Joeys
By Bree-Anna Finlay
Over the last 10 years the kangaroo population of Western Australia has dropped by a third, from around 2.5 million to 1.8 million.
The Darling Range Wildlife Shelter is a completely volunteer-run and not-for-profit organisation which tries to rehabilitate kangaroos and other native wildlife in WA.
The shelter is supported by more than 100 volunteers who put in more than 40 thousand unpaid hours each year – as well as a small team of helpers who who also do after hour care in their own homes.
Leah Bayfield has been volunteering at the shelter for five years and is also a home carer.
"We have joeys from all over WA, some get flown down in pouches from mine-sites up north."
"For those animals that require special care or feeding throughout the night, we take them home, usually in pairs so they don't become too attached to us," she said.
These volunteers not only bring the animals into their homes, but support them financially.
Lucie Gillies moved to Australia from the west coast of France five years ago and has been with the DRWS for just over two years.
"I came to see kangaroos and I definitely found them," she said.
"Being a not-for-profit organisation we are always looking for new volunteers and their level of involvement can vary."
When the animals are healthy and large enough, a group of volunteers will travel up north with up to 20 animals to release them back into their natural habitat.
"The success rate of a joey in the wild is only one in eight, which is why it is so important for shelters like ours to stay afloat," Miss Bayfield said.
The shelter relies heavily on financial donations as well as contributions of goods and services from the community.
The facility in Martin, between Kelmscott and Gosnells, functions through a solar power system that supplies all power needs and a grey water reuse system.
DRWS is a member of the Conservation Council of Western Australia.
You can meet some of the shelter's special guests here.
http://http://youtu.be/tq0vmBjuaz8
City of Fremantle looks to slow things down.
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Righting the wrongs
Winter sprinkler switch-off begins
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Approval bungle shelves Carnarvon artificial reef


MANU TUILAGI went snooker loopy during his last injury lay-off – but now he's cueing up to have a blistering end to his career like Jonny Wilkinson.
Tuilagi's latest break and return to the England set-up comes after his own big break of 55 at his local Leicester snooker hall.
After busting his knee and needing an op this summer the 27-year-old fell in love with billiards.
Having swapped rugby balls and tackle bags for a cue and waistcoat, Tuilagi even went to the Crucible in May with teammate Ellis Genge to see Mark Williams win the World Championship.
He said: "I've always liked pool, but then I saw an interview with Ronnie O'Sullivan.
"They asked him what the difference is between pool and snooker and he said: 'It's like playing The Open in golf versus playing crazy golf. That's as much respect as I give to pool', which is true.
Unbelievable day at the Snooker World Championship yesterday. Thank you @kendoherty1989 @betfred_official @worldsnookerofficial for looking after us. John Higgins to win it for me he's on???
"I just like the way he plays. He's got no fear. And I think he's the best player to ever pick up the cue. There have been a lot of good players, but pressure can get to them.
"With Ronnie, the more pressure, the better he will play. That's what I like. Now he plays with both hands as well! It's unbelievable."
Because of horrific knee, thigh, pec and groin problems, Tuilagi's last start for England was against the All Blacks four years ago.
But like World Cup legend Wilko, 26-capper Tuilagi wants to make up for lost time by saving his best performances for the end of his career.
The 2013 Lions hero said: "I just hope it's going to be like that for me! I look at Jonny and his comebacks and it gives me hope.
"I also look at Mathew Tait. He had exactly the same groin injury as I had and he has come back. That gives me a lot of hope too.
"My groin injury wasn't common. It's an injury that most pregnant women get when they give birth! Now I never take anything for granted.
"Getting older, I do a lot to look after my body – doing stuff off the field, all the recovery – ice baths and massages and stretching."
Tuilagi's blistering return to form at Leicester Tigers is a huge boost for England, who badly need his fearsome frame ripping up the midfield again.
The wrecking-ball centre will meet up with his Red Rose mates tomorrow for the first time since being sent home for boozing after training in April 2017.
And it all comes after a dramatic road to recovery, which included a trip to a witch doctor in his native Samoa to banish three evil spirits that had haunted him.
As the new dad looks to put a spell on Worcester today, Tuilagi said: "The witch doctor said it is done and I believe it is too.
"I never thought about it before, but it is something back in the Islands and back home, we are very superstitious people and these things happen and we see it.
"It is hard for you guys to believe, until you see it, it is one of those things. I grew up there with my whole family and I never thought about it until my brother mentioned it.
"So I thought there was no harm in going back and trying to fix it. Mentally, I always think I will get back to where I was, no matter what.
"That is in my head. I always feel I can get back to my best."


The Daughters of the American Revolution (DAR) is a non-profit, non-political, volunteer service organization made up of approximately 170,000 members with 3,000 chapters. These chapters are located in all 50 states and in many countries around the world. On October 11, 1890, 18 women met to officially organize the NSDAR for historic, educational, and patriotic purposes. Since that day, over 800,000 members have been admitted into membership.
The Rancho Simi Chapter is one of the newer chapters in the state. We were organized in November 2011 with 31 members. By 2018, we have doubled our membership to 62, and we are still growing!!! Most members of our chapter reside in Simi Valley, but local residency is not a requirement for membership in any chapter.
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If your dog doesn't seem like himself, he may be telling you he's in pain. Osteoarthritis (OA) is the number one cause of chronic pain in dogs, affecting about 1 in 5 dogs over the age of 1 in the US. It is a chronic, degenerative disease of the joints that gradually worsens with age, as the protective cartilage in joints wears down and causes painful swelling and stiffness that can make movement difficult for your dog. The good news is, once-daily PREVICOX (firocoxib) is an option you can discuss with your veterinarian as part of a treatment plan to help relieve the pain and inflammation caused by OA to help put your best friend back in motion.


Christina Martin joins the Washington, D.C.-focused firm's team, building on more than 15 years of asset management experience with Investment Properties.
The company's newest addition to its Tenant Advisory Services practice has more than 21 years of real estate experience in the Washington, D.C., area.
Matthew Drane will be in charge of expanding the firm's investment services, working closely with agents and investors. He has been with the firm since 2012, serving most recently as associate regional manager.
Leslie Hale started with the company in 2005 and is currently serving as executive vice president, chief operating officer & chief financing officer until Aug. 22, 2018.
Ryan Meliker will step up as the company's senior vice president of corporate strategy and investor relations, bringing 15 years of experience in lodging and real estate research.
Following John Germano's retirement in December, Kyle Schoppmann will take up the executive role, bringing more than 20 years of experience in sales strategy, training and professional development.
Overseeing approximately sixty representatives, Matthew Laraway will be responsible for managing groundbreaking instructional and networking proceedings.
Meet commercial real estate finance specialists Wesley Boatwright, Jonathan Goldstein and Michael Yavinsky, the trio that brings more than 60 years of industry experience combined to the firm.
The recently-formed company has brought on a new senior vice president to provide strategic planning and venture relationship management.
China's new set of restrictions on foreign investment is expected to impact U.S. real estate. Morris, Manning & Martin's Samantha Ahuja weighs in on the extent of the effect and the alternatives for Chinese investors.
The company's new office will be located in downtown Washington, sharing space with other Hunt businesses. Bryan Cullen will be in charge of the team.
Robert Ward will oversee commercial and multifamily development operations, succeeding Shawn Hurley, who was with the company for seven years.
Georgiana Condoiu has been working in commercial real estate for a decade and in her new role she will contribute to the expansion of Avison's capital markets platform across the country.
Lana Lenovitz will join a platform of more than 200 professionals, bringing valuable expertise to the Mid-Atlantic team.
George Vogelei will step up as the firm's executive vice president of agency leasing, after spending more than three years at NKF.


In vivo calcium imaging of layer 4 cells in the mouse using sinusoidal grating stimuli. Contributed by the Allen Institute for Brain Sciences.
Link for downloading pvc-7 data set files. Requires logging in with a CRCNS.org account. Allows batch downloading of multiple files. Details about batch downloading are given in the "Alternative Download method" section of the download page.


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By	Billy Steers
Book of the Month:
Tractor Mac Arrives at the Farm
I like most of the books I write to have a theme or a lesson. Usually these are the same lessons my wife and I would try to instill in our boys as they were growing up. The first book in the Tractor Mac series,"Tractor Mac Arrives at the Farm," is about the friendship between Sibley the workhorse and a new tractor on the farm. It's a rocky start because Sibley feels that the tractor is taking over all of his chores and disrupting his farm family's dynamics. "What good is a workhorse who cannot work?" The idea came to me as a way to discuss what happens in a child's perfect world when a new sibling arrives.
This story is also about changing technology on the farm in the late 40s and early 50s. I chose this time period because of all the amazing and rapid changes in the tractors and farm machinery that took place in this era. It was still a transitional time where much of the horse powered farming traditions were going away to be replaced first by steam, then by gas powered engines. Ingenious work-saving inventions were changing the face of America, as well as much of the world.
The first book was a fun experiment for me and it set the tone for the twenty books in the series that followed. I've enjoyed creating new characters and hiding "Easter-eggs" in my artwork(various little animals that follow through a particular story, as well as hidden family names worked into the pen and inks or painting of each page).
I am eternally grateful to my family, friends, and neighbors who have influenced the stories and helped out at all the fairs and shows over the years. Without their support we would not have enjoyed two decades of the Tractor Mac journey. Tractor Mac has come a long way since arriving at the farm!
Tractor Mac Arrives!2019-04-202019-04-20http://billysteers.com/wp-content/uploads/2019/01/signature-white-space.pngBilly Steershttp://billysteers.com/wp-content/uploads/2019/04/img_7277-e1555792520678.jpg200px200px

redpajama_set_name: RedPajamaCommonCrawl


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redpajama_set_name: RedPajamaGithub


text:
Design tips: Creating a wildlife-friendly meadow in small gardens
A meadow brings the gifts of untamed nature to a garden: a sweep of grasses swaying in the wind evokes the rippling expanse of the open ocean; a freckling of wildflowers in varied colors and shapes delights with ever-changing beauty. Well-designed meadows can enhance any style of landscape, and they provide important habitats for wildlife, especially pollinators and songbirds.
Best of all, your customers can get many of the benefits of a meadow even if they don't have acres of land. All you need is an understanding of what makes a successful meadow, a place to plant and an appreciation for serendipity (I'm using the term "meadow" here to also include prairie gardens. The distinction between the two isn't clear).
What makes a meadow? A meadow is a plant community defined by grasses, not just an unmowed lawn. A meadow typically emphasizes plants native to the area, and it includes many types of grasses and grasslike plants, plus wildflowers and low shrubs. Unlike a lawn, a meadow isn't regularly mowed or cut back, except for a yearly trim (usually in spring). This gives it a natural look and allows plants to go to seed and provide food and shelter for wildlife.
A small meadow can fit almost anywhere. It can be a focal point in a lawn area; a wide border along a fence, patio or walk; a patch of tall native grasses concealing an air-conditioning unit; even a bunch of pots with grasses waving next to flowers that attract pollinators and hummingbirds.
Note: Before planning a meadow, even a small one, check your local landscaping ordinances and homeowners association regulations to make sure that the meadow doesn't violate any height or maintenance requirements.
Photo: Susan J. Tweit
Designing a meadow
What kind of meadow does your customer imagine? The composition of a meadow depends partly on their taste. Do they prefer mostly grasses and grasslike plants? A combination of grasses and wildflowers? Shrubs for accents? Meadow composition also depends on what will thrive in their site. Plants adapted to the climate, soil and topography will establish more readily and require less attention to succeed.
The most pleasing and long-lived meadow plantings generally reflect the terroir, or flavor of place. They feature native species and are designed to echo the regional look of nearby grasslands, prairies or shrublands.
The meadow in this photo is a prairie at Denver Botanic Gardens, showcasing species native to Colorado's western Great Plains. In this fall photo above, the grasses and subshrubs, including the lovely rust-colored switchgrass (Panicum virgatum) and silvery-green white sagebrush (Artemisia ludoviciana), are most prominent. In spring and summer, the wildflowers appear dominant. The purple flower spikes are Rocky Mountain blazing star (Liatris ligulistylis), the last wildflower of the season.
Photo: Yorkshire Garden Designer
Look at your client's landscape with a meadow in mind. Where would they like to see grasses waving in the breeze? Where could butterflies and hummingbirds flit and hover undisturbed? Do they have an unused corner or something that a meadow could conceal?
For a focal-point meadow, draw a circle or your preferred shape in an area of the yard that will be visible from all angles. The diameter of the circle or width of the other shape should be at least 5 to 6 feet for a full meadow effect.
A meadow also can replace a wide border or give presence to an underused corner. Randomly scatter a seed mix of native grasses and wildflowers for a strip of prairie-type border. For a more formal border, plant short grasses or low sedges in front and work upward to the tallest grasses and shrubs in the back.
Plant a swath of meadow at the far end of a small yard to give the effect of a distant prospect.
Formal. Meadows also fit in more formal landscaping schemes. The meadow in this photo, for instance, provides a charming swath of blue in spring to a Montana slope between formal garden areas. The blue comes from native Lewis flax (Linum lewisii), backed by two species of native bunch grasses: blue grama (Bouteloua gracilis) and midheight Indian ricegrass (Achnatherum hymenoides). One way to achieve a more formal meadow look is to use fewer species and a narrower color palette, as shown here. You also can use a selection of sedges, all about the same height and texture, with some variation in color over the seasons.
Or you can deliberately place the plants in a more formal arrangement. For example, a formal Colorado meadow-style border could include a swath of a shortgrass like buffalograss (Buchloe dactyloides) in front, backed by a band of purple poppy mallow (Callirhoe involucrata), a band of midheight sideoats grama(Bouteloua curtipendula), then butterfly milkweed (Asclepias tuberosa) and a tall "spine" of Maximilian sunflower (Helianthus maximiliani).
Mini. If your customer's yard is a terrace, balcony or patio, you can still plant a little meadow. Group as many medium to large pots as the space will accommodate, and plant them with meadow species. Place the pots where the mini meadow will have maximum impact, whether it serves as a screen or a focal point, and then enjoy.
The little meadow in this photo lives on a south-facing front entry patio in Wyoming. It includes midheight little bluestem (Schizachyrium scoparium); shorter Idaho fescue (Festuca idahoensis), with wire-thin, bluish leaves; Sunset crater beardtongue (Penstemon clutei); gaura (Gaura lindheimeri); and nonnative annual sweet alyssum (Lobularia maritima), which feeds early-flying pollinators before the native wildflowers begin to bloom.
If your customer has room for six pots in their outdoor space, for example, plant half with grasses or grasslike plants, and cluster those together for maximum meadow-like effect — grasses waving in the wind. One pot could hold a tall grass, and two could contain a midheight grass or grasslike plant (pick species that will provide different colors and textures). Then plant a small shrub or subshrub in one pot with a taller wildflower, plus two containers with flowers, preferably ones that appeal to pollinators and bloom at different times in the season.
Photo: StuartBarr Construction Design Renovation
Meadows can be created either by arranging potted plants in a naturalistic way or by seeding. Whichever method you use, if the meadow site will replace existing lawn, either smother the turfgrass by covering it with layers of cardboard (weighted with rocks or boards) for several months or cut out the turf, and plant the meadow.
From pots. Starting with potted plants works well in very small places and gives you more design control, since you can place each plant for maximum effect. For a natural look, avoid putting plants in straight lines; instead, group them by threes or fives, and stagger the groupings for a random appearance.
From seed. For larger spaces or a more random look, seeding your meadow area is the way to go. It's also considerably cheaper. You can always plug in potted plants later for more color, blooms or additional species or varieties.
Prepare for seeding in the same way you would for planting, especially if the meadow is replacing existing turfgrass. It is imperative that any existing turf be killed, or else you will constantly have to weed lawn grasses out of the meadow to keep them from taking over.
Meadow mixes are widely available at nurseries and online; however, many include species that aren't native or are aggressive. A plant labeled a "wildflower" is not necessarily either native or desirable. For example, many meadow mixes contain bachelor's button, a European native that can be a nuisance, and Shasta daisy, also native to Europe, which is now considered a noxious weed in parts of the West.
Before you buy a meadow mix, read the label carefully and check for invasive or undesirable species. Local cooperative extension offices can help you learn which species are invasive; most states also maintain lists of invasives online.
Choosing plants
Seasonal Interest. When selecting plants or a seed mix, consider how your client's meadow will look in different seasons. In a small space, it's especially important to include plants that offer interest and provide habitat year-round. Look for plants that green up and flower early; that enliven even the "dog days" of late summer, when many plants look tired from the heat; and that provide color in the fall.
Don't forget plants with architectural form for winter. Using shrubs, taller grasses and sturdier flowers gives a meadow presence, even when snow may flatten finer-textured grasses and more delicate wildflowers. Plants that stand up to winter also provide habitat for wildlife, both food and shelter, which is one reason not to tidy a meadow until spring and regrowth begin. Leaving the dried stalks intact over the winter makes for good meadow habitat, especially for native bees and songbirds.
In this garden, the plants that stand out — and stand up — under snow are the midheight and tall grasses, including little bluestem (Schizachyrium scoparium), the orange clump of grass; rubber rabbitbrush (Ericameria nauseosa); and Maximilian sunflower (Helianthus maximiliani), with the latter two retaining their dried flower heads for winter interest.
Pollinators and other beneficial wildlife. Don't forget pollinators and other wildlife when selecting plants or a seed mix for your customer's small meadow. Make sure to choose plants that will provide food and shelter for the "little guys who really run the world," as biologist E.O. Wilson puts it.
The Indian blanket (Gaillardia pulchella) in this photo is an example of a super-habitat plant perfect for small meadows because it offers beauty and multiple benefits. It is attractive to a wide variety of pollinators, including beetles and native bees. Its seeds also feed goldfinches, siskins, house finches and other small songbirds. And it's a long-flowering native wildflower that flourishes in meadow plantings and is not attractive to deer or rabbits.
Even if the meadow is all grass and grasslike plants, for instance, they will provide seed for songbirds. And you can foster butterflies by selecting native grasses that feed butterfly caterpillars. Caterpillars are the ultimate picky eaters, as the precipitous decline of monarch butterflies illustrates.
Monarch caterpillars eat only milkweed plants, more specifically milkweeds native to North America. Plowing up prairie for farm fields and spraying roadsides with herbicides nearly decimated milkweed populations, and thus monarch butterflies. As milkweeds are being replaced, monarchs are returning.
Good sources for information on what pollinators use which plants include butterfly field guides, like Robert Michael Pyle's The Audubon Society Field Guide to Butterflies, with an index to pollinator plants, and The Xerces Society's Attracting Native Pollinators.
EDITOR'S NOTE: This article is from Houzz and was written by Susan Tweit. Tweit is a plant biologist, award-winning writer and speaker and landscape/garden consultant focusing on restoring nature and habitat for songbirds and pollinators.
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Cats›Health
Can Cats See Color?
Amelia, Critter Culture StaffUpdated Jul 14, 2020
There's no denying that cats have extraordinarily unusual eyes. Not only are they exquisite enough to have inspired the name of a style of a gemstone, but they really do look different than the eyes of most other animals. So what exactly is Fluffy seeing through those pretty peepers? Can cats see color? Better yet, how well do they see compared to humans?
How are cats' eyes different than ours?
bymuratdeniz / Getty Images
Apart from noticeable differences in appearance, the biggest difference between cat eyes and human eyes can be found right in the retina, the layer of tissue behind the eye which contains cells known as photoreceptors. Photoreceptors convert rays of light into electrical signals, which are then processed by nerve cells and sent to the brain to be translated into images that we see.
Are cats color blind?
nico_blue / Getty Images
Many people think cats can only see the world in black and white and shades of gray, but that's not entirely true. Cats can see colors, just not all of them. They are colorblind the way some humans are. Ever see a faded color photograph that has been bleached by the sun, where most of the bright colors and rich tones are washed out? That gives you a rough idea of how cats see the world through their eyes. They can see shades of green and blue, but pinks and reds might also look like varying shades of green, and purples might look bluish.
Do cats have peripheral vision?
CAP53 / Getty Images
Cats have built-in panoramic vision that beats ours. Their visual field is basically what we can see in our periphery -- the left, right, above and below us -- when our eyes are focused on a single point straight ahead. While we have a visual field of about 180 degrees on average, cats have a slightly wider one at 200 degrees. Like a wide angle lens on a camera, this expanded peripheral vision is perfect for spotting prey out the corner of their eyes.
Are cats nearsighted?
101cats / Getty Images
The answer is most likely yes. Cats do seem to be nearsighted, meaning they can't see objects that are far away clearly. Visual acuity means sharpness of vision, and on average, humans have a visual acuity of about 20/20. Cats, on the other hand, have a visual acuity ranging anywhere from 20/100 to 20/200. This means that a cat has to be 20 feet away from an object to see it as clearly as a human who is standing 100 or 200 feet away from it. If cats were humans, they'd be prescribed a pair of glasses stat!
Are cats farsighted?
milanvirijevic / Getty Images
Again, the answer appears to be yes. Farsighted means the inability to see objects close up clearly. Many older adults struggle with this problem as their eye muscles weaken with age, which is why they need reading glasses. Cats also lack the fine muscle movement necessary to adjust the shape of their lenses to see close up objects clearly and need to be further away. This means cats would need reading glasses too if they were human.
If cats' vision is so poor, how are they such good hunters?
Wildroze / Getty Images
Cats' eyes might not be very useful for seeing color or objects that are too close or too far away, but they are excellent at detecting movement, even in the dark. This is why you can toss your cat's toy into a dark room, and they'll find it immediately. Your cat's eyes are actually fine-tuned to see moving objects in the dark best of all. As hunters, it makes sense that movement matters far more to a cat's survival than colors or sharpness. Interestingly enough though, while scurrying prey is highly visible, slowly moving creatures might actually look stationary to a cat.
Can cats see in the dark?
rogkov / Getty Images
Absolutely. Cats have top-notch night vision because they pretty much need it to survive. They are crepuscular creatures, which means they are most active and alert at dawn and dusk, and therefore they do all their hunting in low light conditions. Their eyes have about six to eight times more rod receptors than our eyes do, which are cells that are sensitive to low light. But while both cats and dogs have a high concentration of rods but fewer cones than humans, we have just the opposite -- lots of cones but a low concentration of rods. This explains why our night vision is generally poor, but our color vision is far superior.
Why do cat's eyes light up in the dark?
SondraP / Getty Images
Cats have a unique structure behind their retina called the tapetum which is believed to improve their night vision. When light is shined directly into a cat's eyes in the dark, the cells within the tapetum act like a mirror. They reflect the light passing between the rods and cones, giving the photoreceptors another chance to detect the tiny amount of available light in the darkness. Creepy as it looks, this bouncing around of light makes cats' eyes look like they are glowing in the darkness.
Why aren't cats' pupils round?
ArtMarie / Getty Images
Domestic cats have adapted pupils that look like vertical slits instead of round like humans' and dogs'. This unusual pupil shape has the ability to open and close rapidly, capable of an impressive 135-to-300-fold change in size in less than a second, much like the aperture of a camera. If you've ever watched a cat react to something that has caught their eye, you've probably observed this for yourself. Cats' pupils can range from the size of a splinter to almost completely covering their iris, whereas a human's eye can only change 15-fold in size maximum. Cats' pupils are perfectly suited for what they're designed to do best -- hunting small prey in low light.
Why do cats have an extra eyelid?
Bloodsuker / Getty Images
Like most animals, cats have an additional set of eyelids located in each eye. These are, not surprisingly, known as "third eyelids," or "nictitating membranes," to give them their technical name. "Nictitate," which is rarely used these days, means wink, and that is precisely what these eyelids do: wink across the eye like a windshield wiper each time the animal blinks. Because animals are a lot closer to the ground than we are, their eyes are exposed to a lot more dirt and debris and therefore need an extra level of protection. We, humans, are actually the odd ones out here, with our two sets of eyelids: one on top, and one on the bottom.


A system and a method are disclosed for updating an image on a bi-stable display includes a module for determining a final optical state, estimating a current optical state and determining a sequence of control signals to produce a visual transition effect while driving the display from the current optical state toward a final optical state. The system also includes a control module for generating a control signal for driving the bi-stable display from the current optical state to the final optical state.
This application claims the benefit of U.S. Provisional Patent Application No. 60/944,415, filed Jun. 15, 2007, entitled "Systems and Methods for Improving the Display Characteristics of Electronic Paper Displays," the contents of which are hereby incorporated by reference in its entirety.
The disclosure generally relates to the field of electronic paper displays. More particularly, the invention relates to updating electronic paper displays.
Several technologies have been introduced recently that provide some of the properties of paper in a display that can be updated electronically. Some of the desirable properties of paper that this type of display tries to achieve include: low power consumption, flexibility, wide viewing angle, low cost, light weight, high resolution, high contrast, and readability indoors and outdoors. Because these displays attempt to mimic the characteristics of paper, they are referred to as Electronic Paper Displays (EPDs) in this application. Other names for this type of display include: paper-like displays, zero power displays, e-paper and bi-stable displays.
A comparison of EPDs to Cathode Ray Tube (CRT) displays or Liquid Crystal Displays (LCDs) reveals that in general, EPDs require much less power and have higher spatial resolution, but have the disadvantages of lower update rates, less accurate gray level control, and lower color resolution. Many electronic paper displays are currently only grayscale devices. Color devices are becoming available often through the addition of a color filter, which tends to reduce the spatial resolution and the contrast.
Electronic Paper Displays are typically reflective rather than transmissive. Thus they are able to use ambient light rather than requiring a lighting source in the device. This allows EPDs to maintain an image without using power. They are sometimes referred to as "bi-stable" because black or white pixels can be displayed continuously, and power is only needed when changing from one state to another. However, many EPD devices are stable at multiple states and thus support multiple gray levels without power consumption.
The low power usage of EPDs makes them especially useful for mobile devices where battery power is at a premium. Electronic books are a common application for EPDs in part because the slow update rate is similar to the time required to turn a page, and therefore is acceptable to users. EPDs have similar characteristics to paper, which also makes electronic books a common application.
While electronic paper displays have many benefits there are disadvantages. One problem, in particular, is known as ghosting. Ghosting refers to the visibility of previously displayed images in a new or subsequent image. An old image can persist even after the display is updated to show a new image, either as a faint positive (normal) image or as a faint negative image (where dark regions in the previous image appear as slightly lighter regions in the current image). This effect is referred to as "ghosting" because a faint impression of the previous image is still visible. The ghosting effect can be particularly distracting with text images because text from a previous image may actually be readable in the current image. A human reader faced with "ghosting" artifacts has a natural tendency to try to decode meaning making displays with ghosting very difficult to read.
One method for reducing error, therefore reducing ghosting, is to apply enough voltage over a long period of time to saturate the pixels to either pure black or pure white before bringing the pixels to their desired reflectance. FIG. 1 illustrates a prior art technique for updating an electronic paper display. Here, display control signals (waveforms) are used that do not bring each pixel to the desired final value immediately. The original image 110 is a large letter 'X' rendered in black on a white background. First, all the pixels are moved toward the white state as shown by the second image 112, then all the pixels are moved toward the black state as shown in a third image 114, then all the pixels are again moved toward the white state as shown in the fourth image 116, and finally all the pixels are moved toward their values for the next desired image as shown in the resulting image 118. Here, the next desired image is a large letter 'O' in black on a white background. Because of all the intermediate steps this process takes much longer than the direct update. However, moving the pixels toward white and black states tends to remove some, but not all, of the ghosting artifacts.
Setting pixels to white or black values helps to align the optical state because all pixels will tend to saturate at the same point regardless of the initial state. Some prior art ghost reduction methods drive the pixels with more power than should be required in theory to reach the black state or white state. The extra power insures that regardless of the previous state a fully saturated state is obtained. In some cases, long term frequent over-saturation of the pixels may lead to some change in the physical media, which may make it less controllable.
One of the reasons that the prior art ghosting reduction techniques are objectionable is that the artifacts in the current image are meaningful portions of a previous image. This is especially problematic when the content of both the desired and current image is text. In this case, letters or words from a previous image are especially noticeable in the blank areas of the current image. For a human reader, there is a natural tendency to try to read this ghosted text, and this interferes with the comprehension of the current image. Prior art ghosting reduction techniques attempt to reduce these artifacts by minimizing the difference between two pixels that are supposed to have the same value in the final image.
Another reason that the prior art technique described above is objectionable is because it produces a flashing appearance as the images change from one image to the next. The flashing can be quite obtrusive to an observer and gives a "slide show" presentation quality to the image change.
It would therefore be highly desirable to have a method for updating an electronic paper display where the error in the subsequent image is reduced, thus displaying less "ghosting" artifacts when a new image is updated on the display screen, without the undesirable and interruptive effect when transitioning from one image to the next.
One embodiment of a system for updating an image on a bi-stable display includes a module for determining a final optical state, estimating a current optical state and determining a sequence of control signals to produce a visual transition effect while driving the display from the current optical state toward a final optical state. The system also includes a control module for generating a control signal for driving the bi-stable display from the current optical state to the final optical state.
One embodiment of a method for updating a bi-stable display includes determining a desired optical state and estimating a current optical state. The method also includes applying a direct drive to the current image in order to display the desired image. The method further includes applying a sequence of control signals to produce a visual transition effect while driving the display from the current optical state toward a final optical state.
The features and advantages described in the specification are not all inclusive and, in particular, many additional features and advantages will be apparent to one of ordinary skill in the art in view of the drawings, specification, and claims. Moreover, it should be noted that the language used in the specification has been principally selected for readability and instructional purposes, and may not have been selected to delineate or circumscribe the disclosed subject matter.
FIG. 1 illustrates graphic representations of successive frames generated by a prior art technique for reducing the ghosting artifacts.
FIG. 2 illustrates a model of a typical electronic paper display in accordance with some embodiments.
FIG. 3 illustrates a high level flow chart of a method for updating a bi-stable display in accordance with some embodiments.
FIG. 4 illustrates a block diagram of an electronic paper display system in accordance with some embodiments.
FIG. 5 illustrates a visual representation of a method for updating a bi-stable display in accordance with some embodiments.
As used herein any reference to "one embodiment," "an embodiment," or "some embodiments" means that a particular element, feature, structure, or characteristic described in connection with the embodiment is included in at least one embodiment. The appearances of the phrase "in one embodiment" in various places in the specification are not necessarily all referring to the same embodiment.
As used herein, the terms "comprises," "comprising," "includes," "including," "has," "having" or any other variation thereof, are intended to cover a non-exclusive inclusion. For example, a process, method, article or apparatus that comprises a list of elements is not necessarily limited to only those elements but may include other elements not expressly listed or inherent to such process, method, article or apparatus. Further, unless expressly stated to the contrary, "or" refers to an inclusive or and not to an exclusive or. For example, a condition A or B is satisfied by any one of the following: A is true (or present) and B is false (or not present), A is false (or not present) and B is true (or present), and both A and B are true (or present).
In addition, use of the "a" or "an" are employed to describe elements and components of the embodiments herein. This is done merely for convenience and to give a general sense of the invention. This description should be read to include one or at least one and the singular also includes the plural unless it is obvious that it is meant otherwise.
FIG. 2 illustrates a model 200 of a typical electronic paper display in accordance with some embodiments. The model 200 shows three parts of an Electronic Paper Display: a reflectance image 202; a physical media 220 and a control signal 230. To the end user, the most important part is the reflectance image 202, which is the amount of light reflected at each pixel of the display. High reflectance leads to white pixels as shown on the left (204A), and low reflectance leads to black pixels as shown on the right (204C). Some Electronic Paper Displays are able to maintain intermediate values of reflectance leading to gray pixels, shown in the middle (204B).
Electronic Paper Displays have some physical media capable of maintaining a state. In the physical media 220 of electrophoretic displays, the state is the position of a particle or particles 206 in a fluid, e.g. a white particle in a dark fluid. In other embodiments that use other types of displays, the state might be determined by the relative position of two fluids, or by rotation of a particle or by the orientation of some structure. In FIG. 2, the state is represented by the position of the particle 206. If the particle 206 is near the top (222), white state, of the physical media 220 the reflectance is high, and the pixels are perceived as white. If the particle 206 is near the bottom (224), black state, of the physical media 220, the reflectance is low and the pixels are perceived as black.
Regardless of the exact device, for zero power consumption, it is necessary that this state can be maintained without any power. Thus, the control signal 230 as shown in FIG. 2 must be viewed as the signal that was applied in order for the physical media to reach the indicated position. Therefore, a control signal with a positive voltage 232 is applied to drive the white particles toward the top (222), white state, and a control signal with a negative voltage 234 is applied to drive the black particles toward the top (222), black state.
The reflectance of a pixel in an EPD changes as voltage is applied. The amount the pixel's reflectance changes may depend on both the amount of voltage and the length of time for which it is applied, with zero voltage leaving the pixel's reflectance unchanged.
FIG. 3 illustrates a high level flow chart of a method 300 for updating a bi-stable display in accordance with some embodiments. First, the desired optical state is determined 302. In some embodiments, the desired optical state is an image received from an application consisting of a desired pixel value for every location of the display. In another embodiment, the desired optical state is an update to some region of the display. The voltage amount needed to drive the display from the current image to a final image is determined. Next, an estimate of the current optical state is determined 304. In some embodiments, the current optical state is simply assumed to be the previously desired optical state. In other embodiments, the current optical state is determined from a sensor, or estimated from the previous control signals and some model of the physics of the display.
Next, pixels are driven directly from the current reflectance to a value close to their desired reflectance 306 by applying voltage to each pixel in the current image over an appropriate amount of time to quickly approximate the new value of the pixel in the desired image. In some embodiments, this transition is accomplished by using a constant voltage and applying that voltage over a certain period of time to achieve the desired reflectance. For example, a voltage of −15V might be applied for 300 milliseconds (ms) to change a pixel from white to black, while a voltage of +15V might be applied for 140 ms to change a pixel from grey to white. At the end of this direct drive step, the desired image will be visible on the display, but will also contain errors (and particularly ghosting artifacts) due to uncertainty about the exact reflectance value of each pixel in the original image and due to lack of sufficient granularity in the voltages and voltage durations that can be applied. In an alternate embodiment, a voltage of −15V might be applied for 300 milliseconds (ms) to change a pixel from black to white, while a voltage of +15V might be applied for 140 ms to change a pixel from white to grey.
Therefore, to achieve a final image with reducing ghosting artifacts and to produce a more visually pleasing transition state from the current image to the desired image, a deghosting technique is applied 308. Each pixel is labeled with a number ranging from 1 to N. In some embodiments, N=16 and each pixel is stochastically labeled such that its label is not likely to be close to any of the labels on neighboring pixels. Because pixel labels depend only on position, in some embodiments, the labels can be computed in advance and can be represented as an image file containing random noise that has been filtered to avoid clustering. In other embodiments, the label pattern could also be created by tiling a pre-computed filtered-noise pattern. In yet other embodiments, labels can be computed on the fly. Many filtered-noise algorithms can be employed. In other embodiments, non-filtered noise can also be employed.
Once the pixels are labeled, updated waveforms (sequences of voltages) are applied to each pixel, with a different waveform applied for each label. These waveforms consist of an onset delay, followed by a deghosting sequence that is designed to reduce the amount of error in the pixel's reflectance without changing the pixel's nominal grey value. In some embodiments, the waveforms applied to pixels for each label are the standard waveforms that saturate the pixel to white, then black, then back to white, and then bring finally it back to the initial starting value again, but with onset delays such that each offset time differs from its neighboring labels a certain amount of time. For example, if the offset time is 80 ms, the pixels with label 1 start their transition waveform. And then, 80 ms later, the next pixels would have their transition waveform.
To illustrate this effect, below is a table of exemplary labels and assigned offsets.
In the above exemplary table, each pixel labeled "1" would start their transitioning waveform at time zero. Pixels labeled "2" would start their transitioning waveforms 80 ms after the pixels labeled "1" have started. Pixels labeled "3" would start their transitioning waveforms 80 ms after the pixels labeled "2" have started, or 160 ms after the pixels labeled "1" have started.
In some embodiments, standard waveforms supplied by certain electronic paper displays last for only a certain period of time. For example, standard waveforms supplied by some electronic paper displays last for 720 ms. Therefore, given the above exemplary table, pixels labeled "2" through "7" will still be in the process of displaying when the waveform for the pixels labeled "1" have finished its complete sequence.
In some embodiments, labels are not randomly chosen, but are chosen to produce an animated transition from one image to the next. In some embodiments, the labeling of pixels and sequences of voltages chosen produces various visual effects during the transition from one image to the next image. For example, as mentioned above, in some embodiments, the labeling of pixels and sequences of voltages chosen produces an appearance such that the current image first changes quickly to the next image, followed by a period of what might look like TV static over the entire screen, during which any ghosting artifacts disappear. In other embodiments, the "direct drive" phase is skipped and the time-offset voltage sequences are chosen such that they both reduce ghosting artifacts and drive pixels to their desired values. In these embodiments, the labeling of pixels and sequences of voltages chosen produces a sparkling visual effect that starts at the top of the screen and continues to the bottom of the screen. As the sparkling line sweeps down the screen, pixels change from their old values to their new values, giving a "wipe" effect as might be seen when changing to a new slide in a PowerPoint presentation. In yet other embodiments, the labeling of pixels and sequences of voltages chosen produces a sparkling visual effect that starts at the bottom of the screen and continues to the top of the screen. In some other embodiments, the labeling of pixels and sequences of voltages chosen produces a sparkling visual effect that starts at the right of the screen and continues to the left of the screen. In some other embodiments, the labeling of pixels and sequences of voltages chosen produces a sparkling visual effect that starts at the left of the screen and continues to the right of the screen. In another embodiment, the labeling of pixels and sequences of voltages chosen produces a sparkling visual effect that starts a top corner of the screen and continues to the opposite corner of the screen. In another embodiment, the labeling of pixels and sequences of voltages chosen produces a sparkling visual effect that starts a bottom corner of the screen and continues to the opposite corner of the screen.
Once the pixels have all gone through their appropriate waveform updates, the final image is displayed 310. The steps described above help in reducing error and this ghosting on an electronic paper display without the undesirable perceived flashing by producing a more pleasant visual transition from the current image to the next desired image. The reduction in the perceived flashing comes from temporarily offsetting each pixel's waveform from those of its neighbors as described above by the "random" labeling method. The overall effect is perceived as random-noise interference (much like static on a television screen) rather than a disruptive flashing image. This "sparkling" type of effect is less distracting and resembles the appearance of the current image dissolving and transitioning into the desired image.
FIG. 4 illustrates a block diagram of an electronic paper display system in accordance with some embodiments. Data 402 associated with a desired image, or first image, is provided into the system 400.
The system 400 includes a system process controller 422 and some optional image buffers 420. In some embodiments, the system includes a single optional image buffer. In other embodiments, the system includes multiple optional image buffers as shown in FIG. 4.
In some embodiments, the waveforms used in the system of FIG. 4 are modified by the system process controller 422. In some embodiments, the desired image provided to the rest of the system 400 is modified by the optional image buffers 502 and system process controller 422 because of knowledge about the physical media 412, the image reflectance 414, and how a human observer would view the system. It is possible to integrate many of the embodiments described here into the display controller 410, however, in this embodiment, they are described separately operating outside of FIG. 4.
The system process controller 422 and the optional image buffers 420 keep track of previous images, desired future images, and provide additional control that may not be possible in the current hardware. The system process controller 422 and the optional image buffers 420 also determine and store the pixel labels.
A filtered noise image file is generated. Each pixel is probabilistically set to a value between 0 and 15 with higher probability given to values that are far away from the value of neighboring pixels. In some embodiments, this filtered noise image file is generated once and used for each application of the method 300 for updating a bi-stable display.
The desired image data 402 is then sent and stored in current desired image buffer 404 which includes information associated with the current desired image. The previous desired image buffer 406 stores at least one previous image in order to determine how to change the display 416 to the new desired image. The previous desired image buffer 406 is coupled to receive the current image from the current desired image buffer 404 once the display 416 has been updated to show the current desired image.
The waveform storage 408 is for storing a plurality of waveforms. A waveform is a sequence of values that indicate the control signal voltage that should be applied over time. The waveform storage 408 outputs a waveform responsive to a request from the display controller 410. There are a variety of different waveforms, each designed to transition the pixel from one state to another depending on the value of the previous pixel, the value of the current pixel, and the time allowed for transition.
In some embodiments, two waveform files are generated. One waveform file is used in the direct drive phase, while the other waveform file is used in the deghosting phase. In some embodiments, this waveform file encodes a three-dimensional array, the first two axes being the previous pixel value and the desired pixel value (both down-sampled to a value from 0 to 15), and the third axis being the frame number, with one frame occurring every 20 milliseconds.
The direct-drive waveform file applies voltage to a pixel for a number of frames equal to the desired value minus the previous value. In some embodiments, a negative value indicating negative voltage. For example, in some embodiments, to transition from a white reflectance (15) to a dark grey reflectance (4), the waveform would apply −15V for 9 frames, which is equal to 180 milliseconds.
Typically, the controller would receive a previous image, a desired image and a waveform file and from this, the controller would decide what voltage sequences to apply. Since a direct-drive update has been previously performed in step 306 (FIG. 3), the previous image and the desired image will be the same. Therefore, the filtered-noise image file is instead sent to the display controller 410 as the desired image. In some embodiments, a waveform file may be sent to the controller as a table where the table includes information about the previous image, information about the desired image, and the frame numbers. In this instance, a look-up is performed to determine what voltage to apply. With a normal waveform file, this would display the random-noise image, but the deghost waveform file has been written such that all the voltage sequences it produces result in going through an deghosting waveform and then back to the original pixel value, regardless of what desired value is specified. The desired value axis is instead used to select the temporal-offset for when a particular waveform starts. As a final phase, the display is updated with the actual desired image but with a null waveform that applies no voltage so that the previous desired image buffer 406 is reset to the correct value rather than to the filtered noise image.
The waveform generated by waveform storage 408 is sent to a display controller 410 and converted to a control signal by the display controller 410. The display controller 410 applies the converted control signal to the physical media. The control signal is applied to the physical media 412 in order to move the particles to their appropriate states to achieve the desired image. The control signal generated by the display controller 410 is applied at the appropriate voltage and for the determined amount of time in order to drive the physical media 412 to a desired state.
For a traditional display like a CRT or LCD, the input image could be used to select the voltage to drive the display, and the same voltage would be applied continuously at each pixel until a new input image was provided. In the case of displays with state, however, the correct voltage to apply depends on the current state. For example, no voltage need be applied if the previous image is the same as the desired image. However, if the previous image is different than the desired image, a voltage needs to be applied based on the state of the current image, a desired state to achieve the desired image, and the amount of time to reach the desired state. For example, if the previous image is black and the desired image is white, a positive voltage may be applied for some length of time in order to achieve the white image, and if the previous image is white and the desired image is black, a negative voltage may be applied in order to achieve the desired black image. Thus, the display controller 410 in FIG. 4 uses the information in the current desired image buffer 404 and the previous image buffer 406 to select a waveform 408 to transition the pixel from current state to the desired state.
According to some embodiments, it may require a long time to complete an update. Some of the waveforms used to reduce the ghosting problem are very long and even short waveforms may require 300 ms to update the display. Because it is necessary to keep track of the optical state of a pixel to know how to change it to the next desired image, some controllers do not allow the desired image to be changed during an update. Thus, if an application is attempting to change the display in response to human input, such as input from a pen, mouse, or other input device, once the first display update is started, the next update cannot begin for 300 ms. New input received immediately after a display update is started will not be seen for 300 ms, this is intolerable for many interactive applications, like drawing, or even scrolling a display.
With most current hardware there is no way to directly read the current reflectance values from the image reflectance 414; therefore, their values can be estimated using empirical data or a model of the physical media 412 of the display characteristics of image reflectance 414 and knowledge of previous voltages that have been applied. In other words, the update process for image reflectance 414 is an open-loop control system.
The control signal generated by the display controller 410 and the current state of the display stored in the previous image buffer 406 determine the next display state. The control signal is applied to the physical media 412 in order to move the particles to their appropriate states to achieve the desired image. The control signal generated by the display controller 410 is applied at the appropriate voltage and for the determined amount of time in order to drive the physical media 412 to a desired state. The display controller 410 determines the sequence of control signals to apply in order to produce the appropriate transition from one image to the next. The transition effect is displayed accordingly on the image reflectance 414 and visible by a human observer through the physical display 416.
In some embodiments, the environment the display is in, in particular the lighting, and how a human observer views the reflectance image 414 through the physical media 416 determine the final image 418. Usually, the display is intended for a human user and the human visual system plays a large role on the perceived image quality. Thus some artifacts that are only small differences between desired reflectance and actual reflectance can be more objectionable than some larger changes in the reflectance image that are less perceivable by a human. Some embodiments are designed to produce images that have large differences with the desired reflectance image, but better perceived images. Half-toned images are one such example.
FIG. 5 illustrates a visual representation 500 of a method for updating a bi-stable display in accordance with some embodiments. The visual representation 500 depicts a series of display outputs that would be displayed on the display of a bi-stable display during the method 300 for updating the bi-stable display. The visual representation 500 shows an initial image 502 and final image 504 that are displayed on the display of an electronic paper display in some embodiments. Intermediate image 506 to intermediate image 508 illustrates the occurrence of the direct update, where the pixels of the display are driven directly from the current reflectance to a value close to their desired reflectance. Intermediate image 512 to final image 504 illustrates the occurrence of the deghosting update. The result is less "ghosting" artifacts being displayed when a new image is updated on the display screen, without the undesirable and interruptive effect when transitioning from one image to the next.
Upon reading this disclosure, those of skill in the art will appreciate still additional alternative structural and functional designs for a system and a process for updating electronic paper displays through the disclosed principles herein. Thus, while particular embodiments and applications have been illustrated and described, it is to be understood that the disclosed embodiments are not limited to the precise construction and components disclosed herein. Various modifications, changes and variations, which will be apparent to those skilled in the art, may be made in the arrangement, operation and details of the method and apparatus disclosed herein without departing from the spirit and scope defined in the appended claims.
for at least some of the pixels of the plurality of pixels of the bi-stable display, choosing a sequence for a pixel and applying the sequence to the pixel, wherein the chosen sequence for the pixel produces a transition effect while driving the bi-stable display to a final desired state.
2. The method of claim 1, wherein the plurality of differing sequences is generated from a single sequence by inserting zero or more frames specifying that no voltage should be applied.
3. The method of claim 1, wherein the sequence applied to the pixel is stochastically selected from a set of possible sequences.
4. The method of claim 1, wherein the sequence applied to the pixel is chosen based, at least in part, on the location of the pixel in the display.
5. The method of claim 1, wherein the sequence applied to the pixel is chosen based, at least in part, on the signals to be applied to neighboring pixels.
6. The method of claim 1, wherein the transition effect starts at the bottom of the bi-stable display and moves toward the top of the bi-stable display.
7. The method of claim 1, wherein the transition effect starts at the top of the bi-stable display and moves toward the bottom of the bi-stable display.
8. The method of claim 1, wherein the transition effect starts at the right side of the bi-stable display and moves toward the left side of the bi-stable display.
9. The method of claim 1, wherein the transition effect starts at one corner of the bi-stable display and moves toward the opposite corner of the bi-stable display.
for at least some of the pixels of the plurality of pixels of the bi-stable display, means for choosing a sequence for a pixel and applying the sequence to the pixel, wherein the chosen sequence for the pixel produces a transition effect while driving the bi-stable display to a final desired state.
11. The system of claim 10, wherein the plurality of differing sequences is generated from a single sequence by inserting zero or more frames specifying that no voltage should be applied.
12. The system of claim 10, wherein the sequence applied to the pixel is stochastically selected from a set of possible sequences.
13. The system of claim 10, wherein the sequence applied to the pixel is chosen based, at least in part, on the location of the pixel in the display.
14. The system of claim 10, wherein the sequence applied to the pixel is chosen based, at least in part, on the signals to be applied to neighboring pixels.
15. The system of claim 10, wherein the transition effect starts at the bottom of the bi-stable display and moves toward the top of the bi-stable display.
16. The system of claim 10, wherein the transition effect starts at the top of the bi-stable display and moves toward the bottom of the bi-stable display.
17. The system of claim 10, wherein the transition effect starts at the right side of the bi-stable display and moves toward the left side of the bi-stable display.
18. The system of claim 10, wherein the transition effect starts at one corner of the bi-stable display and moves toward the opposite corner of the bi-stable display.
a module for applying the first sequence of control signals to drive the bi-stable display to produce a transition effect before driving the bi-stable display to a final desired state.
for at least some of the pixels of the plurality of pixels of the bi-stable display, a module for choosing a sequence for a pixel and applying the sequence to the pixel, wherein the chosen sequence for the pixel produces a transition effect while driving the bi-stable display to a final desired state.
20. The apparatus of claim 19, wherein the plurality of differing sequences is generated from a single sequence by inserting zero or more frames specifying that no voltage should be applied.
21. The apparatus of claim 19, wherein the sequence applied to the pixel is stochastically selected from a set of possible sequences.
22. The apparatus of claim 19, wherein the sequence applied to the pixel is chosen based, at least in part, on the location of the pixel in the display.
23. The apparatus of claim 19, wherein the sequence applied to the pixel is chosen based, at least in part, on the signals to be applied to neighboring pixels.
24. The apparatus of claim 19, wherein the transition effect starts at the bottom of the bi-stable display and moves toward the top of the bi-stable display.
25. The apparatus of claim 19, wherein the transition effect starts at the top of the bi-stable display and moves toward the bottom of the bi-stable display.
26. The apparatus of claim 19, wherein the transition effect starts at the right side of the bi-stable display and moves toward the left side of the bi-stable display.
27. The apparatus of claim 19, wherein the transition effect starts at one corner of the bi-stable display and moves toward the opposite corner of the bi-stable display.


The Arc de Triomphe in Paris conveys a powerful historic symbol at the centre of the star-shaped "Place de l'Étoile". It is one of Paris' most famous monuments, ideally situated at the top of the Champs-Élysées.
Majestically set on top of a hill, the Arc de Triomphe offers the best view of the Historical Axis which runs through some of Paris' most celebrated monuments and squares: from the Louvre and the gardens of the Tuileries to La Défense, passing through the Champs-Élysées.
At the end of the Avenue des Champs-Élysées stands the mighty Arc de Triomphe, at the centre of a huge square in the shape of a 'star', accurately named the "Place de l'Étoile". The huge arch was raised on the centreline of the Historical Axis of Paris, some 2.2km away from the Luxor Obelisk on the Place de la Concorde. This celebrated monument is the highest triumphal arch in Europe and stands 50 metres high.
The Neoclassical design of the Arc de Triomphe by Jean Chalgrin (1739–1811) was inspired by the triumphal Arch of Titus in Rome.
This famous Parisian landmark was commissioned from Jean Chalgrin by Napoleon Bonaparte in 1806 who once said to his soldiers "When you come back home, it will be through these triumphal arches". But Napoleon never saw the monument completed. During the Napoleonic Wars, the building was stopped and only resumed in the reign of Louis-Philippe in the 1830s. It was inaugurated on the 29 July 1836, only three months before the raising of the Luxor obelisk – another symbolic landmark – in the Place de la Concorde down the hill. The remains of Napoleon travelled under the arch on the 15th December 1840 on its way to his final resting place in the chapel of the Hôtel des Invalides. On the 22nd May 1885, the corpse of Victor Hugo was allowed to rest the whole night under the arch before being buried at the Panthéon.
The Arc de Triomphe honours those who fought for France, particularly during the Napoleonic Wars. In the ground beneath the arch, the tomb of the Unknown Soldier (Soldat inconnu) of the First World War is interred. The eternal Flame of Remembrance placed on the grave echoes that of the Vestal Virgins in Rome which was extinguished in 394 by Barbarian raids. It remembers the soldiers killed in the war who were never identified. Since 1923, the flame has been rekindled every evening at 6.30pm by associations of war veterans.
The Arc de Triomphe is certainly a symbolic monument with a strong historic connotation, and its alignment along the Historical Axis has been meticulously calculated to have the sun setting under the arches on some particular days. Twice a year, around the 10th May and the 1st August, the sun sets on the Historical Axis. The sun rises towards the East under the arch around the 7th February and the 4th November.
The four sides of the façade of the triumphal arch were decorated with impressive bas-reliefs, high-reliefs and friezes describing scenes from the Napoleonic Wars.
The four high-reliefs at the base of the Arc de Triomphe are 'The Triumph' (Cortot, 1810), Resistance, Peace (both by Antoine Étex) and the 'Departure of the Volunteers' (1792) by François Rude. This sculptural group showing the departure of citizens to defend the nation is probably the most renowned and is also known as 'La Marseillaise'. The Amazon-type character charging forward with a sword symbolises the Revolution. Note the harsh expression on her face contorted in a fierce rallying cry.
❖ On the Champs-Élysées' side – left: La bataille d'Aboukir (The Battle of Aboukir), by Seurre the Elder.
❖ On the Champs-Élysées' side – right: Les funérailles du général Marceau (General Marceau's burrial), by P.H. Lamaire.
❖ On the Avenue de Wagram's side: La bataille de Jemappes (The Battle of Jemappes), by Carlo Marochetti.
❖ On the Avenue de la Grande Armée's side – left: La prise d'Alexandrie (The Fall of Alexandria), by J.E. Chaponnière.
❖ On the Avenue de la Grande Armée's side – right: Le passage du pont d'Arcole (The Battle of Arcole), by J.J. Feuchère.
❖ On the Avenue Kléber's side: La bataille d'Austerlitz (The Battle of Austerlitz), by J.F.T. Gechter.
The frieze above the bas-reliefs was executed by several artists of the 19th century: Rude, Brun, Jacquet, Laitié, Caillouette and Seurre the Elder. The Champs-Élysées' side depicts the departure of French soldiers to war campaigns and on the West side, (Avenue de la Grande Armée) their return.
Between the frieze and the top of the monument are a series of thirty shields onto which are engraved the names of major Revolutionary and Napoleonic military victories.
The inside walls of the Arc de Triomphe feature the names of 660 people, mostly the French generals of Napoleon. The names of those killed in battle are underlined. The shorter sides of the four supporting columns contain the names of the major victorious battles of the Napoleonic Wars. The battle of Waterloo does not appear there as they do not include the battles which took place after the departure of Napoleon from Elba (1815).
The number 12 is traditionally known as a sublime number (a number that has a perfect number of divisors, and the sum of its divisors is also a perfect number). The number is found in various symbolic places: the 12 apostles, the 12 signs of the zodiac, the 12 months in a year, the 12 hours in a day or night.
The answer is that with Parisian and French leaders, anything is possible! President François Mitterrand wished to expand the great perspective beyond the Arc de Triomphe by erecting an even larger, taller and wider monument: the Grande-Arche de la Défense.
On a practical note, the Arc de Triomphe is accessed through a pedestrian underground corridor which links the north corner of the Champs-Élysées to the Avenue de la Grande Armée. Visitors can either use the lift or climb the 284 steps to reach the panoramic platform.
The panoramic view from the platform is amazing as it displays the twelve avenues departing from the Place de l'Étoile. The viewing platform also offers a fine view over the whole Historical Axis, from the Louvre to the Grande Arche in the CBD of La Défense. The best time of the day to appreciate the fine view is to go up at dusk on a sunny day when most of Paris will then be illuminated with the light of the setting sun.
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Wondering What Builder's Risk Insurance Can Do for You?
This article will give you a brief description of just what exactly Builders Risk is for those who think they may need it.
Will Homeowners Insurance cover my remodel?
While some homeowners insurance policies might be sufficient for some remodelling projects, it is imperative that you find out.
Before you start a remodelling project, you need to make sure there is no gap in your insurance of your house or soon-to-be house.
Check to see if you need to acquire additional insurance for remodelling projects.
If there is an accident with damages, you're on the hook without an attorney if you aren't properly covered.
A builder's risk policy can cover two things for both professionals and do it yourself homeowners.
The first is the cost of damages to the structure or any property on the project.
The second thing a builder's risk policy covers is called Premises Liability. This is similar to the General Liability that a contractor must carry. Premises Liability covers bodily harm to a third party. For example, if someone were to enter the property and someone slip and fall or sustain some injury while on the property, that could be cause for a lawsuit.
Can I get Insurance after my project started?
There is a bit of a conundrum in the insurance world for those that do not secure a builder's risk project before or at the very beginning of a project.
What happens is that the regular homeowner's policy will not be valid, and guess what – the darn insurance company will refuse to insure any project that is already 20% or more underway!
This percentage may vary from lender to lender and state to state, but it is usually twenty. So make sure you are not one of those that get stuck in this situation, by securing this type of insurance at least a week or two before your project begins.
It is permissible to pay for the policy and have it start at a later, known date.
Do I need extra insurance in a disaster area?
Many policies have restrictions and exclusions depending on where you live. If you live in an area known for its storms, it's important to look over your coverage with your agent. You need to know if wind and flood damage is covered or not, and if there is any extra protection available.
Do I need to talk to an agent?
A good agent can get you to the right policy. Not only that, many agents will take the time to shop around for you so you get the best price.
If you have any questions or would like more detailed information, feel free to comment here or click on my link below.


Named Alamance County's "Man of the Year"
Greetings from Elon! Every generation of alumni has experienced the transformational power of an Elon education since our founding in 1889. Today, we are a leading residential liberal arts university, offering our students a breadth of academic opportunity in an intimate community renowned for active and engaged learning.
In order to truly appreciate Elon's uniqueness on the landscape of American higher education, you must pay a visit to the campus, which has recently been designated a botanical garden. Here, you will discover a true academic community. Our faculty members are wonderful teacher-scholars who engage students in the joy of discovery, helping them develop the habits of mind that will prepare them for leadership in a global age. Our staff members are committed to creating a campus environment that allows learning to occur seamlessly in and out of the classroom. And most important, you will meet our students – talented, friendly, community-minded, inquisitive, active learners. You will be impressed by the spirit of Elon people!


REBAP Palawan offers the lowest CPD Seminar fees in the Province.
REBAP Palawan Chapter has been lauded for its quality-oriented but low-cost rates of its Continuing Professional Development (CPD) seminars since the Chapter was founded on December 2017.
Despite being new, the Chapter has already conducted two Salesperson and CPD seminars to date. Rates started at Php 1,000 to 2000 for the early registrants, which were 33.33% lower compared to the rates of other CPD providers in the province.
The first one was held on April 14-15, 2018 with the theme, "Gaining the Competitive in Real Estate Practice" at Uno Hotel, Puerto Princesa. CRB Consultant Ely Saavedra and Consultant Alex Lumarda were the speakers, while the latest was held on September 1-2, 2018 at the VJR Hall, Provincial Capitol where CRB Lito Nebre and CRB Nong Liganor were the lecturers. The said CPD seminar carried the theme entitled, "Diversified Techniques in Real Estate Marketing." The seminars were attended by at least eighty (80) individuals.
" It is our noble mission to provide for quality but affordable seminar with new and timely topics to equip our salespersons and fellow brokers alike with the right knowledge and skill to be successful in real estate practice. I am thankful to our sponsors who helped us achieve our goals. It is our earnest desire to have CPDs in the future free-of-charge and open to anyone who wants to learn about real estate. We had sponsored around ten (10) individuals who attended the latest seminar we conducted, and the feeling of giving back to the community through education and information dissemination is priceless. This is our way to promote the RESA Law and educate colorums and urge them to register legally. As our online advertisement goes, when you are #ColorumNoMore, #BentaIsMore.", says CRB Mae Cuajotor, REBAP Palawan President.


Q: My calls have poor audio.
Audio quality depends on many different factors. ImpactConnect calls will work better using a wired connection such as the ImpactConnect VoxBox. Wi-Fi availability, signal strength and quality will have an effect on the audio quality of your call if you are using a computer or tablet.
If you are using a cellular data network, you might experience issues due to cell tower location and cellular reception. Also, the quality of the cellular device may play a part as well.
Q: I cannot get to the MyAccount portal.
Verify using the correct URL for log in and that their Username and Password is correct. If they are still having an issue clear there browser cache and have them restart their machine and re-attempt.
Q: Will my ImpactConnect service work if I lose power?
The ImpactConnect VoxBox will not work without an external power source. The ImpactConnect App will continue to operate as long as your device has power and you can still access the web GUI from a smartphone.
Q: The User Portal is responding slowly.
Most MyAccount portal errors can be corrected by clearing your browser cache. Follow the clear browser cache instructions available here: http://www.refreshyourcache.com.
Q: What are the DTMF settings for the ImpactConnect service?
DTMF must be set RFC2833 only for the ImpactConnect phone service to work properly. Disable all other DTMF in your ImpactConnect App. These settings are preconfigured in the ImpactConnect App.
Q: On the MyAccount portal is a Ring for Seconds setting. What's that do?
The Ring for Seconds setting determines how long your ImpactConnect number rings before it is transferred to your voice mail or other forwarding number.


Another week finished (and month), and I finished it on a high. After watching Fisher v Hendren complete Crossfit Open workout 14.1 I was pumped to get in to the gym and knock out a session.
I finished the session with a nice and easy 2km walk back to the office.
I will be doing this session again for sure, but I need to focus on doing a bit more upper body work as my shoulders/ upper back felt every part of those thrusters.
This weekend I will try Charlie again, but may throw in thrusters instead of the squats and see how I go with that (I want to start working on my weakness) and report back. I watched a video a while ago about a guy completing a backyard workout while mowing the back lawn. I will post the video up once I am home.
I have just come across the man made marvel that is Danny Broflex! Danny Broflex is the alter ego of Dan Bailey and he is making his way around Crossfit HQ creating chaos.
Good luck to all my readers who have entered The Open!
So the prologue of the Santos Tour Down Under has been run and won with a very tight finish on one of the most technical street courses I have seen in my time.
In what was a quick race two powerhouse Germans were too strong in the end with Marcel Kittel beating home Andre Griepel and Team UniSA – Australia's (I am very much biased with this result) Caleb Ewan. The result for Ewan is huge in his young career considering the two giant Germans in front of him both have Stage wins in the illustrious Tour De France.
My pre-race pick of the win coming from a Team Sky rider was looking good with around 3 laps to go, but Lotto Belisol (Griepels team) really put their foot down and set up a great finish which was eventually won by Kittel (Giant-Shimano).
Tomorrow the riders will be covering 135kms from Nurioopta to Angaston in Adelaides Barossa Valley.
The below is a picture of some of the riders in action during the 50km sprint.
In regards to my fitness I am hoping to fit in a little run (I am really looking forward to getting back in to things next week already) tomorrow morning before heading out on the road for Stage 1.


The term "war crime" is the generic expression for large and small violations of the laws of warfare, whether committed by members of the armed forces or by civilians. It includes "grave breaches". These are war crimes which are also major violations of the Geneva Conventions of 1949 or of [the 1977 Additional Protocol I]. "War crimes", in the broadest sense, include crimes against peace and crimes against humanity of the type prosecuted before the International Military Tribunal at Nuremberg following World War II.
New Zealand, Interim Law of Armed Conflict Manual, DM 112, New Zealand Defence Force, Headquarters, Directorate of Legal Services, Wellington, November 1992, § 1701(1).
The manual further provides a long list of "grave breaches" and other war crimes.
New Zealand, Interim Law of Armed Conflict Manual, DM 112, New Zealand Defence Force, Headquarters, Directorate of Legal Services, Wellington, November 1992, §§ 1702, 1703 and 1704.
New Zealand, Interim Law of Armed Conflict Manual, DM 112, New Zealand Defence Force, Headquarters, Directorate of Legal Services, Wellington, November 1992, § 1704(6).
Although breaches of [the 1977 Additional Protocol II] would amount to war crimes if committed in international armed conflict, both the governmental and rebel authority should treat them as breaches of the national criminal law, since the law concerning war crimes relates to international armed conflicts.
New Zealand, Interim Law of Armed Conflict Manual, DM 112, New Zealand Defence Force, Headquarters, Directorate of Legal Services, Wellington, November 1992, § 1824(1).
New Zealand's International Crimes and ICC Act (2000) defines war crimes as grave breaches of the 1949 Geneva Conventions, other serious violations of the laws and customs of war applicable in international armed conflict, serious violations of common Article 3 of the 1949 Geneva Conventions and other serious violations of the laws and customs applicable in armed conflict not of an international character.
New Zealand, International Crimes and ICC Act, 2000, Section 11.


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Bon Jovi Is Going On Tour With Bryan Adams And Releasing A New Album This Year
Whitney Houston Is Being Inducted Into The Rock & Roll Hall Of Fame
Bruce Springsteen's Son Was Just Sworn In As A New Jersey Firefighter
There Were 2 Seats Reserved For The Late George And Barbara Bush At This George Strait Concert
What a special tribute.
KXXV 2019-03-25
KXXV · March 25, 2019
Taylor Corbett/KXXV
George Strait set an NRG Stadium attendance record at his concert on March 24, but two seats were empty.
According to KTRK, the seats were engraved for George H.W. Bush and Barbara Bush. Flowers were left in Barbara's chair.
The former president and first lady were not only Houston residents, but they were also lifelong supporters of the Houston Rodeo.
"They had a very special relationship with some of the entertainers, Reba McEntire and Brad Paisley in particular. And when Reba or Brad would play they'd usually come in advance of the show and sit down and visit with them. And then they would enjoy seats right beside the bucking chute," Rodeo Houston President Joel Cowley told KTRK.
Getty Images | Joe Mitchell
Barbara Bush died in April of last year. The former first lady passed away in April 2018 at the age of 92. Her death prompted a slew of public tributes from family and friends, including a particularly moving statement from granddaughter Jenna Hager.
Hager took to Instagram to write: "I already miss this FORCE of a woman— the 'enforcer' because she was the glue that held our family together. She taught me to use my voice but also to value the opinions of others."
Former President George W. Bush also paid tribute to his mother, sharing this sweet photo of the two of them, along with a touching caption. It read in part, "Laura, Barbara, Jenna, and I are sad, but our souls are settled because we know hers was."
My dear mother has passed on at age 92. Laura, Barbara, Jenna, and I are sad, but our souls are settled because we know hers was. Barbara Bush was a fabulous First Lady and a woman unlike any other who brought levity, love, and literacy to millions. To us, she was so much more. Mom kept us on our toes and kept us laughing until the end. I'm a lucky man that Barbara Bush was my mother. Our family will miss her dearly, and we thank you all for your prayers and good wishes.
A post shared by George W. Bush (@georgewbush) on Apr 17, 2018 at 6:34pm PDT
Seven months after his wife's death, George H.W. Bush also passed away. The former president died in December 2018 at the age of 94. Several memorials were held in the wake of his passing, including one at the National Cathedral in Washington, DC, and a second service at St. Martin's Episcopal Church in Houston.
The late president was carried to his final resting place, the George H.W. Bush Presidential Library in College Station, Texas, via a locomotive dubbed the "Bush 4141." The Bush 4141 is a rare locomotive that was commissioned to honor the former president in 2005. It's one of only a handful of Union Pacific trains to bear a color scheme other than the company's traditional blue and gold. The train, seen below, is painted to resemble Air Force One with a white body, a presidential seal and long vertical bars of blue.
Getty Images | Sergio Flores
Written by Taylor Corbett for KXXV. Additional reporting by Simplemost staff.
Tags:Barbara Bushgeorge h.w. bushGeorge StraitGeorge Strait concertremembering George and Barbara Bush
These stories of kids who committed acts of kindness will warm your heart
Angel Food Cupcakes with Whipped Cream and Berries Are So Light And Airy


At the center of Terminal is a mini-movie. It involves Simon Pegg playing a dying English teacher and Margot Robbie, an all-night diner waitress. The two share a morbid curiosity. They dance around the idea of Pegg's possible suicide, delighting in the potential for a less painful death compared to lung cancer. Sitting in a booth, alone in the diner, isolation under flickering neon lights feeds their imagination.
Then Terminal loses itself. It loses everything. There's a dazzling swirl of color and light play, saturating this noir with superior abstract visuals. Terminal's many pieces link to the world of Blade Runner, teetering the line of sci-fi without crossing. Few scenes lack vibrancy or style, to the point of excess.
Unfortunately, that's all just a dressing, a style in search of a plot. Terminal is an irritable story, flinching with every twist and draining in its conclusions. Robbie and Pegg share the screen as if they belong together; everyone else only intrudes on their pairing. Max Irons and Dexter Fletcher play two assassins, loosely a team. Mike Myers dons make-up for a wonky role as a subway janitor. That's the entirety of the cast, limiting the overarching mystery to a handful of suspects.
Winding through these few characters, slipping in and out of timelines, Terminal dizzies itself. There's no need. It's clear a direct feed narrative would bore, so the trickery serves as a diversion from the stumbling, ailing plotline. Terminal badly wants a comparison Sin City. The unaccredited city exists as a fantasy land of Americana and neon striping, often seedy for the sake of this mood piece. A few punctures of comedy – mostly from Pegg – don't help.
Margot Robbie is Terminal's heart. There's cause for her to be centered on the poster. Sadly, her role as a spunky femme fatale with a capable sexual lure leads to a grisly end. Appalling, really. One twist deals in pedophilia, another abuse, then still murder. The females in the cast deal with crude sexualization and torture. The men bully up. Contrast in gender is thicker than this color palette.
There's room for a devious, dark, and macabre in this fashion. Terminal almost finds that. Soon though, it's off rail, treating Robbie as if only a collection of skin and losing that smirk visible when Pegg joins her. There's a classic five minute short waiting to run away from the surrounding content.
Kudos to RLJ's encoders. Terminal is not an easy one to process, with significant haze and fog. With one exception, Terminal avoids issues of banding. It's remarkable considering other movies with similar looks that succumb to the issue.
By design, this is never a sharpened or precise presentation. Rudimentary detail takes up much of the frame, resolved cleanly if lightly. Occasional noise persists, but only awful during a scene near an underground hole. There, behind Robbie, chroma noise picks up for a few minutes.
With wildly varying color schemes, rarely does the disc settle into a single style. Until the closing moments that rush the contrast onto the screen, Terminal sticks with a dour look, accentuated by the saturation. Black levels recede, removing depth. It's all style.
A plain DTS-HD mix does little in world building. Ambiance is nill. Surround use is limited to a club interior with booming music and some minor effects. A subway running proves the subwoofer is functioning. That's it.
Dialog stays firmly in the center channel without movement. It's clear and precise.
Two bland EPK features both run 6:14 each. Exactly. That's odd, but that's the only significance to either. A comparison reel to pre-production art and the finished shots runs two minutes is followed by a photo gallery.
Simon Pegg, Margot Robbie, and dazzling cinematography nearly pull Terminal together, but the rest is a grating noir thriller.
The 15 unaltered images below represent the Blu-ray. For an additional 19 Terminal screenshots, early access to all screens (plus the 13,000+ already in our library), 50+ exclusive 4K UHD reviews, and more, support us on Patreon.


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Being Frank (2018)
A seventeen-year-old boy blackmails his father after discovering his secret second family
Genre: Comedy, Drama, Hollywood
Director: Miranda Bailey
Actors: Alex Karpovsky, Anna Gunn, Hayes MacArthur, Jim Gaffigan, Logan Miller, Michelle Hurd, Samantha Mathis
Quality: 720p
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Jeffrey "The Dude" Lebowski, a Los Angeles slacker who only wants to bowl and drink White Russians, is mistaken for another Jeffrey Lebowski, a wheelchair-bound millionaire, and finds himself dragged…
Genre: Comedy, Crime, Drama, Hollywood
Chashme Buddoor (1986)
Two womanizing slackers, Omi and Jai (Rakesh Bedi and Ravi Baswani respectively) attempt to woo the new girl in the neighbourhood, and fail – miserably. Their third room-mate, shy, and…
Genre: Bollywood, Comedy, Family, Romance
Vidhi Mathi Ultaa (2018) in Hindi
Aadhi, played by Rameez Raja, was helping his father, in running a mobile phone shop, with no big aim in life. One day, he met Divya, a college girl and…
Genre: Comedy, Drama, Dual Audio, South Special
Tangled: Before Ever After (2017) in Hindi
As Rapunzel prepares for her coronation as Princess of Corona, one unforgettable night will change her hair again!
Genre: Adventure, Animation, Comedy, Dual Audio, Family, Fantasy, Hollywood, TV Movie
Kamini (2019) Hindi Season 1
Men in a village are disappearing in the darkness of the night. Is it the work of a mystical enchantress, or is there some other mystery?
Genre: Bollywood, Comedy, Drama, Horror, Romance, TV Shows
Little Johnny the Movie (2011)
Australia's Answer to "Family Guy" But Wronger! Little Johnny jokes have been around for decades, passed down from generation to generation and from friend to friend but the origins of…
Genre: Animation, Comedy, Drama, Hollywood
Boyz (2017) Marathi
Gayatri has taken care of her son Kabir as a single mother.But cracks have developed in their relationship as Gayatri always avoids telling Kabir about his father.Kabir's only communication…
Genre: Comedy, Drama, Marathi
The Actor (2018)
A mentally disturbed aspiring actor returns to New York City, as he hides his violent urges, he discovers the world of social media and faces the horrifying power of the…
The Hero (2017)
An ailing movie star comes to terms with his past and mortality.
Genre: Comedy, Drama, Hollywood, Romance
Three Night Stand (2013)
A man's plans for a romantic weekend go awry when he learns that his ex-girlfriend, whom he still secretly loves, manages the ski lodge where he and his wife are…
Beware the Eye of Amun-Ra (2018)
The criminal underworld is buzzing with double-crosses, lies and greed as the prized jewel, The Eye of Amun-Ra, is passed around the city. Can our heroes find the diamond and…
Genre: Adventure, Animation, Comedy, Drama, Family, Hollywood, Horror
Death Do Us Part (2018)
A couple trying to save their marriage during a zombie apocalypse.
Country: Denmark, Sweden
Genre: Comedy, Drama, Hollywood, Horror, Romance