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US5465121A - Method and system for compensating for image distortion caused by off-axis image projection - Google Patents
Method and system for compensating for image distortion caused by off-axis image projection Download PDF
US5465121A US08/040,737 US4073793A US5465121A US 5465121 A US5465121 A US 5465121A US 4073793 A US4073793 A US 4073793A US 5465121 A US5465121 A US 5465121A
data file
James L. Blalock, deceased
William R. Sterrett
International Business Machines Corp
1993-03-31 Application filed by International Business Machines Corp filed Critical International Business Machines Corp
1993-03-31 Assigned to INTERNATIONAL BUSINESS MACHINES CORPORATION reassignment INTERNATIONAL BUSINESS MACHINES CORPORATION ASSIGNMENT OF ASSIGNORS INTEREST. Assignors: BLALOCK, KAREN INDEPENDENT ADMINISTRATRIX OF THE ESTATE OF JAMES LYNN BLALOCK (DECEASED), STERRETT, WILLIAM R.
230000000051 modifying Effects 0 abstract claims description 23
230000004044 response Effects 0 abstract claims description 8
230000000007 visual effect Effects 0 abstract claims description 4
238000007639 printing Methods 0 claims description 3
230000002708 enhancing Effects 0 abstract description 2
239000004973 liquid crystal related substances Substances 0 description 5
239000011805 balls Substances 0 description 2
239000011437 adobe Substances 0 description 1
239000003607 modifier Substances 0 description 1
239000003826 tablets Substances 0 description 1
H04N3/00—Scanning details of television systems; Combination thereof with generation of supply voltages
H04N3/10—Scanning details of television systems; Combination thereof with generation of supply voltages by means not exclusively optical-mechanical
H04N3/16—Scanning details of television systems; Combination thereof with generation of supply voltages by means not exclusively optical-mechanical by deflecting electron beam in cathode-ray tube, e.g. scanning corrections
H04N3/22—Circuits for controlling dimensions, shape or centering of picture on screen
H04N3/23—Distortion correction, e.g. for pincushion distortion correction, S-correction
H04N3/233—Distortion correction, e.g. for pincushion distortion correction, S-correction using active elements
H04N3/2335—Distortion correction, e.g. for pincushion distortion correction, S-correction using active elements with calculating means
H04N9/12—Picture reproducers
H04N9/31—Projection devices for colour picture display, e.g. using electronic spatial light modulators [ESLM]
H04N9/3179—Video signal processing therefor
H04N9/3185—Geometric adjustment, e.g. keystone or convergence
A method and system in a data processing system for modifying an image source data file to compensate for distortions resulting from a projection of an image source onto a surface that is not perpendicular to an image source projection system. A data processing system image source data file is identified and a test pattern is displayed utilizing a data processing system visual output device. A user is permitted to enter a distortion compensation factor, the displayed test pattern is modified utilizing the distortion compensation factor. Once a final distortion compensation factor is selected in response to the appearance of the modified test pattern, the data processing system image source data file is modified, utilizing the selected distortion compensation factor, thereby enhancing the projection of an image source onto a surface that is not perpendicular to an image source projection system.
1. Technical Field
The present invention relates in general to an improved data processing system and in particular to a method and system for enhanced projection of data processing system generated text, graphics or multimedia presentations. Still more particularly, the present invention relates to a method and system for precompensating data processing system generated text, graphics or multimedia presentations to compensate for distortion resulting from off-axis projection.
2. Description of the Related Art
As the availability of desktop publishing and graphic presentation software increases, and as such software becomes easier to utilize, the public is beginning to expect a higher standard of quality in the communication of information through the text, graphics and multimedia presentations produced utilizing such software. Presentations that were once typed and photocopied onto an overhead transparencies are now carefully prepared utilizing sophisticated software programs and printed on laser printers or on photographic slide film. More complex presentations, which may incorporate animated fades and dissolves between images, or even full motion video, may utilize a data processing system to drive a liquid crystal display (LCD) projection panel utilized with an overhead projector, or a three-gun cathode-ray tube (CRT) video projection system, or an LCD projection unit, each of which has the capability to produce full motion color images.
Even though many hours of time and much effort is utilized to produce such high quality presentations, many times the presentation is distorted when the images are projected on a projection surface, such as a wall or vertical screen. Such image distortion is often introduced by the relative placement of the projection system with respect to an axis normal to the projection surface at the center of the projected image. If an imaginary line drawn from the projection lens to the center of the projected image is not perpendicular (normal) to the surface on which the image is being projected, the image will appear distorted. Such image projection which is not normal to projection surface at the center of the projected image may be referred to as "off-axis projection." Consider, for example, the case in which a projection system is placed on a table and the image is projected onto a portion of a wall that is located above the level of the projection device. The image resulting from such projection will be wider at the top of the image than at the bottom of the image; a form of rectilinear distortion which may be referred to as a "keystone" distortion.
In a typical projection system, an image source S, which may be slide film, an overhead transparency or an LCD panel, is located between a condensing lens system and an objective. The condensing lens system captures divergent light rays from a concentrated source of light, and the objective lens, or lens system, forms an enlarged, inverted image of S upon a distant projection surface, such as a wall or screen. The ratio of enlargement, or magnifying power, M, of a projection system depends upon the distance D from the source S to the projection surface and the focal length f of the objective: M=(D-f)/f. Therefore the magnifying power is directly proportional to the distance D from the image source S to the projection surface; that is, the further the image is projected before being reflected from the projection surface, the larger the image will appear.
Thus, the image is larger near the top of the projected image and smaller near the bottom of the projected image because, in the case where the image is projected above the level of the projection system onto a vertical wall, the distance from the image source to the projection surface at the top of the image is longer, which produces a greater magnification near the top part of the image, than the distance from the image source to the projection surface at the bottom of the image, which produces a lesser magnification near the bottom of the image.
It should therefore be apparent that a need exist for a method and system which compensates for distortion, which results from off-axis projection of an image source, and thereby produces a more distortion free projected image.
It is therefore one object of the present invention to provide an improved data processing system.
It is another object of the present invention to provide a method and system for enhanced projection of data processing system generated text, graphics or multimedia presentations.
It is yet another object of the present invention to provide a method and system for precompensating data processing system generated text, graphics or multimedia presentation image file to compensate for distortion resulting from off-axis projection of an image source.
The foregoing objects are achieved as is now described. A method and system are disclosed in a data processing system for modifying an image source data file to compensate for distortions resulting from a projection of an image source onto a surface that is not perpendicular to an image source projection system. A data processing system image source data file is identified and a test pattern is displayed utilizing a data processing system visual output device. A user is permitted to enter a distortion compensation factor, the displayed test pattern is modified utilizing the distortion compensation factor. Once a final distortion compensation factor is selected in response to the appearance of the modified test pattern, the data processing system image source data file is modified, utilizing the selected distortion compensation factor, thereby enhancing the projection of an image source onto a surface that is not perpendicular to an image source projection system.
The above as well as additional objects, features, and advantages of the present invention will become apparent in the following detailed written description.
The novel features believed characteristic of the invention are set forth in the appended claims. The invention itself however, as well as a preferred mode of use, further objects and advantages thereof, will best be understood by reference to the following detailed description of an illustrative embodiment when read in conjunction with the accompanying drawings, wherein:
FIG. 1 is a side view of a data processing system and a projection system which may be utilized to implement the method and system of the present invention;
FIG. 2 is a rear view of the projection system of FIG. 1 and a distorted image produced by off-axis image projection;
FIG. 3 depicts the off-axis projection of a precompensated image source in accordance with the method and system of the present invention;
FIG. 4 is a more detailed block diagram of the data processing system of FIG. 1 in accordance with the method and system of the present invention;
FIG. 5a is a logic flowchart which depicts a process for precompensating an image source for off-axis projection in accordance with the method and system of the present invention;
FIG. 5b is a continuation of the logic flowchart of FIG. 5a which depicts additional details of the process of adjusting a single frame of an image source.
DETAILED DESCRIPTION OF PREFERRED EMBODIMENT
With reference now to the figures and in particular with reference to FIG. 1, there is depicted a side view of a projection system 10, which is supported by table 12. Projection system 10 preferably includes an objective lens system 14 which is utilized to project a source image onto wall 16.
As illustrated, objective lens system 14 is typically tilted upward, so that the image that appears upon wall 16 is higher above floor 18 than the height of objective lens system 14. Such a tilt of objective lens system 14 results in an off-axis projection of the image onto wall 16, which causes a distortion of the projected source image. The angle of tilt of objective lens system 14 can be shown by the angle between a line drawn from objective lens system 14 to point 20 located at the center of the projected image on wall 16, and a line drawn perpendicular to wall 16 from objective lens system 14 to point 22 located on wall 16.
Data processing system 24 is preferably utilized to generate the source image which is projected by projection system 10. Data processing system 24 may also be utilized to drive a liquid crystal display (LCD) projection panel, which may, when utilized in conjunction with an overhead projector, be considered part of projection system 10. Those persons skilled in the art should appreciate that projection system 10 may also include a three-gun cathode-ray tube (CRT) video projection system, or an LCD projection unit.
Referring now to FIG. 2, there is depicted a rear view of projection system 10, which is projecting a source image 26 onto wall 16. As may be seen, off-axis projection produces a distorted image 30, which is wider at the top of the image than at the bottom of the image. In this example, distorted image 30 is produced by projecting source image 26, which is a test pattern comprising a grid of lines that are horizontal and vertical. If projection system 10 is located, as shown here, so that distorted image 30 is projected perpendicularly in a horizontal plane to wall 16, the left edge 32 and the right edge 34 of distorted image 30 will be skewed from vertical by the same angle, an angle which is illustrated at reference numeral 36.
Referring now to FIG. 3, there is depicted an off-axis projection of a precompensated image source 38, in accordance with the method and system of the present invention. As can be seen, corrected image 40 has a vertical left edge 32 and a vertical right edge 34. Corrected image 40 is produced by utilizing projection system 10 to project precompensated image source 38, which compensates for the keystone distortion resulting from off-axis projection.
With reference now to FIG. 4, there is depicted a more detailed block diagram of the data processing system of FIG. 1 in accordance with the method and system of the present invention. Data processing system 24 is controlled primarily by software executed within central processing unit (CPU) 50. CPU 50 is coupled to display 52, and receives user input from user input device 54. Display 52 may include a data processing system driven liquid crystal display (LCD) projection panel utilized in combination with an overhead projector, or a three-gun cathode-ray tube (CRT) video projection system, or an LCD projection unit, each of which may be capable of producing fully animated color images.
CPU 50 is also coupled to memory 56 and one or more direct access storage devices (DASDs), depicted at block 58. Memory 56 and DASD 58 may be utilized for storing display frames and application programs. User input device 54 may be implemented utilizing a keyboard, a mouse, a touch sensitive tablet or screen, a joy stick, a track ball, or a screen activated light pen. CPU 50 may also be coupled to audio output device 60 and peripheral controller 62. Audio output device 60, which may include an amplifier and speaker system, may be utilized to present an audio portion of a multimedia presentation. Peripheral controller 62 may be utilized to control peripheral devices, such as a video player/recorder, a slide projector or a laser disk player (none are shown), during a multimedia presentation. In the depicted embodiment of the present invention, CPU 50 is preferably suitably programmed to implement the process depicted in the flow charts of FIG. 5a and 5b and to provide a source image for the projection system 10, illustrated in FIGS. 1, 2 and 3.
Referring now to FIG. 5a, there is depicted a logic flowchart which illustrates a process for precompensating an image source for off-axis projection in accordance with the method and system of the present invention. As depicted, the process begins at block 80 and thereafter passes to block 82. Block 82 illustrates the selection of an input file, which may be a data processing system generated text file, graphics file, or a multimedia presentation. Next, as depicted at block 84, the process identifies an output file or device. In some instances an amount of precompensation required for a particular projection system configuration may be known, and an identified input file may be precompensated by that known amount and stored in an output file for later presentation on that particular projection system configuration. Real-time image source precompensation may also be provided, in which case an output device may be specified, such as, for example, a data processing system driven liquid crystal display projection panel, or a three-gun cathode-ray tube (CRT) video projection system, or an LCD projection unit, or the like, and a user may specify an amount of precompensation may be performed while the source image is being output to the specified real-time output device.
Thereafter, the process passes to decision block 86, which illustrates a determination of whether or not a user has requested an adjustment of the image source. If the user has not requested such adjustment, the process selects a default adjustment for the image source, as depicted at block 88.
A default adjustment may be either a system default (i.e., a default specified in the software) or a user specified default--either of which may be utilized in lieu of a user's input in response to a prompt for user adjustments. Many times, a user will know the environmental details that will be involved in making a presentation and may want to specify an amount of precompensation in advance of the presentation.
For example, a user may know that in the conference room to be utilized to make a presentation, a particular type of projection system will be provided, and that the angle, relative to the projection surface, from which the source image will be projected onto the projection surface is 25°. Such environmental details surrounding the presentation may be quantified or specified and assembled to comprise a set of presentation parameters. A set of presentation parameters may include, for example, the type of projection system utilized and the relative positioning of the projection system and the projection surface. From such a set of presentation parameters, an amount of precompensation may be calculated, and utilized to determine a distortion compensation factor. Such a distortion compensation factor may then be stored (i.e., encoded) in an image source data file and utilized during a later presentation, which takes place in the conference room having the particular set of presentation parameters.
Referring again to decision block 86, those persons skilled in the art should appreciate that a user may request an adjustment of an image source utilizing several methods, such as for example, by utilizing keyboard input, a track ball, a joy stick, or a mouse.
If a user has requested adjustment of the image source, the process may display a test pattern to assist the user in determining how much precompensation is required to compensate the image source for the keystone distortion, as illustrated at block 90. The display of such a test pattern may utilize data processing system 24 to generate a grid of lines that should appear vertically and horizontally once the image source has been precompensated by an appropriate amount. However, before the image source has been precompensated, upon projection, it may appear distorted, as illustrated in FIG. 2.
Next, as depicted at block 92, the process permits a user to input parameters that specify the amount of precompensation to be applied to the displayed test pattern. Those persons skilled in the art should recognize that there are many methods of permitting a user to input such parameters. One way to input such parameters is to permit a user to utilize a keyboard to enter a number representing the number of degrees of precompensation to be applied to the image source. Another way for a user to input adjustment parameters may be to permit the user to press the arrow keys on a keyboard, which may then be interpreted as a request to make the top portion of a displayed image wider or narrower. The process may interpret the typing of an arrow key as a user request to precompensate the image source by a preselected number of degrees. A different preselected number of degrees could be utilized if a user presses a modifier key before selecting an arrow key. For example, if a user presses a right arrow key, the process may interpret that key stroke as a request to skew the right and left sides of the image toward the middle by one degree increments. Similarly, if the user presses a modification key in conjunction with the right arrow key, the process may similarly interpret that key stroke combination as a request to skew the image source by an angle of five degrees.
After the user has specified a desired adjustment, the process executes a frame adjustment utilizing the test pattern, as illustrated at block 94. The details of the process of adjusting a single frame will be discussed below with reference to FIG. 5b. As a result of the adjustment the left and right sides of the projected image will be rotated toward the center of the image, or away from the center of the image, about a point located at the lower left corner of the image and the lower right corner of the image, respectively, depending upon the direction of the adjustment specified by the user.
Next, as depicted at decision block 96, the process determines whether or not the user has requested additional adjustments of the displayed test pattern. If the user has requested additional test pattern adjustments, the process proceeds to block 92 to receive additional user inputs. Once the user has requested a final adjustment, the projected test pattern may appear as depicted in FIG. 3.
If the user has not requested additional image source adjustments, process passes to block 98. Block 98 illustrates the execution of an adjustment of a frame of image data in the previously identified input file. Details of the process of adjusting a single frame will be discussed below in reference to FIG. 5b. Thereafter, as depicted at block 100, the process outputs the adjusted frame of image data to an output file or a display device as previously identified at block 84.
Next, as illustrated at decision block 102, the process determines whether or not the input file contains additional frames of image data. If the input file contains additional frames, the process passes to block 104. Block 104 depicts the process of recalling the next frame of data in the input file. Thereafter, the process passes to block 98, which illustrates the process of executing a frame adjustment utilizing the new frame of image data. Referring again to block 102, if there are no additional frames which require adjusting, the process terminates, as illustrated at block 106.
Finally, with reference to FIG. 5b, there is depicted a logic flowchart which illustrates the process of adjusting a single frame of an image source in accordance with the method and system of the present invention. The process of adjusting a single frame of an image source begins at block 120 and thereafter passes to block 122. Block 122 illustrates the determination of whether or not the last row of pixels in a frame of data has been modified. A typical frame of data may be the digital information necessary to drive a VGA display of 640 pixels wide by 480 pixels high. Therefore, in the typical VGA display, there will be 480 rows of pixels which may require modification. Those persons skilled in the art should recognize that the present invention may be utilized to precompensate image sources having various resolutions, numbers of pixels, and aspect ratios. If the last row has been modified, the process terminates, as depicted at block 124. If the last row has not been modified, the process passes to block 126.
Block 126 illustrates the calculation of the number of pixels to be removed from a selected row in the current frame of data. In a preferred embodiment of the present invention, an equal number of pixels should be removed from each half row extending outward from both sides of a center line extending from the middle of the top row to the middle of the bottom row. The number of pixels to be removed from a particular half row may be calculated utilizing the following formula: ##EQU1## where: RP(y)=number of pixels to be removed from row "y"
y=the current row number (typically from 1 to 480)
top inches=half the distance across the top of the projected image
bottom inches=half the distance across the bottom of the projected image
height inches=distance from the bottom to the top of the projected image
pixels high=number of pixels from the bottom to the top of image source (i.e., number of rows)
For example, assume a projection of a VGA display (640 pixels wide by 480 pixels high) which has a measurement of 48 inches at the top of the projected image and 35 inches at the bottom of the projected image. Assume also that the projected image is 35 inches high. Those persons skilled in the art will recognize that as the angle of off-axis projection increases, the height of the projected image also increases. However, to simplify the calculations in this example, assume that the image is as high as it is wide at the bottom of the projected image. Therefore, the top of the projected image is 6.5 inches wider, on both sides, than the bottom of the projected image. Each side of the projected image is skewed outwardly from vertical by approximately 10.5°, which is calculated by taking the inverse tangent of (6.5"/35"). Utilizing the formula above, the number of pixels to be removed from a half row at the top of the image is 59.
After the number of pixels to be removed from the present half row is calculated, the process selects a first pixel which may be removed from the half row, as depicted at block 128. In the preferred embodiment, the pixels to be removed in a half row should be somewhat evenly spaced along the half row. One skilled in the art should recognize that the amount of distortion increases nearer the right and left edges of the projected image, and that some processes of removing selected pixels from a row may nonlinearly remove more pixels near the edges than near the center of the image source, which would more correctly compensate the source image for keystone distortion.
One method of selecting the first pixel is to divide the number of pixels in a half row by the number of pixels to be removed from the half row, which produces a number N. The half row may then be divided into N segments of pixels, and one pixel may be removed from each segment. A randomly produced base adjustment, ranging from N to 1/2 N, is then subtracted from N in order to locate the first pixel which may be removed from the half row. The base adjustment is randomly produced for each row to reduce artifact.
After the first pixel is selected, the process passes to block 130, which illustrates the process of determining whether or not the selected pixel is unique with respect to the pixels that surround the selected pixel. Each pixel in a display frame is assigned a color, which may be black or white for a monochrome image, or a level of gray for a gray-scale image, or a color, which is composed of various brightnesses of red, blue, and green. To determine whether or not a pixel is unique with respect to the surrounding pixels, the process compares the color value of the selected pixel to the pixels immediately to the right and the left of the selected pixel. If the color values of the surrounding pixels are different, the pixel is unique with respect to the surrounding pixels, and the process passes to block 132.
Block 132 depicts the determination of whether or not a new pixel selection is permitted. The selection of new pixels may be limited by the number of pixels in a segment, or by constraints on the amount of time the process may utilize searching for a pixel to remove in a particular segment. If a new pixel selection is permitted, the process passes to block 134, which illustrates the process of adding or subtracting an offset to find another pixel which may be removed from the present half row. Another pixel may be selected for removal from the present segment of the half row by alternately adding and subtracting an offset, which may be a sequentially smaller fractional value of N. If a new pixel selection is not permitted, the process will remove the first pixel selected in this segment of the half row, as depicted at block 136. Referring again to block 130, if the first pixel selected in the present segment is not unique with respect to the adjacent pixels on the left and right, the process removes that pixel from the half row, as illustrated at block 138.
Next, the process determines whether or not the last pixel has been removed in the present row, which includes consideration of whether or not the last pixel has been removed from both half rows, as depicted at block 140. If not, the process passes to block 142, which illustrates the selection of a next pixel, which may be removed from the row. Thereafter, the process iteratively passes to block 130. Referring again to block 140, if the last pixel in the row has been removed, the process passes to block 144. Block 144 depicts the process of selecting the next row, and thereafter the process iteratively passes to block 122, in order to remove the appropriate number of pixels form each row in a display frame.
Although the method of precompensating an image source utilized in the preferred embodiment employs a method and system of removing selected pixels from selected rows, it should be understood that additional methods of precompensating image sources may be utilized without departing from the material features of the present invention. For example, a page description language, such as PostScript (PostScript is a registered trademark of Adobe Systems, Inc.), may be utilized to precompensate image sources output to a printing device such as a laser printer or film recorder, or displayed utilizing a data processing system to drive a liquid crystal display (LCD) projection panel in conjunction with an overhead projector, or a three-gun cathode-ray tube (CRT) video projection system, or an LCD projection unit.
While the invention has been particularly shown and described with reference to a preferred embodiment, it will be understood by those skilled in the art that various changes in form and detail may be made therein without departing from the spirit and scope of the invention. For example, those persons skilled in the art should realize that a source image may be precompensated for keystone distortion resulting from off-axis projection in a horizontal plane, as well as for the keystone distortion resulting from off-axis projection in the vertical plane, as disclosed herein.
1. A method in a data processing system for modifying an image source data file to compensate for distortions resulting from a projection of a source image onto a surface that is not perpendicular to a source image projection system, said method comprising the steps of:
identifying a data processing system image source data file;
displaying a test pattern utilizing a data processing system visual output device;
modifying said test pattern utilizing a distortion compensation factor; and
modifying said data processing system image source data file utilizing said distortion compensation factor, wherein a subsequent projection of said source image is compensated for distortion.
2. The method in a data processing system for modifying an image source data file according to claim 1, further including the step of prompting a user to enter said distortion compensation factor.
3. The method in a data processing system for modifying an image source data file according to claim 1, further including the step of permitting a user to determine a final distortion compensation factor in response to the appearance of said modified test pattern.
4. The method in a data processing system for modifying an image source data file according to claim 1, further including the step of outputting said modified data processing system image source data file.
5. The method in a data processing system for modifying an image source data file according to claim 4, wherein the step of outputting said modified data processing system image source data file further comprises the step of printing said modified data processing system image source data file.
6. The method in a data processing system for modifying an image source data file according to claim 4, wherein the step of outputting said modified data processing system image source data file further comprises the step of displaying said modified data processing system image source data file.
7. A system for modifying an image source data file to compensate for distortions resulting from a projection of a source image onto a surface that is not perpendicular to a source image projection system, said system comprising:
means for identifying a data processing system image source data file;
means for displaying a test pattern utilizing a data processing system visual output device;
means for modifying said test pattern utilizing a distortion compensation factor; and
means for modifying said data processing system image source data file utilizing said distortion compensation factor, wherein a subsequent projection of said source image is compensated for distortion.
8. The system for modifying an image source data file according to claim 7, further including means for prompting a user to enter said distortion compensation factor.
9. The system for modifying an image source data file according to claim 7, further including means for permitting a user to determine a final distortion compensation factor in response to the appearance of said modified test pattern.
10. The system for modifying an image source data file according to claim 7, further including means for outputting said modified data processing system image source data file.
11. The system for modifying an image source data file according to claim 10, wherein said means for outputting said modified data processing system image source data file further comprises means for printing said modified data processing system image source data file.
12. The system for modifying an image source data file according to claim 10, wherein said means for outputting said modified data processing system image source data file further comprises means for displaying said modified data processing system image source data file.
13. A method in a data processing system for modifying an image source data file to compensate for distortions resulting from a projection of a source image onto a surface that is not perpendicular to a source image projection system, said method comprising the steps of:
storing a distortion compensation factor, associated with a predetermined set of presentation parameters, within said data processing system image source data file; and
automatically modifying said data processing system image source data file utilizing said distortion compensation factor in response to a presentation of said image source data file utilizing said set of presentation parameters, wherein a subsequent projection of said source image is compensated for distortion.
14. A method in a data processing system for modifying an image source data file according to claim 13, wherein the step of storing a distortion compensation factor associated with a predetermined set of presentation parameters within said data processing system image source data file further comprises storing multiple distortion compensation factors, each associated with a predetermined set of presentation parameters, within said data processing system image source data file.
15. A method in a data processing system for modifying an image source data file according to claim 13, wherein the step of automatically modifying said data processing system image source data file utilizing said distortion compensation factor in response to a presentation of said image source data file utilizing said set of presentation parameters further comprises the step of selecting one of said multiple distortion compensation factors in response to a presentation of said image source data file utilizing a selected one of said predetermined sets of presentation parameters.
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A 'tail' of a house and the emergence of a new breed of dog: the 'Golden Retriever', by Barbara Cornford.
In my role as a metadata assistant I have the joy of reading the personal diaries of many a well-known historical figure, the day to day joys, misery, shenanigans; in most cases written by persons from a very privileged strata of British society. I am currently working on the diaries of Lady Jean Hamilton. Through her wonderful writings I can share her day to day thoughts, actions and friendships – she is deliciously explanatory and self- aware, which engenders empathy from the reader.
I have a natural curiosity, it is not enough for me just to know that the object of my work stayed or visited with friends in this house or that house, I like to research to see if I can find out what the house looked like and if it still exists so that I can share a little of what has been described; the approach to such houses, their thoughts and opinions of the exterior and interior and the appreciation of the landscape surrounding them. One such house Lady Hamilton was invited to was Guisachan in Scotland as the guest of Lady Tweedmouth. In 1854 the Guisachan Estate was bought by Edward Dudley Coutts Marjoribank, who later in 1881 became Lord Tweedmouth.
Lord Tweedmouth had built lodges for visitors, kennels for his dogs, farm steads and importantly a new village which was called Tomich. He then began to move tenants from their crofts because they were too near the main house: they had no choice but to be relocated. The village was provided with a school, brewery and laundry.
Lord Tweedmouth was very interested in dogs of the hunting and sporting kind and at Guisachan he established a new breed. 'Nous', a wavy coated retriever, was bred with 'Belle' a Tweed Water spaniel: this created three yellow wavy-coated puppies which were named Primrose, Crocus [a male dog] and Cowslip – the first 'Golden retrievers' were born.
Those Golden Retriever owners who are aware of the importance of Guisachan and Lord Tweedmouth go on an annual pilgrimage to what is left of the house and grounds in celebration of the breed. In July 2013, the Golden Retriever Club of Scotland hosted more than 350 people from 15 countries and 222 golden retrievers at a gathering on the Guisachan grounds. Not long afterwards, an organisation called the Friends of Guisachan [www.friendsofguisachan.org] raised money for a statue of a Golden Retriever at Guisachan to commemorate the achievement of Lord Tweedmouth.
The GRCS will be hosting a 'Guisachan Gathering' in July 2018. The gathering will celebrate the 150th anniversary of the founding of the Golden Retriever breed at Guisachan House by Lord Tweedmouth. The event will begin on Monday 16th July 2018 and end with a Breed Championship Show at Cannich on Friday 20th July 2018.
To return to the house, it now lies as a ruinous shell, purchased and denuded of its contents, roof and anything of value. Open to the elements and almost totally destroyed, it shines like a beacon to those who know and love the breed called the Golden Retriever.
While adding metadata to the album of photographs and ephemera of Brigadier John Alan Lyde Caunter (1889 – 1981) I became interested in the fact that during World War One he had escaped from captivity in a German prisoner of war camp. I would like his achievement to be brought to the fore through this blog as in 2017 it will be a century since he made 'his great escape'.
Captain (later Brigadier) John Alan Lyde Caunter of the 1st Battalion the Gloucestershire Regiment was taken prisoner during World War One by the Germans, captured at Gheluveld on the 31st October 1914 while on active service near Ypres. Upon capture he was confined in Crefeld prisoner of war camp and then with 400 other officers of differing nationalities moved to a camp at Schwarmstedlt, Hanover; eventually managing to escape in the summer of 1917.
During the journey to get back to England he met two other escapees, one of whom was Captain Fox D.S.O (an Irishman) of the Scots Guards. Together the two men managed to reach the Dutch frontier and safety – although during the last 24 hours they became separated. Upon their return to England on July 7th 1917 they were photographed together outside the Guards Club in the clothes they had worn during their hard won journey to freedom.
On the 18th July 1917 both men were invited to Buckingham Palace for an hour long audience with King George V.
Captain Caunter wrote of his adventures in a book entitled 13 days an escape from a German prison, published in 1918, which also contained hand drawn illustrations by the author. The book is now out of copyright and can be downloaded free from various internet eBook providers for those that are interested in his story. The following is a review of the book copied from a newspaper cutting that was in an album of photographs and ephemera belonging to Caunter.
Life and letters by J.C Squire published in Land and Water October 10th 1918.
"Captain Caunter was taken in 1914; he went to Crefeld and thence to Schwarmstedlt, in Hanover. His escape from the camp was extraordinarily ingenious and of the prolong nerve racking kind. He got on a top shelf in the parcels room, before the very eyes of a German; lay there, cramped and stifling, for hours; then stole out of the window while a sentry on each side turned his back. He crossed two rivers – there is a thrilling account of his wait by one bridge while the sentries carried on a conversation with two girls who seemed as though they would never go away and leave the men free to move or doze – and then, under a hedge, amazingly met two brother officers who had escaped after him. His chapters on the crossing of the Weser, the long walk along a railway track, and the final agonising wait in the marshes by the Dutch frontier, are wonderfully vivid; one's heart stands still when a townful of dogs starts barking at him in the moonlight, and when Major Fox, an Irishman used to bogs, side-tracks the frontier guards into a morass. Major Fox slightly sketched is revealed as something of a Titan for strength and audacity. Captain Caunter's exact wash drawings greatly elucidate his tales".
In 2014 I was working as usual adding metadata to the photographic images on the Serving Soldier database. The albums, paperwork and ephemera I annotated at the time were donated by the family of the late Major General Charles Howard Foulkes CB CMG DSO (1ST February 1875 – 6th May 1969) to the Liddell Hart Centre for Military Archives, a leading repository founded in 1964.
I am not a researcher but curiosity caught hold of me and I decided to do a quick internet search firstly to find out what a DCM was (part of the learning curve when working with photographs of the Military so that I can give correct information) then to see if I could find out more about this rather more mature soldier who looked quite hauntingly tired as he gazed into the camera lens.
Upon entering his name, I was directed to a website dedicated to holding information about 'fallen' military personnel of Buckinghamshire http://buckinghamshireremembers.org.uk. Low and behold there was a record of Sergeant Rumbelow with details of his name, regiment, where he enlisted, where he died and the location of the memorial on which his name is displayed. I took it upon myself to send an email to the person who ran the website to ask if they had a photograph of Sergeant Rumbelow, in actuality they had all of his information but didn't possess a picture of him. I forwarded a photograph and was met with a lovely response 'I just cannot thank you enough for helping me to discover the full details of this brave man, I would never have discovered these extra details'.
My discoveries did not stop there: from the information I had gleaned I then knew that Albert Rumbelow worked at the Royal Albert Hall as a cleaner and hall attendant; he was one member of a quarter of the staff employed at the Royal Albert Hall who volunteered to fight during World War I, enlisting in 1914 at the age of 35 leaving behind a wife and four children. I contacted the organisers of an exhibition planned at the Royal Albert Hall in which I knew that Sergeant Albert Rumbelow was mentioned and asked if they would like a photograph of him. The response was they would because they did not have one.
In the summer of 1916 (we know it was in June) Albert gained the Distinguished Conduct Medal for 'Conspicuous Gallantry'. His citation reads that he 'exposed himself to machine gun and shell fire when going across the open to rescue a wounded man. Later he went under fire to fetch a stretcher'.
Albert was returned to England badly injured and died two months before Armistice Day in a military hospital in Ashford, Kent, at the age of 39. He was one of the few soldiers to be buried on English soil because the government had taken the decision not to repatriate the bodies of those killed in battle. His grave is located in the churchyard of St Peter Parish Church, Aylesford Kent and his name is alongside many others on the War Memorial at High Wycombe Hospital.
This is the seating plan for a formal dinner for the Potsdam conference attendees, hosted by Winston Churchill, 23 July 1945, signed by the attendees, including Churchill himself, Harry S Truman, and (on the cover) Joseph Stalin.
Churchill is shown as Prime Minister, because although the UK general election had already been held on 5 July, the results were not counted and declared until 26 July, since many voters were still on overseas service. Three days later, Attlee (seated three to the right of Churchill) was the new British Prime Minster.


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Home/World News/Hospitalizations signal growing risk of COVID-19 for American seniors
Hospitalizations signal growing risk of COVID-19 for American seniors
Loma Zoma2022-12-11
Coronavirus-related hospital admissions are rising again in the US, with the elderly accounting for a growing share of US deaths and less than half of nursing home residents up to date on COVID-19 vaccinations .
These alarming signs point to a tough winter for the elderly, worrying 81-year-old nursing home resident Bartley O'Hara, who says he's been 'vaccinated to the eyeballs' and is tracking trends in coronavirus hospitals as they "zoom in" for older people, but remain stable for younger people.
"The sense of urgency isn't universal," said O'Hara of Washington, D.C. But "if you're 21, you should probably be worried about your grandma. We're all in this together."
A troubling indicator for seniors: hospitalizations of people with COVID-19 have increased by more than 30% in two weeks. Much of the increase is due to older people and those with existing health conditions, said Dr. Rochelle Walensky, director of the Centers for Disease Control and Prevention. The figures include everyone who tested positive, regardless of the reason they were admitted.
When it comes to protecting the elderly, "we're doing a terrible job in this country," said Dr. Eric Topol, director of the Scripps Research Translational Institute.
As nursing home leaders redouble their efforts to bolster staff and residents with the new version of the vaccine, now recommended for ages 6 months and older, they face complacency, misinformation and related fatigue. to COVID-19. They're calling on the White House for help with an "all hands on deck" approach.
Clear messages about what the vaccine can do — and what it can't — are needed, said Katie Smith Sloan, president of LeadingAge, which represents nonprofit nursing homes.
Breakthrough infections don't mean the vaccine failed, she said, but that misperception has been hard to combat.
"We need to change our messages to be specific about what they do, which is to prevent serious illness, hospitalizations and deaths," Sloan said. "This virus is insidious, and it keeps popping up everywhere. We just have to be realistic about it."
Issues include an unwarranted reluctance to quickly prescribe the antiviral pill Paxlovid to the elderly, prompting five major medical companies to host an online training session for doctors, "Vax & Pax: How to Keep Your Patients Safe This winter".
The easing of restrictions, broader immunity in the general population and mixed messages about the end of the pandemic have softened the sense of threat felt by young adults. This may be a welcome development for most, but the attitude has seeped into nursing homes in troubling ways.
Obtaining family consent to vaccinate care home residents has become more difficult, care home leaders say. Some residents who can give their own consent refuse the shots. Only 23% of nursing home staff are up to date on COVID-19 vaccinations.
Cissy Sanders of Austin, Texas faced multiple hurdles trying to get a callback for her 73-year-old mother, who is in a nursing home. No recall clinic was scheduled. The facility told her they couldn't find a vaccinator. So she planned to take her mom to Walgreens later this month.
"I am concerned about the rise in hospitalizations and deaths among the elderly, and concerned about the lack of urgency at my mother's nursing home to get residents and staff vaccinated" with the latest reminder, he said. she declared.
Staff and visitors are potential entry points into nursing homes for the virus. The best facilities use a layered approach, protecting residents with masks, screening questions, temperature checks and heightened infection control.
"What we've learned during COVID is that the rate of spread depends on the rate of community spread," said Tina Sandri, CEO of Forest Hills of DC, a nursing home in the nation's capital. "I feel safer in my building than anywhere else, including the grocery store."
Meanwhile, hospitals across the country are seeing an influx of elderly patients that Topol calls "quite alarming." Nationally, the rate of daily hospitalizations for people 70 and older with confirmed or suspected COVID-19 fell from 8.8 per 100,000 people on November 15 to 12.1 per 100,000 people on November 6. December, according to statistics from the Ministry of Health and Health. Personal services. In California and New York, Topol said, hospitalizations of the elderly with COVID-19 have already exceeded those of the spring and summer omicron waves.
At NYU Langone Health, the hospital's chief epidemiologist, Dr. Michael Phillips, said a growing number of older people are being admitted to his hospital with COVID-19. But the biggest increase he's seen is in the emergency department, "which is very, very busy" with COVID-19, as well as flu patients.
Dr. Wesley Long, a pathologist at Houston Methodist in Texas, said his hospital has also seen an increase in COVID-19 admissions over the past two weeks – and many patients are elderly people with other health issues. health. Some are admitted for different illnesses and test positive for COVID-19 in hospital. The good news? "We haven't seen an increase in ICU admissions," he said.
The new combined booster injection, which targets both omicron and the original coronavirus, provides protection against one of the main omicron variants causing cases lately: BQ.1.1, which is particularly adept to escape immunity.
"But our recall rates in the elderly are pathetically low," Topol said, with only about a third of them.
Long said Houston Methodist health care providers promote the recall "every chance we get." But they're not giving it to people hospitalized with COVID-19, who are usually told to wait three months after being infected to get it.
Phillips also urges people to get their boosters, especially if they are at risk of becoming seriously ill or planning to hang out with someone who is. He said they are seeing a lot more hospitalizations among unvaccinated people.
Deaths, like hospitalizations, are now on the rise.
The ultimate concern is that more old people will die. Last spring and summer, death rates declined overall as more people gained protection from vaccination and previous infections. But the share of COVID-19-related deaths among the oldest people – adults aged 85 and over, who make up 2% of the population – has risen to 40%.
During the pandemic, 1 in 5 deaths from COVID-19 were in people who were in a long-term care facility.
Dr. Walid Michelen, chief medical officer of seven nonprofit nursing homes run by the Archdiocese of New York, said Americans must continue to take the pandemic seriously.
"It's not going away. It's here to stay," he said. "We're going to have a new variant, and who knows how aggressive that variant is going to be? It's keeping me awake at night."
Associated Press writer Nicky Forster contributed from New York.
The Associated Press Health and Science Department is supported by the Howard Hughes Medical Institute Science and Education Media Group. The AP is solely responsible for all content.
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redpajama_set_name: RedPajamaCommonCrawl


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Batas Pambansa Bilang 344 (Accessibility Law) and its Implementing Rules and Regulations
Enforcement of the Accessibility of the Law (BP 344) along National Roads
Government Procurement Policy Board (GPPB) Resolution NO. 08-2006 dated January 20, 2006
Implementing Rules and Regulations for Republic Act No. 10752, An Act Facilitating the Acquisition of the Right-of-Way, Site or Location for National Government Infrastructure Projects
Implementing Rules and Regulations of the National Building Code of the Philippines (PD1096)
Mayor's Permit as an Eligibility Requirement for the Procurement of Consulting Services
National Building Code of the Philippines
New Schedule of Fees and Other Charges of the revised IRR of the National Building Code of the Philippines (PD 1096)
Philippine Green Building Code
The Revised Implementing Rules and Regulations (IRR) of Republic Act No. 9184 (Government Procurement Reform Act)


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Ива́н И́горевич Затева́хин (род. , Москва) — российский теле- и радиоведущий,  (1988). Наибольшую известность получил как автор и ведущий научно-популярной программы «Диалоги о животных» на телеканале «Россия» (4 номинации премии ТЭФИ). Член экспертного совета национальной премии «Хрустальный компас».

Биография
Родился 7 сентября 1959 года в городе Москве в семье врачей.

Отец, Игорь Иванович Затевахин (род. 1936), — академик Российской академии медицинских наук, профессор, доктор медицинских наук, Лауреат премии Бакулева, завкафедрой хирургии, Заслуженный деятель науки России, мастер спорта, член Президиума Федерации водного поло России. Мать, Марина Вадимовна Затевахина, — анестезиолог, сотрудник Научного центра сердечно-сосудистой хирургии. Дед по отцовской линии, Затевахин Иван Иванович, — генерал-лейтенант, бывший командующий ВДВ СССР.

В 1981 году окончил кафедру биогеографии географического факультета МГУ. В 1981—1997 годах — сотрудник Института Океанологии им. Ширшова АН. Окончил аспирантуру по специальностям «гидробиология» и «экология». Кандидат биологических наук (1988). Область научных интересов — экология, поведение и акустическая сигнализация морских млекопитающих.

С 1992 г. на телевидении. Изначально — консультант, затем соавтор и соведущий программы «Домашний ковчег» («Северная корона», 6 канал).

1994—2017 гг. — автор и ведущий программы «Диалоги о животных» (ГТК «Телеканал "Россия"»).

1998—2009 гг. — главный редактор журнала «Друг» для любителей собак.

1998—1999 гг. — автор концепции и ведущий программы «Диалоги о рыбалке» (ГТК «Телеканал "Россия"»).

В марте 1999 года с группой представителей российских общественных организаций, объединяющих друзей живой природы (А. Л. Романович, Б. А. Краснов, М. А. Ширвиндт, Ю. М. Антонов, Н. А. Аношко, А. П. Каледин, Л. П. Варданян, А. Н. Хабургаев и др.) создал и возглавил Российскую эколого-гуманитарную партию «Миллион друзей».

2001—2002 гг. — автор, ведущий и режиссёр подводных съемок цикла документальных фильмов «Подводная экспедиция РТР» (фильм этого цикла «Пришелец с Востока» — финалист фестиваля «Живая Европа» в Хельсингборге, 2003 г.).

С 2006 г. — автор и ведущий программы «О животных» («Радио России»).

2008—2009 гг. — автор и ведущий программы «От носа до хвоста» (телеканал «Бибигон»).

2009—2017 гг. — художественный руководитель телеканала «Домашние животные» (Стрим-ТВ).

С 2009 г. — главный редактор журнала «Мой друг собака».

С 2014 г. — главный редактор портала ЗООИНФОРМСИТИ.РУ.

2017—2018 гг. — ведущий программы об известных животных Интернета «Живые истории» (ГТК «Телеканал "Россия"»).

С 2017 г. — автор и ведущий документального цикла о мировых зоопарках «Диалоги о животных» на канале «Культура».

По гранту Русского Географического Общества автор и режиссёр цикла фильмов «Экстремальная биология» («Острова в океане», «На краю земли российской», «Говорящие с белухами», «Там где Север встречается с Югом. Дальневосточная экспедиция», «Дельта дарящая жизнь».

Автор книги «Собаки и мы. Записки дрессировщика», Москва, изд-во «Э», 2015 г.

Примечания

Ссылки

 Интервью сайту «Зообизнес», 2014.

Выпускники кафедры биогеографии географического факультета МГУ
Биогеографы России
Зоологи России
Телеведущие России
Телеведущие канала «Россия-1»
Радиоведущие России
Ведущие радиостанции «Радио России»
Популяризаторы биологии
Сотрудники Института океанологии им. П. П. Ширшова РАН
Телеведущие канала «Россия-Культура»

redpajama_set_name: RedPajamaWikipedia


text:
Home / Sports / 2006 May (HSC) Signature Auction Auction #704 / Lot #19013
1940's Babe Ruth & More Signed Baseballs from Sabu Collection. Best remembered for his roles in Hollywood blockbusters "The...
1940's Babe Ruth & More Signed Baseballs from Sabu Collection. Best remembered for his roles in Hollywood blockbusters "The Jungle Book" and "The Thief of Baghdad," Sabu was the nation of India's greatest star actor. His love of America however resulted in an oath of citizenship, a tour of duty as a World War II tail gunner and a great appreciation for the game of baseball. This last passion is evident in this selection of artifacts from Sabu's personal collection, most notably an ONL (Frick) baseball with a 6/10 black ink signature from the great Babe Ruth. Several other signatures are apparent as well, yet much lighter, with many teetering on the brink of invisibility. Still discernible are fellow Hall of Famers Durocher and Cuyler. A second baseball of OAL (Harridge) persuasion has a penned inscription reading "To Sabu from Boston Red Sox," but we cannot make out any of the signatures. Finally there are five EX-MT to NRMT 8x10" vintage photos of the turban-wearing Sabu with various baseball figures, most notably Babe Ruth, and a great comical photo of several Cardinals playing their Louisville Sluggers as pan flutes to make Sabu feel at home (two identical prints of this photo). An appealing lot that blurs the boundaries of sporting and entertainment collectibles. LOA from PSA/DNA.
More information about Babe Ruth.
6th Saturday


Home » Main Menu » News » Paul Freeman release a beauty called 'Closer Still'.
Paul Freeman release a beauty called 'Closer Still'.
'Closer Still' is a beautiful passionate love song. Paul's smooth voice full of emotion piqued my interest. A definite add it to my playlist. Check it out below.
Justice, it seems, may be right around the corner for the Welsh-born singer, songwriter, and multi-instrumentalist. Paul Freeman is currently enjoying a wave of critical and commercial success––a wave he now plans to ride to new heights with the release of his brand-new single, "Closer Still.
"The single's release is a breakthrough moment for Freeman, an artist who is clearly no stranger to such moments. Freeman has toured the world and performed with a veritable "who's who" of pop and rock music: Chris Cornell, James Blunt, Chris Isaac, Joe Cocker, Roger Daltry, Ron Wood, Todd Rungren and Steve Winwood just to name a few. He's played guitar on Blunt's iconic recording of "You're Beautiful," written a 2017 Top-40 Billboard hit for Sleeping with Sirens, and has written songs covered by Robbie Williams, Meat Loaf, and Mark Owen of Take That. His co-writing credits include work with Deana Carter and Carol Bayer Sager.
This breakthrough moment however, is different than the others he's experienced. This is the beginning of a new chapter for Freeman, one with him and his work up front and in the spotlight––a spotlight powered by the authenticity and intimacy of the new music he's written and recorded.
"Closer Still," produced and recorded by Oliver Krauss, is the perfect example of that combination of authenticity and intimacy. Lush string arrangements underpin Freeman's iconic vocals, the track driven by his signature guitar playing which propels the track forward. Just as so much of his writing does, "Closer Still" sounds at once like a song we feel we must have heard before, but know we never have. That special marriage of universality and uniqueness in Freeman's writing is perhaps what is most celebrated––and welcomed––by both his fans and his contemporaries. For those familiar with Freeman's work, or for those who are about to be, this new single and new chapter for the artist will not disappoint."Closer Still," the new single from Paul Freeman, releases March 8th on Revanche Records.


To ask Melissa DeCarlo questions, please sign up.
Melissa, this is your first novel to be published. How long have you been -- or considered yourself to be -- a writer? And how long did you work on this novel?
Melissa DeCarlo Hi Toni! Thanks for asking!
Like lots of writers I wrote stories and poems as a kid, but I was about 32 or 33 before I really started doing what I…moreHi Toni! Thanks for asking!
Like lots of writers I wrote stories and poems as a kid, but I was about 32 or 33 before I really started doing what I thought of as serious hope-to-be-published writing. I worked at it for a few years, but after producing two and a half terrible novels and only having a couple of short stories published, I got frustrated with the whole thing and quit writing when I was about 40.
For seven years I took up visual art as a hobby and didn't write anything but Christmas cards and grocery lists. But I always missed writing, and in 2009 I heard about NaNoWriMo and signed up on a whim. (National Novel Writing Month--google it if you're interested. It's nuts!) The novel (if you could even call it that) I produced that November was truly craptastic, but the process had reminded me of what I used to love about writing back before I got so focused on publication.
So in mid 2010 I started working on this book--just for fun. I joined a writer's workshop and scene by scene got a first draft produced by late 2011. And now here it is 2015 and the book is only now coming out—although not all of this time was been spent writing. There are lots of lag-times built into the publishing process!
As far as the "considered yourself to be a writer" part? Hmmm. I only changed my facebook job-status to writer a couple of months ago. Ha!
I recently finished a cozy mystery that was well-written, but the characters were what I would call "flat" -- they didn't seem very interesting and didn't live on the page so to speak. As an author, what do you think the difference is between a flat, sketchy character, and one that seems real? How do you make characters that seem real?
Melissa DeCarlo My definition of flat characters are ones that never surprise me, ones that think or do or say exactly what I'd expect them to in a given situation.
…moreMy definition of flat characters are ones that never surprise me, ones that think or do or say exactly what I'd expect them to in a given situation.
As far as how I make real-seeming characters? I think the most important thing is to resist the temptation to nail your plot down too tightly before you create your characters. If you do, you'll have to make characters up to fit existing holes, and that makes it hard to let them act in surprising and interesting ways. I like to leave enough wiggle room in the details of my story that I can turn some quirky characters loose and just gently herd them toward the finish. It causes me extra work because sometimes things get things off track, but to me it's worth it because oddballs are much more fun to write (and read) about.
" Maryvonne wrote: "Melissa, did you also review this novel. Among over 800 reviews I didn't find your name. An important book for sure, but I am not in Maryvonne wrote: "Melissa, did you also review this novel. Among over 800 reviews I didn't find your name. An important book for sure, but I am not inclined to explore loss at this time."
It's on my to-read list. I haven't read it yet. ...more "
We'd love your help. Let us know what's wrong with this preview of What We Lose by Zinzi Clemmons.
" Cool, MV. Three people now recommending. It's on my kindle, now i just need to get to it! "
We'd love your help. Let us know what's wrong with this preview of The Mistress of Spices by Chitra Banerjee Divakaruni.
We'd love your help. Let us know what's wrong with this preview of Without Reservations by Alice Steinbach.
We'd love your help. Let us know what's wrong with this preview of Almost Missed You by Jessica Strawser.
We'd love your help. Let us know what's wrong with this preview of The Long and Faraway Gone by Lou Berney.


We also want to hear suggestions from you about what skills you'd like to develop to enhance your own creative practice, and the sort of skill sharing events you'd like to see Market Place offer in the future. Market Place Creative Agents Ali and Colin will be there to chat with on the day too.
This event is for you if you're an established and practicing artist, new to art and creative practice, a maker, craftsperson, student looking someone delivering creative activities looking to share and develop their own skills. Our networking & skills sharing days are open to anyone wishing to contribute to building the creative offer in the market towns of Forest Heath and Fenland, and/or wishing to develop your own creative practice and audiences.
WHO WILL RUN THE DAY?
ArtatWork CIC. Holly and Melanie met 12 years ago on an Art & Well-being degree course. In May 2016 they got together to create ArtatWork. They now design and deliver art workshops and projects in the community with people experiencing issues with mental and physical health, children, families and for businesses to improve confidence, self-esteem and promote well-being. They have worked for Norwich City Council, Latitude Festival and Aviva to name a few.
This also includes all hand-outs and materials from the day, refreshments and lunch.
Please book your ticket, via Eventbrite.


Previous projects involved the challenging area of peptide and protein delivery by modifying the secondary structure of polypeptides to enhance their paracellular transport.
Current research interests focus on the investigations of biologically-active compounds, especially those with anticancer activities. The scope of ongoing research encompasses mechanism-based biological screenings, structure-activity relationship (SAR) studies, as well as drug development and delivery.


text:
Your investment in our students and teachers is making all the difference.
by Cindy Morris, Peoria Public Schools Foundation
Olivia Streeter's future was forever enhanced by the community investment of time and talent through the PPS Foundation.
No better investment can be made in the "right now" than one that includes thoughtful consideration of the future. Since its founding in 1992, the Peoria Public Schools Foundation has been a private, nonprofit, single-purpose organization dedicated to raising the resources necessary to do those things that help maximize the considerable time and money invested in our public school budgets. Governed by a private board in symbiotic cooperation with the Peoria Public Schools, the Foundation is making investments every day that enhance the educational experience of our students now and in the future.
In order to make these investments, we rely on the support of community leaders, whose gifts to the PPS Foundation achieve real-world outcomes. Consider the Horizons Club career mentoring program, which engages hundreds of students each year with guest speakers from a variety of professions who come into their classrooms and share career exploration opportunities. We supply food through our "Little Free Pantries" to the considerable number of students living with food insecurity, with no knowledge of where their next meal might come from.
Students receive clothes, coats and shoes when in need. Teachers are provided technology or other innovations outside of their reach through our grants. Supportive leaders truly make all the difference for our students—and give them the hope for their future.
Students from Roosevelt Magnet School
Adapting to Challenges
The Gilmore Foundation, established by the late Bob Gilmore, is leading the way in supporting Peoria Public School students through the PPS Foundation. This past fall, it earmarked an impactful gift to support the district's COVID-19 response. This gift of $50,000 was an investment to alleviate the pressures faced by students and their families, many of whom have technology challenges, who were forced to take on at-home learning.
Superintendent Dr. Sharon Kherat
The investment by the Gilmore Foundation is helping our schools adapt to pandemic challenges now and in the future. Like many other family foundations that have recently reached out to us, the Gilmore Foundation was looking for an organization in the community that had a strong pulse on the needs of Peoria Public Schools. We are grateful to be the bridge to the students for these leaders.
Proving Value
Olivia Streeter is a young leader who has helped prove the value of investments made through the PPS Foundation. Olivia was a bright-eyed little kindergarten student at Hines School when I first met her many years ago. In middle school, she was one of our original Horizon Club students, listening to presentations from professionals in the community who spoke at her school. Judge Alicia Washington was an attorney in private practice at the time and was one of those speakers.
As a middle school child, Olivia shared that she was greatly impacted by Judge Washington's presentation. These experiences helped her think about her future and the goals she wanted to achieve in life. Today, Olivia is a student at Illinois State University studying communication and interning at WCBU radio. Like so many other PPS students, her future was forever enhanced by the community investment of time and talent through the PPS Foundation.
PPS Foundation board member Cheryl Sanfilip with daughter Debbie at an outdoor fall market
A Personal Investment
Another example of significant community leadership can be found right here in Peoria Public Schools. Dr. Sharon Kherat leads by example when it comes to making a personal investment in our children. As district superintendent, her most impressive trait is her tireless belief in her teachers and students—that they have the power to reach their fullest potential.
Every year for the past five years, it has been a pleasure to serve as Dr. Kherat's driver for a special trip we take to visit each of the 27 schools in the district in a single day. At each stop, she sees students, teachers, secretaries, custodians and principals and cheers them on, asking what they need at the beginning of the school year. Dr. Kherat will get down on her knees to talk to the youngest students and tell them she believes in them. During this challenging school year, we made the visits twice. This investment of time sets the tone for the year, setting the students up for success and a belief in themselves.
You and your family, however, are perhaps the most important leaders. Hundreds of you each year take out your checkbooks and contribute to the PPS Foundation's "Right Now" fund or support our annual "365" breakfast event. Your gifts certainly make a tremendous impact today. And while you may never get to meet each and every Olivia, believe me, your investment has a huge impact on the future.
Whether it's a little extra help, a warm coat on a cold day, technology to help teachers connect, or support to facilitate another Horizons speaker, you are making this happen. With your investment, the future is now. PM
To donate or to learn more about the Peoria Public Schools Foundation, visit ppsfoundation.org.
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Shonagh, A completely fine name for great people.
You have arrived at the 'Shonagh' page of Random Names. This is a 7-letter girl's name.
Shonagh currently has 11 likes, and is in the top 98% of liked girl's names.


REAL LEGAL QUESTION: Can someone use my image in a music video without my consent?I went with a friend of mine to a video shoot to support him acting in it and was offered to be in the video. I agreed and danced in the video. The artist who owns the song tried to coerce me into performing sexual acts with him and since I refused, he has decided to release the video without giving me credit. I didn't sign a contract. After his disrespectful behavior, I would rather not have my image associated with his. The video is part of a marketing release contract with a company called WorldStarHipHop. If he releases my image in the video anyway, do I have any legal right to have it removed?
PLEASE, IF THIS ANSWER WAS HELPFUL, LET OTHERS KNOW IT. THANK YOU! LEGAL DISCLAIMER: No attorney-client relationship is established on the basis of any information provided by Tiffany Simmons (Simmons Law). To establish such a relationship, a written fee agreement must first be executed by the attorney and the reader. The responses given by Tiffany Simmons are in no way intended to be actual legal advice, and they should not be interpreted as such. WE ARE NOT ALLOWED TO "COACH" ANYONE either here online or by telephone should a reader happen to call us. Instead, our responses are given as general information to be considered, reviewed and confirmed by an attorney more familiar with the reader's particular circumstances.
This entry was posted in entertainment, entertainment law, law, music, Uncategorized and tagged advice, consent, entertainment lawyer, music, right to film, videos, vixens, worldstar, worldstarhiphop. Bookmark the permalink.


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Invoicera is an online invoicing software meant for freelancers, small businesses and enterprises.
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ckground: Developmental Coordination Disorder (DCD) is a neurodevelopmental disorder which affects 5% of school aged children. DCD leads to immature movement skills and an underdeveloped repertoire of fine and gross motor skills in children. For parents with children with DCD, understanding and recognizing the early signs and symptoms of DCD is incredibly difficult, and most parents only acknowledge these early signs once their child is older and has been diagnosed with DCD. Currently, no literature has examined parents understanding of DCD in the early developmental years, pre-diagnosis. Purpose: The purpose of this study was to gain a better understanding of parental perceptions and misconceptions of their children who were identified as probable DCD (pDCD). Methods: Thirty parents, all of whom had children scoring below the 5th percentile on a test of motor abilities (ie, pDCD) were interviewed about their children's abilities to complete activities of daily living. Results: Three salient themes were identified: (1) Negative Affect – parents reported their children having negative feelings toward activities that had a high degree of motor demand, (2) Inaccurate Perception of Behaviour – parents attributed their child's inappropriate behaviours to the child being clumsy or lazy; and (3) De-emphasizing difficulties – parents would downplay their child's symptoms and become defensive when discussing their child's struggles. Conclusion: These findings indicate that a greater emphasis should be placed on educating parents in the early years regarding the signs and symptoms of DCD to ensure that children are receiving the treatment they need.


When you read about injury compensation, the information usually centers around getting compensated for injuries that occur on business or private properties, but in some cases, you may get injured in your own home. If you are a renter, your landlord may be liable for these injuries. I have been on all sides of this issue – I have acted as a landlord, and I have also gotten grievously hurt while renting a property. In the interest of sharing with the broader community, I decided to create this blog for anyone who has questions on the issues of injuries, rental properties, landlord liability and compensation. I hope that you find what you need here, and if you have been injured, I hope that you recover quickly.


Abbas told the gathering, "Israel's continued colonization and occupation of the state of Palestine undermines our development and capacity for cooperation, coordination and obstructs the cohesive future development of all peoples of the region."
How can the UN serve the world (and all it's countries equally) when the US can block decisions of the SC? The only countries that should have that kind of power are those who are committed to serving all nation states equally and fairly.


Please keep in mind that we allow for extra time in special circumstances or public holidays or holiday seasons.
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Shipping price determined at checkout according to your address and location.
If a change of address is made directly with your local post office, Amity Created will not be held responsible for any lost or mis-delivered parcels. Requests for change of address must be made directly with Amity Created prior to your order being shipped and may incur additional fees.
Amity Created is not responsible for lost or stolen packages or packages delayed in transit.
If a customer error in shipping address is made during the checkout process, Amity Created reserves the right to charge a reshipment fee of the amount equal to original shipping quote.
Please note that some countries may take longer than others in the shipment process. Unfortunately, once orders have excited Australia, we no longer have control.
Customers are responsible for custom, duties and taxes. Legally, we are responsible to provide an order value and invoice for customs. For further enquiries, please contact your local customs office.
Once your return is received and inspected, we will notify you of the approval/rejection of your refund. This is dependent on the condition in which the item has arrived in. If your refund is approved, it will be returned via the original transaction method in which you made. From there, payment should be received within 10 business days.
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