All About Direct Digital Synthesis | Analog Devices
Answers to some questions about direct digital synthesis (DDS).
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The standards are based on the Federal Section 508 Electronic and Information Technology Accessibility Standards developed by the Access Board as well as the access guidelines, version 1.0, developed by the Web Accessibility Initiative of the World Wide Web Consortium. These provisions ensure access for people with visual, hearing, motor and cognitive disabilities who rely on various assistive products to access computer-based information, such as screen readers. Screen readers translate the computer screen display into automated audible output and refreshable Braille displays. Certain conventions, such as verbal tags or identification of graphics and format devices, such as frames, are necessary so that these devices can "read" them for the user in a sensible way. The standards do not prohibit the use of Web site graphics or animation. Instead, the standards help ensure that such information is also available in an accessible format. Generally, this means use of text labels or descriptors for graphics and certain format elements. (HTML code already provides an "Alt Text" tag for graphics, which can serve as a verbal descriptor for graphics.) This section also addresses the usability of multimedia presentations, image maps, style sheets, scripting languages, applets and plug-ins, and electronic forms.
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Vector Synthesis also references the long history of pre-digital computing, where calculations were made by connecting the various analog signal generators and processors of massive, patchable systems, and where results were displayed as graphs and functions on a CRT monitor. One of the first practical applications of the analog computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War. And as Kittler observed, the relationship of media technology to military tools of destruction was sealed by moments such as these.
My own personal interest in analog vector graphics isn’t merely retro-for-retro’s-sake. Rather, it is an exploration of a once-current and now discarded technology linked with these specific utopias and dystopias from another time. The fact that many aspects of our current utopian aspirations (and dystopian anxieties!) remain largely unchanged since the dawn of the electronic era indicates to me that seeking to satisfy them with ideas of new-ness and technological progress alone is quite problematic. Or as Rick Prelinger puts it, “the ideology of originality is arrogant and wasteful.” Therefore, an investigation into tried-and-failed methods from the past casts our current attempts and struggles in a new kind of light.
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However, I also strongly believe that techniques and technology take on a radically different context once the move from the realm of cutting edge or contemporary to the status of abandoned, outdated, or obsolete. In the past decade, the Cathode Ray Tube has reached this status of what Garnet Hertz and Jussi Parikka call “zombie media”–a commercially-buried format resurrected by wilful misuse and creative experimentation. The current vogue of analog sound and video synthesis has produced a new generation of artists working with Lissajous patterns, vector graphics and Oscilloscope Music, and I would count among my peers Robin Fox, James Connolly and Kyle Evans (as Cracked Ray Tube), Jerobeam Fenderson, Benton C. Bainbridge, and a whole community of intrepid synthesists on the Video Circuits forum in these adventures.
Vector Synthesis is the third project I have under taken with a reference to the discourse of media archaeology, and the second which explores the relationship of electronic sound and light. The first project in the media archaeology series, TONEWHEELS (2007-14), drew on the century-old technology of optical film soundtracks. Inspired by some of the pioneering 20th Century electronic music instruments, such as the Welte Licht-Ton-Orgel (“Light-Tone Organ”, Edwin Emil Welte, DE 1936), the ANS Synthesizer (Evgeny Murzin, USSR 1937-57), and the Oramics system (Daphne Oram, UK 1957-62), I developed electronic and graphical systems for modulating sound with light. In this live performance, transparent tonewheels printed with repeating patterns are spun over the same kind of light-sensitive electronic audio circuitry as can be found in a 35mm movie projector, producing pulsations and textures of sound and light. Using only overhead projectors as light source, performance interface and audience display, TONEWHEELS aimed to open up the black box of electronic music and video by exposing the working processes of the performance for the audience to see.
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Measurement results in 130-nm CMOS technology show that the proposed ST basedbitcell gives 1.6 higher read static noise margin and 180mV lower read Vmin compared to the 6T bitcell.
Key words: Low power SRAM, low voltage SRAM, Read stability, Schmitt trigger.
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In this paper a step by step sequential procedure to extract captions from videos is proposed.
Key words: -stroke filter, caption detection, caption extraction,caption pixels
 Xiaoqian Liu and Weiqiang Wang (April 2012) "Robustly Extracting Captions in Videos Based on Stroke-Like Edges and SpatioTemporal Analysis ," in Proc.
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By using LabVIEW developing software which based on computer visual virtual instrumentation to program the Virtual Instruments with traditional instruments functions.
Key words: Electronic measurement technology; LabVIEW; Virtual Instrumentation; PowerPoint;
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Through qualitative and quantitative research methodologies as well as review of relevant literature, our paper targets the Mining Industry, specifically, AdamusResources Limited - Nzema Gold Mine, a Subsidiary of Endeavour Mining Corporation, located in Ghana to close this gap.
Key words: Supply Chain Management (SCM), Information and Communication Technology (ICT),Improving and Sustaining Standards of SCM, Mining Industry, Mine, Ghana
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