text:
By incorporating on-chip multiplication gain, the electron multiplying CCD achieves, in an all solid-state sensor, the single-photon detection sensitivity typical of intensified or electron-bombarded CCDs at much lower cost and without compromising the quantum efficiency and resolution characteristics of the conventional CCD structure.
Recent imaging applications in widefield fluorescence and confocal microscopy have increasingly centered on the demanding requirements of recording rapid transient dynamic processes that may be associated with a very small photon signal, and which often can only be studied in living cells or tissues. Technological advances in producing highly specific fluorescent labels and antibodies, as well as dramatic improvements in camera, laser, and computer hardware have contributed to many breakthrough research accomplishments in a number of fields. As high-performance camera systems, typically employing low-noise cooled charge-coupled device (CCD) detectors, have become more capable of capturing even relatively weak signals at video rates and higher, certain performance factors necessarily take on greater importance. A camera system's readout rate and frame rate are interrelated parameters that are crucial to the ability of the system to record specimen data at high temporal frequency.
Sensors designed for quantitative imaging, such as those utilized in high-performance optical microscopy cameras, primarily employ a variation of one of three well-known CCD architectures: full frame, frame transfer, or interline transfer. The frame-transfer and interline-transfer formats generally provide faster frame rate capabilities, but manufacturers incorporate a range of structural and clocking enhancements in designs of each type in order to improve performance. Figure 1 illustrates a full-frame CCD sensor designed to achieve high frame rates by use of a split parallel register that can be clocked to transfer charge in two directions toward dual serial registers, each having a separate output amplifier. The frame rate of the sensor can be approximately doubled by this transfer scheme. Several additional modifications of the standard CCD architectures provide similar advantages and are briefly described in the subsequent discussion.
Readout rate is governed by the time required to digitize a single pixel (the serial conversion time) and is defined as the inverse of that value. Because the conversion time for a single pixel is considerably less than one second, typical readout rates have the units of pixels per second. The rate is often stated as a frequency (hertz, Hz), and some camera manufacturers refer to this specification as pixel clock rate or simply clock rate. The frame rate of an imaging system incorporates the exposure time and extends the single pixel readout rate to the entire pixel array. It is defined as the inverse of the time required to acquire an image and to completely read the image data out to the amplifier. This variable is typically stated in frames per second (fps) or in frequency units (Hz). An approximation of frame rate is obtained by taking the inverse of the sum of total pixel digitization time and the exposure (integration) time, as follows:
where N(pixel) is the number of sensor pixels being read, and t(read) and T(exp) represent the single-pixel read time and exposure time, respectively. In the equation, the total pixel digitization time for the array is represented by the quotient of the total pixel number divided by the single pixel read time (N(pixel) / t(read)).
Although this simplified expression for calculating frame rate is useful for certain comparison purposes, it omits a variety of other factors that affect the true frame rate achieved in practice, among them the operation mode of the CCD and the required exposure duration relative to frame read time in a given application. The details of the charge collection and transfer mechanisms employed by a particular sensor design, as well as the choice of operation modes, such as binning and reduced-array scanning, are significant in determining the actual imaging frame rate. Furthermore, it is implicit that absolute maximum frame rate is achieved at the expense of exposure duration, and a long exposure time relative to the time required to read out the accumulated charge becomes the limiting factor in such circumstances. In listing camera system specifications, a manufacturer may specify frame rates achieved under "typical" conditions, or in some cases frame rate values are stated for an exposure time of zero for comparison of performance achieved using different scan modes or array sizes.
The true frame rate value is determined by the combined frame acquisition time and frame read time, each of which depends upon operational details specific to the camera system and application. Quantitatively the frame rate is therefore the inverse of the sum of these two variables, as expressed by the following equation:
To obtain an accurate evaluation of the true frame rate, a more detailed accounting of the two primary components is required than is provided by the simplified approximation, which uses the number of pixels divided by the readout rate plus the exposure time. While the frame acquisition and frame read times are conceptually obvious, each encompasses several operational factors that vary with CCD architecture and operating conditions. A number of basic operations typically contribute to the frame acquisition and frame read time intervals, and these are listed and discussed further below.
Frame acquisition time components:
Time required to clear charge from the parallel register prior to beginning integration.
Shutter opening delay in CCDs employing mechanical shutters.
Exposure time.
Shutter closing delay, if any.
Frame read time components:
Time required to clear charge from the serial register prior to beginning readout.
Time required for a parallel row shift times the number of rows in the array.
Serial discard time multiplied by the number of pixels not intended to be read.
Serial conversion (digitization) time per pixel times the number of pixels to be read.
Prior to image acquisition, it is necessary with many CCD sensors to clear the pixel array of charge that may have accumulated prior to exposure, due to dark current, cosmic ray interaction, or other charge-generating events. The time required to clear the entire parallel register (referred to as the parallel clear time) depends upon the charge transfer clocking cycle, which may be repeated several times for complete charge removal. The total time required is equal to the parallel clear time multiplied by the number of clearing cycle repetitions. Elimination of any charge accumulated in the array before starting the actual frame integration reduces the phenomenon of image smear, as well as allowing more precise control of exposure time from frame to frame. Typically, current CCD sensors perform several parallel clearing cycles, but because the charge is discarded and does not have to be digitized, these cycles are faster than normal readout times.
The delay in opening and closing a shutter for control of the exposure times is strictly dependent upon the particular camera system and how it is being operated. Some CCD architectures require the use of an external shutter to shield the array from light during the readout phase of image acquisition. If a mechanical shutter is employed, operation times are likely to be significantly increased. Many high-sensitivity systems are based on frame-transfer CCD architecture, which features separate on-chip storage and integration regions, and these may be operated continuously at high rates without a shutter. The exposure, or integration, time in many optical microscopy applications is commonly the dominant factor contributing to frame acquisition time, and in limiting the maximum frame rate achievable.
Following the data acquisition stage, readout of collected charge occurs through one of several different transfer sequences, depending upon the CCD architecture. In the case of a full-frame device, readout takes place by shifting pixel rows directly from the parallel register into the serial register for transfer to the output amplifier. The frame-transfer CCD differs in that following signal integration, data from the entire image array is shifted to a storage array by simultaneously clocking the two sections in parallel, followed by single-row shifts of data in the store section into the serial register. The shift from the image to the storage array takes place rapidly, and while the storage array is being read out, the image array is available to integrate charge for the next frame. Consequently, the transfer from integration to the storage section is typically not significant in the frame read time determination for frame-transfer devices. Whether the CCD is of the full-frame or frame-transfer design, it may be necessary to clear accumulated charge from the serial register prior to transferring charge from the parallel register. The time required for this operation is referred to as the serial clear time.
After any residual serial register charge is cleared, image readout begins with a clocked sequence of gate potentials that causes all charge packets in the parallel register to be shifted one pixel row toward the serial register, such that the first row (adjacent to the serial register) moves into the serial register. The parallel shift time is the time required to perform a single parallel shift cycle. At this point, the first charge packet in each column is in position to be transferred through the serial register to the output node for processing. Multiplying the parallel shift time by the number of rows in the image array yields the portion of the frame read time accounted for by parallel shifts of pixel rows into the serial register.
Note that the normal mode of CCD readout is to shift one pixel row into the serial register, then to read each charge packet in that row by performing a series of column shifts in the register, with each pixel's charge being read as it advances to the output node and is collected for amplification and processing. When the entire serial register has been read out by alternating column shifts and pixel read cycles, another parallel shift cycle moves the next row from the array into the serial register. This process is repeated until all charge is shifted out of the parallel register. The major component of the frame read time is the pixel read time, or serial conversion time, which is multiplied by the total number of pixels being read from the image array. Figure 2 represents diagrammatically the normal sequence of accumulating, transferring, and reading out charge from a full-frame CCD.
Illustrated in Figure 2(a) is a truncated parallel CCD pixel array (4 x 4) that has been exposed to light in order to accumulate a charge pattern of photoelectrons (represented by red spheres). Charge in the parallel register is shifted by one row from Figure 2(a) to Figure 2(b), with the edge row of photoelectrons from the parallel register being transferred into the serial register. In Figure 2(c) the first pixel in the serial register is shifted into the output node before being transferred to the amplifier (Figure 2(d)) and output for processing. Simultaneously in Figure 2(d), the charges in the serial register are shifted toward the output node by one pixel. The next charge in the serial register is shifted from the output node to the amplifier in figure 2(e), and the other charges in the serial register are again shifted toward the output by one pixel in Figure 2(f). This sequence is repeated until the entire charge pattern is transferred from the parallel array through the serial register to the amplifier.
Because the pixel read cycle dominates the frame read time, unnecessary pixels should be discarded or ignored rather than being measured. This is the mechanism by which reading a reduced array, or subarray, of a CCD can increase camera frame rate. Pixels transferred off the chip that occur before or after a defined region of interest in the frame can be discarded during the readout cycle. Additional pixels, which also must be discarded, are often positioned adjacent to the output node, extending the serial register size. The serial register of most CCDs has one pixel for each column of the imaging array, plus an additional number (typically 10 - 50) at the end of the register between the data array and the output amplifier (Extended Pixels, see Figure 1). These extra pixels serve both to provide a dark reference level and to help stabilize the serial clock pulse and signal chain before image data reaches the output amplifier.
Discard times may be associated with serial shifts as well as with parallel row shifts, and the total discard time per frame cycle is obtained by multiplying the appropriate discard time by the corresponding number of discards performed. Individual pixels can be ignored (discarded) by performing repeated shifts in the serial register while omitting the pixel read step, resulting in a discrete time value for this step, termed the serial discard time. Entire pixel rows are discarded by programming repeated parallel shifts without performing the serial row readout. Parallel discard time is therefore equivalent to the parallel shift time, and any time saving results from reducing the total number of necessary serial conversions by the number of pixels in the discarded row. In practice, by manipulating the clocking sequences for parallel and serial transfer and for charge readout cycles, portions of the image frame can be programmed for signal output as necessary for a particular application, with corresponding changes in the achievable frame rate.
Pixel binning is another mechanism that is utilized to reduce image readout time and increase frame rate in CCD imaging, and is performed in the same manner as subarray display, by programmed variations in clock cycle sequences that control the transfer and digitization of sensor-generated charge packets. The technique of binning combines charge from adjacent pixels during the readout process, thereby improving signal-to-noise ratio and dynamic range of the system. Although an effectively larger pixel size lowers spatial resolution, the reduced number of charge packets to be transferred and digitized allows increased readout speed in conjunction with the improved signal level.
Both parallel and serial binning are possible, and in similarity to reduced-array readout, a charge integration period is performed, but the subsequent clocking sequences for charge transfer and pixel readout differ from those normally programmed. Parallel binning is performed during the readout cycle by clocking two or more parallel transfers into the serial register while holding the serial clocks fixed. The effect is to sum pixel charge from multiple rows into each serial pixel before the serial shift cycle begins. The serial binning process transfers two or more charge packets from the serial register into the CCD output node before the charge is read out. Figure 3 presents a binned readout sequence, in which charge from two parallel transfers is summed in the serial register, followed by summing of two serial pixels into the output node for readout. Each readout cycle thus contains the charge from four adjacent pixels.
Various degrees of pixel binning can be utilized, and this is indicated by specifying the number of pixels being combined in the parallel and serial shift directions (termed binning factor, with a value of 1 indicating no binning). For example, a 3 x 3 binning factor specifies that three charge packets are summed into each well of the serial register by parallel shift repetitions, followed by three serial shift repetitions for each cycle of charge readout. Thus, for 3 x 3 binning, each charge packet digitized for image display or quantitative analysis represents nine adjacent pixels of the CCD array. Practically, any combination of parallel and serial binning factors may be programmed as a readout mode provided that the sum of charge from the binned pixels does not exceed the full well capacity of the device. In order to accommodate charge summing and to maintain charge transfer efficiency, pixels in the serial register are typically designed to have higher well capacity than those in the parallel register. With regard to the effect of binning on the frame read time, parallel shift and serial conversion times are not affected, and the increased readout speed results simply from the reduction in the number of charge packets (combined pixels) subject to processing through the readout node.
To summarize the factors that contribute to frame acquisition time and frame read time, and which therefore determine a camera's true frame rate, the following expressions can be employed:
where T(PR) and N(clear) are the time required to clear the parallel register and number of clear cycles performed, and T(open), T(exp), and T(close) represent the shutter opening delay time, the exposure time, and the shutter closing delay time, respectively.
where T(SR) represents the time required to clear the serial register, T(row) and N(row) are the time required for a parallel row shift and the number of rows in the array, T(SD) and N(discard) are the serial discard time and the number of pixels not being read, t(read) is the serial conversion time per pixel and N(read) represents the number of pixels to be read. This latter number is, at maximum, the total pixel array size, and is reduced in accordance with subarray readout and/or pixel binning operations.
Although the frame acquisition and frame read times combine in determining CCD frame rate, the interrelationship may not be simply additive because in different operation modes and with various CCD architectures, portions of the two processes overlap to different degrees. The architecture design employed in the CCD sensor affects whether the processes of integration and readout must take place sequentially or can occur simultaneously, and in different circumstances, frame rates may have limits imposed by either the exposure time or readout time. In frame-transfer devices, during the data collection interval the clock voltages are not being cycled for charge transfer between imaging and storage sections. However, data previously collected and held in the storage region of the chip can be clocked and transferred at will while signal collection occurs concurrently in the image section. Frame-transfer sensors, consequently, may be operated in several different modes with respect to timing of exposure and readout sequences. Interline-transfer CCDs share a number of the performance attributes of frame-transfer devices due to their also incorporating a storage area, which is arranged, not as a separate storage array, but as columns of masked pixels alternating with columns of active unmasked pixels. The alternating columns of imaging and storage pixels across the parallel register allow signal integrated in the active columns to be shifted quickly under the interline mask, where it is read out to the serial register while charge for the next frame is being integrated in the unmasked pixel columns.
As previously discussed, the relationship between frame rate and the combined time required for acquiring and reading out photon-generated charge in a CCD system depends in part on the exposure and readout modes employed by the CCD. In general, the charge integration phase of image acquisition is carried out in the same manner regardless of the camera's operating mode, and the selection of functions such as subarray image output or pixel binning can provide increased frame rates primarily due to reductions in the frame read time. The time required to clear charge from the CCD registers, and the shift times are sufficiently short that they do not have a major effect on readout rate, which is instead dominated by the pixel read time (serial conversion time).
Individual charge packets are shifted through both the parallel and serial registers under the influence of repeated cycles of clock signals applied to the CCD electrodes. Each pixel is typically driven by three electrodes that permit three-phase clock cycles, in which corresponding electrodes of each pixel are connected in parallel and produce the same charge-transfer effect for every pixel being clocked. A single cycle of the three clock phases produces either a one-row (vertical) shift in the parallel register or a one-column (horizontal) shift in the serial register. Changes in operating mode, such as selection of subarray scanning or various binning factors, are effected by modifying the clock cycle sequences applied to the electrodes. In the selection of a camera system, the degree to which the timing of clock sequences can be controlled in operation of the camera may be a determining factor in the suitability of the system for a particular application.
Because the interrelationship of exposure time and read time is critical in determining camera frame rate, those two variables are often illustrated in timing diagrams for different operating modes supported by a particular CCD architecture. High-performance camera systems typically employ frame-transfer or interline-transfer sensors to enable the fastest frame rates and continuous imaging without the necessity of a mechanical shutter to control exposure times. Because these CCD designs include both a light-sensitive sensor area and a storage area that is shielded from light and used for frame transfer to the serial register, the two processes of exposure and readout can overlap in time. Camera systems may offer selectable exposure and readout modes, which are categorized as non-overlap and overlap modes on the basis of whether the two operations are performed independently in sequence, or simultaneously. Other systems exercise control of these variables in a different manner, or in combination with other features. For example, clocking modes may be determined automatically by camera firmware to maximize frame rate, utilizing overlapped or non-overlapped exposure-readout sequences as required, or may be set to optimize sensitivity without regard to high frame rate. High-sensitivity operation typically requires non-overlapped operation regardless of exposure time.
When a CCD is operated in non-overlap mode, any exposure time can be specified and fully completed, with readout occurring in sequence when the exposure has ended. A timing diagram illustrating this exposure-readout mode is presented in Figure 4. In non-overlap mode, the same cycle is repeated for each frame in a sequence; the CCD is cleared of residual charge, charge is integrated for the specified exposure time, the charge is shifted from the light-sensitive array to the masked storage array (separate storage section or interline array), and finally charge is read out. Depending upon specific circumstances, the exposure time may be shorter or longer than the read time, and the total time per frame is the sum of the two intervals (in the absence of mechanical shutter delay), since clearing time and the time required to shift data to the storage array are very rapid and not significant in determining frame rate. This operation mode provides similar performance to that of conventional full-frame device architecture. The timing diagram (Figure 4) illustrates the exposure and readout time sequence for a series of three image frames. Using the arbitrary times shown in the example, 10 millisecond (ms) exposure and 50 millisecond frame read time, the total time to acquire three frames is 180 milliseconds (3 x 10 ms + 3 x 50 ms). The corresponding frame rate is therefore 16.7 frames per second (3 frames/0.180 second).
Overlap mode is utilized in applications requiring the recording of dynamic processes, in which continuous imaging is necessary to provide adequate temporal resolution. To maximize the proportion of time devoted to data collection, the CCD is operated continuously (100-percent duty cycle). After the initial exposure, data are shifted to the frame transfer array, and the next exposure interval begins immediately, while readout occurs for the previous frame. This sequence continues, with the timing from frame to frame determined by either the exposure time or the frame read time, depending upon which is longer. The minimum exposure time is therefore equivalent to the frame read time. In situations in which the programmed exposure time is less than the readout time, the first frame in a sequence is exposed for the exact time programmed, with subsequent frames exposed for the readout time. The sequence timing is in effect controlled by the longer-duration readout cycle. Figure 5 illustrates a timing diagram for overlap mode operation with a 10-millisecond programmed exposure time, and CCD readout time of 50 milliseconds, as used in the previous (non-overlap mode; Figure 4) example. The total time required to acquire 3 frames in this mode is 160 milliseconds, calculated on the basis of one 10-millisecond exposure followed by two 50-millisecond exposures, which overlap the three readout cycles of 50 milliseconds each (10 ms + 3 x 50 ms). Operating in overlapped mode results in a reduction in time of 20 milliseconds for a three-frame sequence, and a corresponding frame rate of 18.8 frames per second (3 frames/0.160 second). In this type of sequence, the first frame is exposed for a shorter time than the succeeding ones, and will generally not match in image intensity.
When the programmed exposure time is less than the frame read time, the following general expression can be used to calculate the total time required to capture a specified number of frames (N):
where T(N) is the total time required to capture a sequence of N frames, T(read) is the single-frame read time, and T(exp) represents the programmed exposure time.
A second possible timing variation occurs during operation in overlap mode when exposure time is greater than frame read time, and therefore controls the timing of sequential frames. As a result, each frame in a sequence is exposed for the exact time specified in the system control software, and all images are of equal intensity. As illustrated by the timing diagram for this operation mode (Figure 6), after the initial frame of a sequence is exposed, readout takes place during exposure of the each subsequent frame, and the sequence ends with a final readout-only cycle. The timing diagram illustrated is for three frames exposed for 75 milliseconds each, and a CCD frame read time of 50 milliseconds. The sequence of three frames requires 275 milliseconds, calculated as three exposure intervals and one additional readout cycle (3 x 75 ms + 50 ms), and results in a frame rate of 10.9 frames per second (3 frames/0.275 second).
The following equation is utilized to calculate the sequence capture time for N frames in overlap mode when the programmed exposure time is greater than the frame read time:
where T(N) is the total time required to capture a sequence of N frames, T(exp) represents the programmed exposure time, and T(read) is the single-frame read time.
Although the operational modes described above correspond to many situations typically encountered in optical microscopy applications, including those requiring maximum frame rate imaging, additional timing modes can be implemented with some high-performance camera systems by employing external trigger sources. Precise triggering of image sequences is necessary for certain time-delay techniques used to follow dynamic processes, including time-resolved fluorescence, and ion diffusion studies. Image sequences may be triggered by delay generators or by laser timing signals coordinated with laser excitation pulses, as well as by other sources. Several different triggered imaging modes are commonly employed, and with frame transfer CCDs, all are generally operated in non-overlapped mode. The simplest of the external-trigger timing variations is referred to as trigger-first mode. This mode utilizes a single trigger pulse to initiate a sequence of image frames that are executed by alternating exposure intervals with readout cycles. The sequence continues until the specified number of frames have been acquired, with each exposure having the exact programmed duration.
A similar triggered sequence, referred to as strobe mode, produces a series of images exposed for a programmed integration time, but with each initiated by a separate trigger pulse. Triggering each exposure individually allows the exposure interval to be delayed after readout of the previous frame if desired, rather than beginning immediately after the read cycle, as occurs when the entire sequence is triggered by one pulse. In another timing variation, the exposure time for each frame in a sequence is determined by the trigger pulse width, and readout occurs immediately following each exposure. This type of operation is termed bulb mode, with the trigger pulse duration functioning in a manner similar to holding a camera shutter open for a timed ("bulb") exposure in conventional photography.
In addition to providing operational features, such as the various pixel formats that are achieved by binning and subarray readout, CCD manufacturers often incorporate a variety of design modifications to enhance performance specifications that are critical to certain applications. In order to provide faster frame rates and readout rates, some sensors are designed with multiple output nodes, each with its own amplifier. A number of different arrangements may be used to feed the outputs. One variation utilizes a separate serial register and associated output amplifier at opposite sides of the parallel array, which is divided electrically along the optical centerline in order to transfer accumulated charge from the center toward both serial registers during readout (see Figure 1). To increase the rate at which rows can be shifted in the parallel register, the clock signals used to drive the parallel gate phases can be input from both edges of the array. Another possible enhancement is to split the serial register so that it feeds an output amplifier at each of its ends. In combination with bi-directional parallel transfer, four amplifiers located at the sensor corners can be utilized for readout in this configuration. Additionally, the CCD may be further divided into quadrants and operated in frame-transfer mode allowing the center two sections to be used for charge integration, while the two outside quadrants serve as storage arrays for readout to the serial registers located at either sensor end. Some systems designed for ultra-high speed imaging employ the split-transfer architecture, and position separate output amplifiers at the top and bottom of every pixel column.
When pixel charge packets are processed and digitized through multiple serial registers and amplifiers to increase read rate (rather than in a single serial output stream), the intensity values associated with each pixel are reassembled by the computer into their correct image locations for display. Any mechanism that reduces the number of transfers to which a charge packet is subjected helps to maintain the sensor's overall charge transfer efficiency. In low-signal-level applications, this should be as close to unity as possible to avoid significant image degradation, and many well designed high-performance systems can perform the thousands of transfers often required for frame readout without significant charge loss.
Contributing Authors
Thomas J. Fellers and Michael W. Davidson - National High Magnetic Field Laboratory, 1800 East Paul Dirac Dr., The Florida State University, Tallahassee, Florida, 32310.


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subset: commoncrawl


text:
As the battle over gun rights in America reaches more and more baroque levels it's easy to lose track of how we got here.
Weaponry and war has been a concern for humanity from its very earliest days. Empires from Greece, Rome and Persia to Napoleonic France and Colonial England have all been built on a backbone of superior firepower. From Roman's peasants fearing Hannibal's elephants to Irish farmers dreading the sight of Viking warships on the horizon, from Paul Revere's "The British are coming!" to the 1950's "Duck and Cover" drills, weaponry has haunted our nightmares for as long as it's fueled the dreams of boys and conquerors.
The right of protection against tyranny was so important to our founding fathers that they included it as the Second Amendment to the Constitution. This debate still rages, as we weigh the costs of our gun culture against this principle. Technology, as always, drives innovation. And that is just as true with weapons as it is with the Internet.
Just as there is a through line that stretches from the Sears catalog to Amazon.com, there is an equally clear line from the sword to the predator drone.
History is shaped by these technological innovations. It is impossible to imagine a Roman empire without its Legionary sword, or a British one without muskets. The German blitzkrieg required fast engines and lots of gasoline. The Atomic bomb, which has shaped every political action since its first use at Hiroshima, required nuclear physics (and, obviously, flight).
With those historical realities in mind, take a look back at the technology that changed weapons and the weapons that changed everything.


text:
4Nita Birthday Hoodie
Beat the cold with this premium pullover hoodie that's just the right layer of warm and cozy. Made with three-panel fleece lining this pullover is double stitched for durability and roomy. Pick one in your favorite color to match your style.
.: Regular Fit
.: 80% Soft cotton; 20% Polyester (fibre content may vary for different colors)
.: Medium fabric (8.2 oz /yd² (280 g/m²))
.: Runs true to size
.: Tear away label


text:
Today, Dec. 26 is the first day of the Kwanzaa celebration, the relatively new African American holiday heritage tradition. Each of the seven day's in the week-long holiday is dedicated to a specific philosophical principle, with the first day being known as Umoja, or unity, when blacks are asked to strive for and maintain unity in the family, community, nation and race.
A number of African Americans of a certain age wonder about the validity of the week-long celebration and question whether it is a legitimate holiday, citing that it was first celebrated in 1966 and has its roots in the black nationalist movement of the 1960s rather than Biblical or religious tradition. The holiday's creator, Maulana Karenga intended to "give blacks an alternative to the existing holiday [Christmas] and give blacks an opportunity to celebrate themselves and their history, rather than simply imitate the practice of the dominant society."
But, what's wrong the practice of the dominant society which is Christian based, and do we as black people have to choose between the two? Not hardly. As Kwanzaa grew in popularity, its creator modified his position to avoid alienating practicing Christians, stating that "Kwanzaa was not created to give people an alternative to their own religious holiday."
Approximately five percent of African Americans celebrate Kwanzaa with its popularity leveling off as the black power movement continues to wane, although several white institutions recognize and celebrate the holiday now.
Jessica Smith of Culture Kingdom Kids discussed the true meaning of the holiday on "NewsOne Now," and broke down the symbolism behind the kinara candles, corn, and the unity cup.
And, yes, you can give gifts, too. The primary objective is to buy black-owned or try DIY. "The purpose of that is the focuses of Kwanzaa are heritage and education… and economics," Smith said, "so you want to support a black company… For Kwanzaa you can give a book on African American heritage so they're building their library that way, or you can make a gift."
The seven principles of Kwanzaa, or Nguzo Saba represent "the best of African thought and practice in constant exchange with the world," according to Karenga.
Each of the seven days of Kwanzaa is dedicated to one of the following principles:
- Umoja (Unity): To strive for and to maintain unity in the family, community, nation, and race.
- Kujichagulia (Self-Determination): To define ourselves, name ourselves, create for ourselves, and speak for ourselves.
- Ujima (Collective Work and Responsibility): To build and maintain our community together and make our brothers' and sisters' problems our problems, and to solve them together.
- Ujamaa (Cooperative Economics): To build and maintain our own stores, shops, and other businesses and to profit from them together.
- Nia (Purpose): To make our collective vocation the building and developing of our community in order to restore our people to their traditional greatness.
- Kuumba (Creativity): To do always as much as we can, in the way we can, in order to leave our community more beautiful and beneficial than we inherited it.
- Imani (Faith): To believe with all our hearts in our people, our parents, our teachers, our leaders, and the righteousness and victory of our struggle.
Kwanzaa symbols include a decorative mat (Mkeka) on which other symbols are placed, corn (Muhindi) and other crops, a candle holder kinara with seven candles (Mishumaa Saba), a communal cup for pouring libation (Kikimbe cha Umoja), gifts (Zawadi), a poster of the seven principles, and a black, red, and green flag. The symbols were designed to convey the seven principles.


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With all the cool burlap ribbon in the stores these days and
monogram letters of all kinds, I thought it would awesome to create a monogram
rose burlap wreath for my front door.
Since I put my wreath on a glass storm door with a suction
hook, it was hard to photograph without a reflection so I took the photograph
on an indoor wall so you can better see how gorgeous it turned out. When you attach it to a glass door it's even
more beautiful!
Flat wreath form 12" diameter
2 ½" wide wired natural color burlap ribbon
Green burlap ribbon
Monogram wooden letter of choice ½" thick
Self stick cork sheet
Eye screw
18 ml wire
7 Daisy artificial flowers in choice of color
Drill with small drill bit
Hot glue gun and hot glue sticks
On the self-stick cork sheet, trace around your
letter, cut out. Remove the backing attach to the letter. Do this on the front of the letter and then
turn over and repeat on the back of the letter.
Using a drill and small drill bit, drill a hole
in the top center of the letter. Attach an eye screw in the hole you drilled.
Wrap the green burlap all around the wreath form
and attach with some hot glue. Make sure
you mark an area on the wreath from where there is a hole (There are holes all
around this flat wreath form) Thread a piece of wire through the hole in the
burlap covered wreath from, form a loop at the top and twist to secure. (This
will be the top hanger of your wreath)
Attach another piece of wire through the eyehook
on the top of your letter; thread the ends through the same hole you used for
the hanger and twist to secure.
Make your burlap roses. Cut a piece of 2 ½" natural colored burlap
ribbon 24 inches long. Begin by burning
both ends with a lighter to stop any fraying.
Next, twist the ends around for the center of your rose and put a dab of
hot glue to secure. Continue twisting
and turning, and occasionally adding a dab of glue. Always twist and turn in
the same direction. Continue until you reach the end. Secure with a dab of glue. Make 6 more so you have seven burlap roses.
Starting at the top, attach a burlap rose with
an ample amount of hot glue to the front of the wreath. Add a daisy next and continue around
alternating, rose and daisy till you reach the end.


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Dear Dr. Shackelford,
On April 24, 2017, in your capacity as editor of Evolutionary Psychological Science, you issued an Editorial Note [PDF] that referenced the article "Eating Heavily: Men Eat More in the Company of Women," by Kevin M. Kniffin, Ozge Sigirci, and Brian Wansink (Evolutionary Psychological Science, 2016, Vol. 2, No. 1, pp. 38–46).
The key point of the note is that the "authors report that the units of measurement for pizza and salad consumption were self-reported in response to a basic prompt 'how many pieces of pizza did you eat?' and, for salad, a 13-point continuous rating scale."
For comparison, here is the description of the data collection method from the article (p. 41):
Consistent with other behavioral studies of eating in naturalistic environments (e.g., Wansink et al. 2012), the number of slices of pizza that diners consumed was unobtrusively observed by research assistants and appropriate subtractions for uneaten pizza were calculated after waitstaff cleaned the tables outside of the view of the customers. In the case of salad, customers used a uniformly small bowl to self-serve themselves and, again, research assistants were able to observe how many bowls were filled and, upon cleaning by the waitstaff, make appropriate subtractions for any uneaten or half-eaten bowls at a location outside of the view of the customers.It is clear that this description was, to say the least, not an accurate representation of the research record. Nobody observed the number of slices of pizza. Nobody counted partial uneaten slices when the plates were bussed. Nobody made any surreptitious observations of salad either. All consumption was self-reported. It is difficult to imagine how this 100-plus word description could have accidentally slipped into an article.
Even if we ignore what appears to have been a deliberately misleading description of the method, there is a further very substantial problem now that the true method is known. That is, the entire study would seem to depend on the amounts of food consumed having been accurately and objectively measured. Hence, the use of self-report measures of food consumption (which are subject to obvious biases, including questions around desirability), when the entire focus of the article is on how much food people actually (and perhaps unconsciously, due to the influence of evolutionarily-determined forces) consumed in various social situations, would seem to cast severe doubt on the validity of the study. The methods described in the Editorial Note and the article itself are thus contradictory, as they describe substantially different methodologies. The difference between real-time unobtrusive observations by others, versus post hoc self-reports, is both practically and theoretically significant in this case.
Hence, we are surprised that you apparently considered that issuing an "Editorial Note" was the appropriate response to the disclosure by the authors that they had given an incorrect description of their methods in the article. Anyone who downloads the article today will be unaware that the study simply did not take place as described, nor that the results are probably confounded by the inevitable limitations of self-reporting.
Your note also fails to address a number of other discrepancies between the article and the dataset. These include: (1) The data collection period, which the article reports as two weeks, but which the cover page for the dataset states was seven weeks; (2) The number of participants excluded for dining alone, which is reported as eight in the article but which appears to be six in the dataset; (3) The overall number of participants, which the article reports as 105, a number that is incompatible with the denominator degrees of freedom reported on five F tests on pp. 41–42 (109, 109, 109, 115, and 112).
In view of these problems, we believe that the only reasonable course of action in this case is to retract the article, and to invite the authors, if they wish, to submit a new manuscript with an accurate description of the methods used, including a discussion of the consequences of their use of self-report measures for the validity of their study.
Please note that we have chosen to publish this e-mail as an open letter here. If you do not wish your reply to be published there, please let us know, and we will, of course, respect your wishes.
Nicholas J. L. Brown
Jordan Anaya
Tim van der Zee
James A. J. Heathers
Chris Chambers


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It's Illegal in Texas to Leave Your Car Running Unattended [UPDATED]
With blistering cold temperatures all across Texas right now, it's tempting to get a head start on the window defrosting and run out to start the car and warm it up before heading out for the day; however, you may want to rethink that plan.
In Texas, and many other states, it's against the law to start your car and leave it unattended with the keys in the ignition. Not only could you be left filing a police report because your car got stolen, but you could also be slapped with a ticket for up to $500 as it's a Class C misdemeanor.
Of course, this law does not apply if you use a remote starter and your vehicle requires the key to be present in the vehicle or in the ignition before the vehicle can be operated.
The main purpose of the law is to prevent vehicle owners from becoming victims. Thieves will use the freezing cold temps to their advantage, looking for puffs of exhaust coming from unattended vehicles, whether it be in your driveway, at work, or at the gas station.
According to the FBI, there are roughly 500,000 cars stolen during a given year and up to half of those incidents can be blamed on driver error -- like leaving your car running unattended with the keys in the ignition and the doors unlocked.
If having your car stolen wasn't bad enough, some insurance companies will leave you out in the cold and deny coverage for a stolen vehicle that had the keys in the ignition because you did not take reasonable care with your car.
So next time you want to get ahead of Old Man Winter and run outside to warm up your car and run back inside to finish getting ready, remember, it's better to have a cold car than no car. And for heaven's sake, NEVER leave kids in the car unattended, even if you just want them to stay warm while you run into the store real quick.
Here's the section of the Texas Transportation Code that deals with unattended vehicles for reference:
Sec. 545.404. UNATTENDED MOTOR VEHICLE. (a) Except as provided by Subsection (b), an operator may not leave a vehicle unattended without:
(1) stopping the engine;
(2) locking the ignition;
(3) removing the key from the ignition;
(4) setting the parking brake effectively; and
(5) if standing on a grade, turning the front wheels to the curb or side of the highway.
(b) The requirements of Subsections (a)(1), (2), and (3) do not apply to an operator who starts the engine of a vehicle by using a remote starter or other similar device that:
(1) remotely starts the vehicle's engine without placing the key in the ignition; and
(2) requires the key to be placed in the ignition or physically present in the vehicle before the vehicle can be operated.
UPDATE: It appears as though the above traffic law may only apply to vehicles parked on public highways or streets and is not necessarily enforceable on private property, such as your driveway. The section of the Texas Transportation code that deals with applicability reads as follows:
Sec. 542.001. VEHICLES ON HIGHWAYS. A provision of this subtitle relating to the operation of a vehicle applies only to the operation of a vehicle on a highway unless the provision specifically applies to a different place.
However, some cities have reportedly closed this loophole by amending their city code with an ordinance making it illegal to leave your car running on any public street or private property with the key in the ignition. We were unable to locate such an ordinance in Wichita Falls, but a thief doesn't really care where you leave your car running, they'll take it where they can get it.
BONUS: Dumb Texas Laws That Will Make You Say, "Huh?"


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That orange box of baking soda tucked away in your fridge or kitchen cabinet can also be an inexpensive and earth-friendly solution for your laundry needs. It's safe to use in both standard and high-efficiency washers and is one of the best products available to reduce your dependence on chemicals. Let's take a look into the top 5 ways baking soda can be used in your laundry room:
Reduce and Remove Laundry Odor
The body odors found on our clothing and linens are caused by different types of bacteria. These bacteria are removed when the detergent's molecules break them up and flush them away from the clothing. Less expensive detergents generally don't have strong enough enzymes to remove all of the bacteria, so baking soda will be a great boost to your detergent's bacteria-fighting power. Add 1/2 cup of baking soda to each laundry load to make your detergent work more effectively.
Boost Bleach Performance
Bleach is often used to remove odors and stains from our laundry; however, if the water is too acidic, bleach doesn't do its job as effectively. Just as it boosts detergent performance, baking powder can also help how effectively your bleach works. This leads to less use of bleach and its negative impact on our environment.
Use As A Natural Fabric Softener
Baking soda is great for regulating your water's pH level in your washer. It does this by making sure the rinse water is not too acidic or full of alkaline. Adding 1/2 cup of baking soda to each rinse cycle will balance the mineral deposits in the water and keep them off your clothes. It's the minerals that make your clothing feel stiff, and baking soda is a shield for your clothes from these minerals.
Great For Cleaning Irons
Baking soda is a gentle and earth-friendly abrasive. The face plate of an iron is notorious for building up starch and scorch deposits. To remove this build-up, mix a paste of water and baking soda and rub the paste over the face of the cool iron with a white cloth. Gently wipe the build-up away. You can finish with a wipe of white vinegar with a fresh towel.
Controls Water Suds
If you accidentally use regular laundry detergent in a washing machine that requires detergent, you'll get a mess of suds. They might be fun to look at, but they are a pain to clean up. If you make this mistake, just grab a box of baking soda and sprinkle it directly on the suds to break them down. The baking soda is good at absorbing moisture and will make clean-up much easier.


text: If you're a lover of English Country design, this book is about the firm that pretty much invented this style of decorating. They greatly influenced some of our favorite designers including Arthur Hadley, Mario Buatta and Mark Hampton. In the BNOTP Library: Colefax and Fowler: The Best In English Interior Decoration Author: Chester Jones 3 Things I Like About This … [Read more...]


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Items where Author is "Kirchhof, Paulus"
Up a level |
Roselli, Carolina and Chaffin, Mark D. and Weng, Lu-Chen and Aeschbacher, Stefanie and Ahlberg, Gustav and Albert, Christine M. and Almgren, Peter and Alonso, Alvaro and Anderson, Christopher D. and Aragam, Krishna G. and Arking, Dan E. and Barnard, John and Bartz, Traci M. and Benjamin, Emelia J. and Bihlmeyer, Nathan A. and Bis, Joshua C. and Bloom, Heather L. and Boerwinkle, Eric and Bottinger, Erwin B. and Brody, Jennifer A. and Calkins, Hugh and Campbell, Archie and Cappola, Thomas P. and Carlquist, John and Chasman, Daniel I. and Chen, Lin Y. and Chen, Yii-Der Ida and Choi, Eue-Keun and Choi, Seung Hoan and Christophersen, Ingrid E. and Chung, Mina K. and Cole, John W. and Conen, David and Cook, James and Crijns, Harry J. and Cutler, Michael J. and Damrauer, Scott M. and Daniels, Brian R. and Darbar, Dawood and Delgado, Graciela and Denny, Joshua C. and Dichgans, Martin and Dörr, Marcus and Dudink, Elton A. and Dudley, Samuel C. and Esa, Nada and Esko, Tonu and Eskola, Markku and Fatkin, Diane and Felix, Stephan B. and Ford, Ian and Franco, Oscar H. and Geelhoed, Bastiaan and Grewal, Raji P. and Gudnason, Vilmundur and Guo, Xiuqing and Gupta, Namrata and Gustafsson, Stefan and Gutmann, Rebecca and Hamsten, Anders and Harris, Tamara B. and Hayward, Caroline and Heckbert, Susan R. and Hernesniemi, Jussi and Hocking, Lynne J. and Hofman, Albert and Horimoto, Andrea R. V. R. and Huang, Jie and Huang, Paul L. and Huffman, Jennifer and Ingelsson, Erik and Ipek, Esra Gucuk and Ito, Kaoru and Jimenez-Conde, Jordi and Johnson, Renee and Jukema, J. Wouter and Kääb, Stefan and Kähönen, Mika and Kamatani, Yoichiro and Kane, John P. and Kastrati, Adnan and Kathiresan, Sekar and Katschnig-Winter, Petra and Kavousi, Maryam and Kessler, Thorsten and Kietselaer, Bas L. and Kirchhof, Paulus and Kleber, Marcus E. and Knight, Stacey and Krieger, Jose E. and Kubo, Michiaki and Launer, Lenore J. and Laurikka, Jari and Lehtimäki, Terho and Leineweber, Kirsten and Lemaitre, Rozenn N. and Li, Man and Lim, Hong Euy and Lin, Henry J. and Lin, Honghuang and Lind, Lars and Lindgren, Cecilia M. and Lokki, Marja-Liisa and London, Barry and Loos, Ruth J. F. and Low, Siew-Kee and Lu, Yingchang and Lyytikäinen, Leo-Pekka and Macfarlane, Peter W. and Magnusson, Patrik K. and Mahajan, Anubha and Malik, Rainer and Mansur, Alfredo J. and Marcus, Gregory M. and Margolin, Lauren and Margulies, Kenneth B. and März, Winfried and McManus, David D. and Melander, Olle and Mohanty, Sanghamitra and Montgomery, Jay A. and Morley, Michael P. and Morris, Andrew P. and Müller-Nurasyid, Martina and Natale, Andrea and Nazarian, Saman and Neumann, Benjamin and Newton-Cheh, Christopher and Niemeijer, Maartje N. and Nikus, Kjell and Nilsson, Peter and Noordam, Raymond and Oellers, Heidi and Olesen, Morten S. and Orho-Melander, Marju and Padmanabhan, Sandosh and Pak, Hui-Nam and Paré, Guillaume and Pedersen, Nancy L. and Pera, Joanna and Pereira, Alexandre and Porteous, David and Psaty, Bruce M. and Pulit, Sara L. and Pullinger, Clive R. and Rader, Daniel J. and Refsgaard, Lena and Ribasés, Marta and Ridker, Paul M. and Rienstra, Michiel and Risch, Lorenz and Roden, Dan M. and Rosand, Jonathan and Rosenberg, Michael A. and Rost, Natalia and Rotter, Jerome I. and Saba, Samir and Sandhu, Roopinder K. and Schnabel, Renate B. and Schramm, Katharina and Schunkert, Heribert and Schurman, Claudia and Scott, Stuart A. and Seppälä, Ilkka and Shaffer, Christian and Shah, Svati and Shalaby, Alaa A. and Shim, Jaemin and Shoemaker, M. Benjamin and Siland, Joylene E. and Sinisalo, Juha and Sinner, Moritz F. and Slowik, Agnieszka and Smith, Albert V. and Smith, Blair H. and Smith, J. Gustav and Smith, Jonathan D. and Smith, Nicholas L. and Soliman, Elsayed Z. and Sotoodehnia, Nona and Stricker, Bruno H. and Sun, Albert and Sun, Han and Svendsen, Jesper H. and Tanaka, Toshihiro and Tanriverdi, Kahraman and Taylor, Kent D. and Teder-Laving, Maris and Teumer, Alexander and Thériault, Sébastien and Trompet, Stella and Tucker, Nathan R. and Tveit, Arnljot and Uitterlinden, Andre G. and Van Der Harst, Pim and Van Gelder, Isabelle C. and Van Wagoner, David R. and Verweij, Niek and Vlachopoulou, Efthymia and Völker, Uwe and Wang, Biqi and Weeke, Peter E and Weijs, Bob and Weiss, Raul and Weiss, Stefan and Wells, Quinn S and Wiggins, Kerri L and Wong, Jorge A and Woo, Daniel and Worrall, Bradford B and Yang, Pil-Sung and Yao, Jie and Yoneda, Zachary T and Zeller, Tanja and Zeng, Lingyao and Lubitz, Steven A and Lunetta, Kathryn L and Ellinor, Patrick T (2018) Multi-ethnic genome-wide association study for atrial fibrillation. Nature Genetics, 50. pp.1225-1233. ISSN 1061-4036 (Not OA)
Priori, Silvia G and Wilde, Arthur A and Horie, Minoru and Cho, Yongkeun and Behr, Elijah R and Berul, Charles and Blom, Nico and Brugada, Josep and Chiang, Chern-En and Huikuri, Heikki and Kannankeril, Prince and Krahn, Andrew and Leenhardt, Antoine and Moss, Arthur and Schwartz, Peter J and Shimizu, Wataru and Tomaselli, Gordon and Tracy, Cynthia and Ackerman, Michael and Belhassen, Bernard and Estes, N A Mark and Fatkin, Diane and Kalman, Jonathan and Kaufman, Elizabeth and Kirchhof, Paulus and Schulze-Bahr, Eric and Wolpert, Christian and Vohra, Jitendra and Refaat, Marwan and Etheridge, Susan P and Campbell, Robert M and Martin, Edward T and Quek, Swee Chye (2013) Executive summary: HRS/EHRA/APHRS expert consensus statement on the diagnosis and management of patients with inherited primary arrhythmia syndromes. Europace, 15 (10). pp.1389-406. ISSN 1532-2092 (OA)


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Year | Age | Average Club Head Speed | PGA TOUR Swing Speed Rank | PGA TOUR Low Average | PGA TOUR Average | PGA TOUR High Average |
2010 | 23 | 113.04 | 91 | 102.71 | 112.63 | 123.58 |
2011 | 24 | 114.14 | 74 | 103.39 | 112.83 | 125.25 |
2012 | 25 | 114.05 | 80 | 104.29 | 113.02 | 124.69 |
2013 | 26 | 113.93 | 87 | 104.48 | 113.15 | 124.45 |
Listed below are all his historical average speeds by year as reported by the PGA TOUR. For comparison's sake, the PGA TOUR's average low, average overall, and high average are shown as well. Also listed is his corresponding age, in order that you can make age related observations.
There's that old saying in golf, "Drive for show. Putt for dough." However, statistical analysis reveals that this isn't accurate. Club head speed plays a crucial role in golf, even more so than putting.
A well-struck drive with higher club head speed leads to increased ball speed and greater distances off the tee. This advantage allows for shorter irons into greens, which you also hit farther, increasing greens-in-regulation percentages, and reducing scoring averages at both amateur and professional levels.
Historically, it was believed that club head speed couldn't be trained. Tiger Woods, playing alongside long-hitter Bubba Watson, was once quote on the PGA TOUR's website, Either you have speed, or you don't. This notion has been proven incorrect. The importance of fitness on the PGA TOUR has escalated over time, with athletes like Gary Player, Greg Norman, and Tiger Woods emphasizing physical conditioning. However, fitness alone doesn't equate to speed. For instance, despite Camillo Villegas superior fitness, John Daly outpaced him in swing speed, highlighting that speed also
involves mechanics.
The landscape is evolving. In 2019, Phil Mickelson increased his club head speed by 6 mph. Bryson DeChambeau, during the COVID-19 lockdown, ramped up his speed dramatically from 118.24 mph in 2019 to 132.25 mph by 2021. Training aids like Super Speed Golf, the Stack System, and Rypstick have gained in popularity…and the PGA TOUR average broke the 115-mph barrier in 2023.
Amazingly, this is all just barely scratching the surface, though. If increasing speed is your goal – to fundamentally level up your game – we at Swing Man Golf have the expertise and tools to teach you how to achieve it, with industry leading speed training results since 2007.
Boost Your Golf Game: Swing Speed Training Online & Personalized Training
Ready to swing faster and drive further? Discover how with Swing Man Golf All-Access, featuring Golf Fitness Association of America (GFAA) award winning swing speed training programs that have helped golfers gain 10, 20, 30, and even 40 mph!
Get a power boost with in-person swing speed training sessions by Jaacob Bowden, PGA, a pioneer in golf fitness and swing speed.
Whether you're aiming for longer drives or lower scores, our tailored programs and power boost sessions will rapidly and drastically transform your performance. Start your journey to a more powerful game today!
Become a Certified Swing Speed Trainer with Swing Man Golf
Led by Jaacob Bowden, PGA, a multiple Golf Fitness Association of America (GFAA) award winner, our Swing Speed Trainer Certification equips golf, fitness, and medical professionals with the knowledge to teach industry-leading swing speed training protocols.
This 1-day comprehensive, online, self-paced course covers everything from power development to training aid utilization, enabling you to design tailored programs that enhance player performance at all levels.
Darren DeMaille, PGA
"I had three students gain over 30 mph using your system."
Greg DuCharme, PGA
"My club head speed increased by 23 mph over a 10- week period! The exercises also improved my stability, allowing me to hit straighter."
Bob Bigonette, PGA
"Thanks to your training, I competed again and shot a 70 in the US Open qualifier, gaining 18 mph in just 10 weeks."
Special Offer: Register now and get 25% off with promo code: 25off
Enhance your professional offerings and increase your market value today!
PGA TOUR Club Head Speed Rankings By Year
- 2023 PGA TOUR Club Head Speed Rankings
- 2022 PGA TOUR Club Head Speed Rankings
- 2021 PGA TOUR Club Head Speed Rankings
- 2020 PGA TOUR Club Head Speed Rankings
- 2019 PGA TOUR Club Head Speed Rankings
- 2018 PGA TOUR Club Head Speed Rankings
- 2017 PGA TOUR Club Head Speed Rankings
- 2016 PGA TOUR Club Head Speed Rankings
- 2015 PGA TOUR Club Head Speed Rankings
- 2014 PGA TOUR Club Head Speed Rankings
- 2013 PGA TOUR Club Head Speed Rankings
- 2012 PGA TOUR Club Head Speed Rankings
- 2011 PGA TOUR Club Head Speed Rankings
- 2010 PGA TOUR Club Head Speed Rankings
- 2009 PGA TOUR Club Head Speed Rankings
- 2008 PGA TOUR Club Head Speed Rankings
- 2007 PGA TOUR Club Head Speed Rankings


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High performance professional photo printing up to 13" x 19".
It's time to step up to the large format, professional quality printer you've been dreaming about. The PIXMA PRO-100 Wireless1 Professional Inkjet Printer possesses the functionality and technology you need to achieve high-quality output so your prints can look as good as the images you capture. The 8-ink dye based ChromaLife 100+ system provides you with an amazing color gamut so your prints will look as vivid as you remember.
The PIXMA PRO-100 shares technology with the rest of the PIXMA PRO line utilizing the Optimum Image Generating System to ensure what you envision is exactly what you get. The OIG System analyzes each area of the print and chooses the best ink mixture so you see the colors you expect to see in your print.
The new Print Studio Pro2 plug-in software makes it even easier to get amazing results from your favorite photo applications. Add to that connectivity options like Wi-Fi, Ethernet and USB and you have a professional machine that easily fits into your workflow that you can place anywhere around the studio.
For media support, the PIXMA PRO-100 features two paper trays. A rear tray for a variety of fine art and glossy photo papers, and a manual slot for thicker media to meet your printing needs.
© 2024 Canon U.S.A., Inc. All Rights Reserved. Reproduction in whole or in part without permission is prohibited. |


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Accessva.org provides a way for Virginians with disabilities to find an affordable, accessible place to live. Accessva.org also provides a variety of other information including information on accessible housing resources, and interactive map of Virginia Centers for Independent Living (CIL's).
These resources are constantly changing and improving so please check back often to stay up-to-date.


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Dubai Future Accelerators (DFA), an initiative of Dubai Future Foundation (DFF) and the Government of Dubai, is once again scouting new talent from among the world's most innovative startups and scale-ups to join its flagship program.
DFA is set up as a business development and market-entry accelerator based on specific demands identified by its partners. Startups and scaleups offering software or product-solutions that meet partners' requirements are invited to submit their applications until November 30, 2019.
Cohort 7 will invite startups to experiment with emerging technologies, including artificial intelligence (AI) to brainstorm innovative solutions to the likely challenges facing cities of the future in key industries, such as healthcare, transportation, and safety and security.
With DFA facilitating collaborations, the companies will work hand in hand with government entities to address their industry-specific issues. Participating government partners will include Dubai Electricity and Water Authority (DEWA), the Roads and Transport Authority (RTA), the Dubai Health Authority (DHA), Dubai Police and Etisalat Digital.
The launch of this year's edition follows the success of six earlier cohorts that synergized 13 government entities and 219 startups on 97 challenges. Furthermore, 71 percent of these startups have signed agreements with their partner entities to test their solutions through pilot projects or implement them within their organizations.
Dubai Future Accelerators is an intensive nine-week program that forges partnerships government entities and private sector organizations from Dubai and with startups, scale-ups and innovative SMEs from around the world to co-create transformational solutions. It offers a unique opportunity for entrepreneurs to use the city as a test bed for their avant-garde prototypes.
Companies selected to join our 7th cohort get invited to an in-residence program where participants will benefit from direct access to senior decision makers, access to a coworking space, paid roundtrip airfare to Dubai and paid accommodation for the duration of their participation in the mentorship program. Furthermore, DFA does not take any equity in the participating startups.
Interested startups that are keen to participate in the global challenge and shape solutions for the future can register now at https://dubaifutureaccelerators.com/en/
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I am brand-new to LaTeX, Sketch, and even using the command line. My purpose is to write assignments as high-quality documents next semester for Physics, Math, Chemistry, and Engineering undergraduate-level courses. I am on break, so I figure it is a good time to learn.
I recently downloaded Sketch to use with LaTex. You will find a simplified piece of working code at the bottom.
By the way, I use Windows 8.
I am trying to create a document which includes code produced by Sketch. Below I will detail my workflow. My question is: Is there a simpler way to do this???
From what I've seen, Sketch is very powerful, and 3D images are easier to write than when using PSTricks alone. I am willing to learn Sketch. However, if there is another software or package that is just as powerful as Sketch, but much simpler to use, that would be great. (Would Inkscape be a good alternative?)
My project file hierarchy is shown below. I making use of the \input{...}
command to do this. Pay special attention to the image1 folder.
- project
- project.tex
- content
- chapter1.tex (I want to include the image here.)
- formatting
- packages.tex, etc.
- images
- image1
- sketch.exe
- Command Prompt (Set to open in this directory.)
- image1.sk
- image1_standalone.tex (Contains code for the image such that it can be compiled as a standalone PDF.)
- image1.tex (Contains the code for the image such that it can be included in the final document via
- image1
AFAIK, every image folder, according to my current workflow, needs all these files.
Currently, my workflow goes like this:
- Write Sketch code for my image in image1.sk and put
global {language tikz}
at the end.- (AFAIK, not mentioned in the documentation in any clear place. Found the tip here. Without this command, the image was not compiling at all. This might be because without this command, Sketch produces PostScript code?
- Tangential rant: Documentation expects user knows what the Command Prompt is, how to use it, how to change directories, that the Sketch.exe needs (AFAIK) to be in the directory you are working in, etc. My computer knowledge is basic, and I wish the documentation gave this kind of information. It would have saved me a lot of time.
Open the Command Prompt and type:
Sketch -T image1.sk -o image1_standalone.tex pdflatex image1_standalone.tex
- Open the newly created image1_standalone.pdf file, and check whether I like how the image was produced.
- If I don't like the image, repeat above steps.
- From image1_standalone.tex, copy the \usepackage{} and \usetikzlibrary{} commands into my packages.tex file.
- Create image1.tex and paste the code
\begin{tikzpicture} ... \end{tikzpicture}
...possible surrounded by\begin{center} ... \end{center}
. - Write
into the chapter1.tex file. - Compile final document.
Simple example code:
\begin{tikzpicture}[line join=round]


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Oops – We're In The Wrong Country!
Trieste, Italy, was a very elegant city, combining Italian, German, Latin, Austrian, Hungarian and Slavic cultures, but it was time to move on to Slovenia and Croatia. We could not find an automatic car to rent in downtown Trieste and found automatic transmission vehicles were only available at the airport…. Continue reading


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- Timed Event Championship 2017 DVD
Timed Event Championship 2017 DVD
per item
CINCH presents the brand new 2017 Timed Event Championship! It's called the IRONMAN COMPETITION…and with good reason! The 20 invited contestants must head 5 team roping steers, heel 5, rope 5 calves, steer wrestle 5 head and steer rope 5. The fastest one on 25 head total becomes the Timed Events Champion of the World. The DVD sets include all 500 runs from three days at the Lazy E Arena in Guthrie, OK. You will also go behind the chutes for alot of interviews as the "ironman" event unfolds. Includes all 5 rounds!


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on November 19, 2013 in For Sellers
Many sellers feel that the spring is the best time to place their home on the market as buyer demand increases at that time of year. However, the fall and winter have their own advantages. Here are five reasons to sell now.
Only Serious Buyers Are Out
At this time of year, only those purchasers who are serious about buying a home will be in the marketplace. You and your family will not be bothered and inconvenienced by mere 'lookers'. The lookers are at the mall or online doing their holiday shopping.
There Is Far Less Competition
Housing supply always shrinks dramatically at this time of year. The choices for buyers will be limited. Don't wait until the spring when all the other potential sellers in your market will put their homes up for sale.
The Process Will Be Quicker
One of the biggest challenges of the 2013 housing market has been the length of time it takes from contract to closing. Banks have been inundated with both purchase and refinancing loan requests. Both of these will slow in the winter cutting timelines and the frustration these delays cause both buyers and sellers.
There Will Never Be a Better Time to Move-Up
If you are moving up to a larger, more expensive home, consider doing it now. Prices are projected to appreciate by over 25% from now to 2018. If you are moving to a higher priced home, it will wind-up costing you more in raw dollars (both in down payment and mortgage payment) if you wait. You can also lock-in your 30 year housing expense with historically low interest rates right now. There is no guarantee rates will remain at these levels in years to come.
It's Time to Move On with Your Life
Look at the reason you decided to sell in the first place and decide whether it is worth waiting. Is money more important than being with family? Is money more important than your health? Is money more important than having the freedom to go on with your life the way you think you should?
You already know the answers to the questions we just asked. You have the power to take back control of the situation by pricing your home to guarantee it sells. The time has come for you and your family to move on and start living the life you desire. That is what is truly important.


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Oshi No Ko - Kana Arima - Ichiban Kuji - B Prize
Oshi No Ko - Kana Arima - Ichiban Kuji - B Prize
Kana Arima, the talented and charming character of the Oshi No Ko series, is now here with Ichiban Kuji's B Prize figure! Produced by Bandai Spirits, this figure perfectly captures Kana's grace and energy on stage, making a valuable addition to your collection.
Favorite Character: Kana Arima is one of the most talented and charismatic characters in the Oshi No Ko series. This figure adds color to your collection by reflecting Kana's fascinating stance on stage in detail.
High Quality Craftsmanship: This figure from Bandai Spirits is made of high quality materials and displays highly detailed craftsmanship. Every detail of Kana has been meticulously designed, remaining true to her character.
Unique and Special Design: Ichiban Kuji's B Prize figure delivers Kana's iconic presence and on-stage charisma in a special design. With Kana's stance, outfit and expression, the figure will stand out in your collection and arouse admiration.
Oshi No Ko Passion: This figure by Kana Arima is the perfect way to best express your love and devotion to the Oshi No Ko universe. You can show your admiration for the series by bringing Kana's energy and grace on stage to your home.
Perfect Option as a Gift: A perfect gift option for your loved ones who are fans of Oshi No Ko, this figure allows you to share Kana's fascinating story while creating a smile on their face.
Complete your collection with this impressive figure of Kana Arima from the Oshi No Ko series. The Ichiban Kuji - B Prize (Bandai Spirits) figure is the perfect way to best express your love and devotion to the Oshi No Ko universe.
Brand:ICHIBAN KUJI
Scale & Dimensions:
285mm x 170mm x 130mm
Model number:
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Holmes for the holidays: Robert Downey Jr. as Sherlock Holmes this December
This article was originally on a blog post platform and may be missing photos, graphics or links. See About archive blog posts.
Writer Scott Timberg always has an interesting take on the overlap between literature and film. Today, on the cover of the Los Angeles Times Sunday Calendar, he looks at Hollywood's bid to bring back the most famous creation of Sir Arthur Conan Doyle (who was born 150 years ago this month). Here's an excerpt of the excellent article, which I'm sure you'll want to read in its entirety. -- G.B.
He's probably the most adapted literary character in history -- and perhaps the only nonexistent person with an honorary degree from the Royal Society of Chemistry. Upward of 70 actors have portrayed him in more than 200 films, since the early days of silent movies. But there's not been a major cinematic adaptation of Sherlock Holmes in decades. The classic films of the '30s and '40s, starring Basil Rathbone as Arthur Conan Doyle's immortal detective, shut down the production of Holmes films for years, and the Jeremy Brett-starring series on Britain's Granada Television, broadcast in the '80s and early '90s, has likely intimidated would-be filmmakers as well. But heading our way are two very different films starring the Victorian detective The first, 'Sherlock Holmes,' stars Robert Downey Jr. as the sleuth with Jude Law as sidekick John Watson. Though these are two respected actors, the Warner Bros. film will not be a thesp-fest but an action movie based on a graphic novel by Hollywood executive Lionel Wigram, who spent years trying to get the project taken seriously. The film has finished shooting -- with most of the exteriors in London, Manchester and Liverpool -- and is scheduled to open Christmas Day. 'I didn't want deerstalkers and pipes,' Guy Ritchie, the film's director, said of the sleuth's famous hat and favorite hobby. 'They're typical iconic images of Holmes, but we're starting from scratch.' The second, still untitled and in pre-production, will go for a comic tone, with 'Borat' star Sacha Baron Cohen as detective and Will Ferrell as associate. (Etan Cohen, who co-wrote 'Tropic Thunder,' will write the screenplay, with lad-film demigod Judd Apatow as executive producer.) Columbia executives -- who chose not to contribute to this story -- have said that their movie will be as different from the Downey film as 'Austin Powers' was from James Bond. 'Just the idea of Sacha and Will as Sherlock Holmes and Watson makes us laugh,' the studio's co-president, Matt Tolmach, told Variety last year. The films will be scrutinized, of course, by both general audiences and the millions of rabid Holmes fans the world over. 'We've had to rely on our parents' or grandparents' Holmes,' said Barbara Roden, a member of the Baker Street Irregulars fan group who runs Calabash, a press in British Columbia for Sherlockian research. 'I'm hoping we get a 21st century Holmes, one for our generation.' Holmes himself was a morphine and cocaine addict, a formidable martial artist and a self-proclaimed bohemian who'd gladly stay up all night to puzzle out a case. As described in Conan Doyle's 56 stories and four short novels -- written mostly between the 1880s and 1910s -- the sleuth also played by his own rules. 'I generally have chemicals about, and occasionally do experiments,' Holmes says to Watson while auditioning him as a potential roommate. 'Would that annoy you?' But he's been domesticated by the years and come to be seen as what Roden calls 'a Victorian fuddy-duddy.' As Michael Chabon points out in his essay 'Fan Fictions: On Sherlock Holmes,' Conan Doyle's stories have been met with condescension for more than 100 years, the suspicion that their popularity came not from quality but from 'the bourgeois thirst for a tidy adventure, or nostalgia for a vanished age (Victorian, or adolescent).' The bias against Holmes crystallized in Raymond Chandler's manifesto 'The Simple Art of Murder.' Though not quite naming the detective, Chandler champions the hard-boiled tradition over writers who rely on 'hand-wrought dueling pistols, curare and tropical fish.' Some of his condescension came from Conan Doyle himself: He once described having written so many Holmes stories that he felt like he'd eaten too much foie gras. Still, for more than a century, these stories have drawn admirers... READ THE REST --Scott Timberg
Guy Ritchie says his Sherlock will 'reflect the intelligence on the page'
Try to keep up: Downey on Bruce Jenner, Mickey Mouse and MTV
It's on: Downey drops F-bomb on DC Comics
Downey and Jon Favreau on board for 'Avengers'
Sherlock Holmes photos courtesy of Warner Bros. Photo of Basil Rathbone as Sherlcok Holmes from the Los Angeles Times archives.


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This is your guide to What's on in Cardiff. We list Cardiff events and categorise them by club nights, live music, theatre, exhibitions and comedy events and venues in Cardiff. Use the calender to find out what's on, on a particular day, or navigate through the What's on in Cardiff site using the menu bar across the top. Cardiff events can be added to the site for free, register through the promoters section to add venue's and events! If your looking for inspiration or things to do, why not have a look at our things to do in Cardiff posts.
Things to do in Cardiff... A-Z
A - Aquabus
"Aquabus provides a uniquely identifiable fleet of vessels from luxury vessels to waterbuses with full design, construction and operation management [ ... ]
Things to do in Cardiff Read more...
The great Cardiff job search checklist! Consider your online profile first.
Yes you can find jobs on here – there are pages dedicated to specific jobs such as just bar work (https://www.facebook.com/BarJobsCardiff) [ ... ]
Jobs In CardiffRead more...- Details
- Category: Things to do in Cardiff
Things to do in Cardiff... A-Z
A - Aquabus
"Aquabus provides a uniquely identifiable fleet of vessels from luxury vessels to waterbuses with full design, construction and operation management from it's highly qualified and experienced naval experts." (cardiffaquabus.com)
B - Blues
Cardiff Blues (Welsh: Gleision Caerdydd) are one of the four professional Welsh regional rugby union teams. Based in Cardiff, the capital of Wales, the team have played at Cardiff City Stadium since the start of the 2009/2010 season and are owned by Cardiff Rugby Football Club. (wikipedia)
C - Castle
Certainly one of the most prominent features to be seen in Cardiff are the Castle walls and gargoyles! "Cardiff Castle (Welsh: Castell Caerdydd) is a medieval castle and Victorian architecture Gothic revival mansion, transformed from a Norman keep erected over a Roman fort in Cardiff, the capital of Wales." (wikipedia)
D - Devils
The Cardiff Devils are a Welsh ice hockey club from Cardiff who are members of the Elite Ice Hockey League. (wikipedia)
E - Exhibitions
Cardiff has a good variety of exhibitions, once of the most famous being the now permanent Dr Who Exhibition hosted in Cardiff Bay at The Red Dragon Centre.
F - Freecycle
The Cardiff Freecycle group is open to all who want to recycle that special something rather than throw it away. Whether it's a chair, a fax machine, a piano, or an old door, feel free to post it. Or maybe you're looking to acquire something yourself! – They have one simple rule – everything must be free!
G - Golf
Cardiff has a few Golf courses, the main one being: "Cardiff Golf Club (founded 1922) opened the first 18 hole golf course in Cardiff in 1923, in Cyncoed. The course is 6,099 yards (5,577 m), well bunkered, and set in parkland. A new clubhouse was completed in 1998" (wikipedia)
H - Hotels
As you might well imagine, Cardiff has a good variety of hotels, hostels and other accommodation to cater for the huge influxes of tourism we see due to venues such as the Millenium Stadium and Cardiff International Arena. Everything from the Marriot and the Hilton to your local backpackers are available in the city centre.
I - International pool
Built to support the London 2012 Olympics as a training facility, the Cardiff International pool is a sport facility located in the Cardiff International Sports Village in Cardiff.
J - John Lewis
John Lewis Cardiff, on the corner of The Hayes and St David's Shopping Centre, is Cardiff's premier department store, offering 4 floors of the best in fashion, home and technology, plus free delivery. (johnlewis.com)
K - Karting
"TeamSport Karting Cardiff is a mind blowing and challenging track and we have put our heart and sole into making this one of our flagship karting tracks for Wales. An incredible combination of challenging hairpins and sweeping wide bends and a couple of slippy corners, ensure that driver skills are at a premium. With loads of overtaking opportunities and state of the art timing systems, your visit to TeamSport Cardiff will be a karting experience you will never forget – and it will keep you wanting to come back for more." (team-sport.co.uk)
L - Library
Located on The Hayes opposite the St. David's 2 development, Cardiff Central Library has 6 floors and houses over 90,000 books (10,000 in welsh).
M - Markets
Cardiff has a few farmers markets which are very popular with locals and the tourists that hunt them out, try visit Riverside Market on Sunday and taste a gorgeous Crepe or Galette from La Creperie de Sophie.
Millennium centre
"The Millennium Stadium (Welsh: Stadiwm y Mileniwm) is the national stadium of Wales, located in the capital, Cardiff. It is the home of the Wales national rugby union team and the Wales national football team but is also host to many other large scale events, such as the Super Special Stage of Wales Rally Great Britain, Speedway Grand Prix of Great Britain, boxing and many music concerts, including Tina Turner, Madonna, The Rolling Stones, U2, Stereophonics and the Tsunami Relief concert. It was built ready for Cardiff to host the 1999 Rugby World Cup." (wikipedia)
N - Nightlife
Cardiff has a fantastic and varied nightlife available, catering very well for students, stag and hen weekends, many cultural events, live music of all sorts, dancing, music food... everything you would expect from a capital city.
O - Odeon
Cardiff has a few good cinemas including the ODEON Cardiff IMAX Cinema located at The Red Dragon Centre in Cardiff Bay.
P - Pubs
Cardiff has a very good array of pubs scattered throughout the city, many catering for students in the student areas, to the more "classy" venues in Cardiff Bay. The city centre has a good mix with plenty going on throughout the week and offering many different attractions from cheap drink offers to live bands and great beer gardens.
Q - Quad biking
Heading just out of Cardiff you can "Experience the thrill and challenge of Quad Biking, negotiating a 250cc or 90cc Honda all-terrain vehicle trekking through our cross-country nature trail whilst enjoying some of the best views of the Taff and Rhymney Valley's in South Wales." (adventurewales.co.uk)
R - Restaurants
Cardiff has restaurants throughout the city to cater for everyone's tastes! From the Hard Rock Cafe to Turkish, Welsh, Greek Italian.... the list simply goes on and on.
S - Shopping centres
"The majority of Cardiff's shopping portfolio is in the city centre around Queen Street and St. Mary's Street, with large suburban retail parks located in Cardiff Bay, Culverhouse Cross, Leckwith, Newport Road and Pontprennau, together with markets in the city centre and Splott... Cardiff is sixth best city in the United Kingdom for shopping, according to a poll in November 2009, surpassing other cities such as Bristol, Leeds, Edinburgh and Newcastle upon Tyne." (wikipedia)
T - Theatre
Cardiff is home to the Royal Welsh College of Music and Drama (WCMD) as well as the Welsh National Opera (WNO), and has many theatre venues situated throughout the city.
U - University
One of the most prominent features of Cardiff is the universities and the amount of students in the city centre. Some facts about Cardiff University you may not have known:
- With just over 27,000 students and 6,000 staff, the Cardiff University academic community is the size of a small town.
- It is a community with an annual turnover of £416 million.
- Research is undertaken in each of the 28 Schools, and at any one time there are more than 1,400 research contracts in operation.
- The University has over 5,000 study bedrooms in 14 residences.
- Some 7,800 students graduate each year. (cardiff.ac.uk)
V - Varsity
Cardiff has two Varsity bars which are very student orientated. They have a 'VCard' loyalty system which entitles you to certain drinks promotions and have different interactive events such as karaoke and pub quizzes and even battle of the bands happening on frequent occasions.
W - White Water Rafting
An artificial White Water Rapids facility in the Cardiff International White Water (CIWW) is situated at International Sports Village in Cardiff Bay.
The Cardiff X91 is actually the bus running to Cardiff Airport but as there are so few things that start with 'X', we'll just let you know that there is adequate bus travel around the city centre, to the bay and surrounding areas. The major cities such as London and Swansea are all also not too far in distance to travel by coach.
Y - Yacht club
Cardiff Yacht Club in Cardiff Bay is the base for Cardiff City Rowing Club. They have "easy access to mile after mile of flat water, including the Rivers Ely and Taff – with access to the stretch of water up to Sophia Gardens, past Cardiff Castle and the Millennium Stadium – back to the whole of Cardiff Bay and the club's multilane rowing course there." (wikipedia)
Z - Zero degrees
Zero degrees are a micro-brewery and restaurant situated just opposite the Millennium Stadium on Westgate Street.


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Researchers say rise in California temperatures likely to affect crops
Increasing temperatures in California during the next 45 years could negatively affect the amount of almonds, walnuts, oranges, avocados and table grapes that Americans put on their tables. According to new research in the journal Agricultural and Forest Meteorology, production losses in some of California's most popular crops could be as high as 40 percent by mid-century.
In the study, researchers from Lawrence Livermore National Laboratory evaluated the impact of climate change on six major perennial crops in California: wine grapes, almonds, table grapes, oranges, walnuts and avocados. Each of these crops is typically planted only once every 25-40 years, so that climate can change considerably in the lifetime of individual vines or trees.
Using more than 20 climate models, the authors assessed the response of these crops to projected changes in temperature (an increase of 2 degrees to 4 degrees Celsius) and precipitation.
"Climate change should be an important factor in selecting perennial varieties and deciding whether and where they should be planted in California," said David Lobell, the lead author of the paper who collaborated with scientists at the Carnegie Institution, Stanford University and the University of California, Merced. "This study indicates that warmer temperatures will tend to reduce yields of these crops in their current locations," he said.
While these particular crops could be grown in cooler regions, it takes close to three years for orchards and vineyards to mature to a point where they are producing harvestable fruit. In addition, other regions are often unsuitable for reasons other than climate, such as poor soils.
The modeling shows that wine grapes will undergo very small changes in yield over the next century because of climate change. But almonds, table grapes, oranges, walnuts and avocados show moderate to substantial yield declines. For example, avocado crops are expected to yield 40 percent less than current harvests. The expected yield of almonds, table grapes, oranges and walnuts decreases by as much as 20 percent.
"The impacts are based on the assumption that farmers do not move to other locations with more favorable climates," Lobell said. "With long-lived perennial plants, moving to another region within California is somewhat limited."
The research did not include the effects of an increase in CO2 in the atmosphere or farming modifications due to increasing temperatures and less rainfall.
The models did, however, take into account for a variety of mechanisms that can influence yields in a changing climate, such as plant physiological processes and climate-related influence of pests, pathogens and air pollution.
Source: Lawrence Livermore National Laboratory