Enhanced-definition television, or extended-definition television is a Consumer Electronics Association marketing shorthand term for certain digital television formats and devices. This term defines formats that deliver a picture superior to that of standard-definition television but not as detailed as high-definition television; the term refers to devices capable of displaying 480-line or 576-line signals in progressive scan referred to as 480p and 576p as opposed to interlaced scanning referred to as 480i or 576i. High-motion is optional for EDTV. In other countries definitions may vary; as EDTV signals require more bandwidth than is feasible with SDTV connection standards, higher bandwidth media must be used to accommodate the additional data transfer. To achieve EDTV, consumer electronic devices such as a progressive scan DVD player or modern video game consoles must be connected through at least a component video cable, a VGA connector, or a DVI or HDMI connector. For over-the-air television broadcasts, EDTV content uses the same connectors as HDTV.
EDTV broadcasts use less digital bandwidth than HDTV, so TV stations can broadcast several EDTV stations at once. Like SDTV, EDTV signals are broadcast with non-square pixels. Since the same number of horizontal pixels are used in 4:3 and 16:9 broadcasts, the 16:9 mode is sometimes referred to as anamorphic widescreen. Most EDTV displays use square pixels, yielding a resolution of 852 × 480. However, since no broadcasts use this pixel count, such displays always scale anything; the only sources of 852 × 480 video are Internet downloads, such as some video games. Unlike 1080i and SDTV formats, progressive displays can show EDTV signals without the need to de-interlace them first; this can result in a reduction of motion artifacts. However to achieve this most progressive displays require the broadcast to be frame doubled to avoid the same motion flicker issues that interlacing fixes; the progressive output of a DVD player can be considered the baseline for EDTV. Movies shot at 24 frames-per-second are encoded onto a DVD at 24 fps progressive, most DVD players do the 2:2 or 3:2 pulldown conversion internally, before feeding the output to an interlaced display, or here, a progressive 576p or 480p.
The progressive 24 fps DVD will have a unifying effect on PAL and NTSC, just as film does requiring conversion of the number of lines but without a conflict between field and frame rate. The player converts the video to the more-conventional video formats, on the fly, by repeating each field, it converts for PAL, by repeating each frame twice with a corresponding interlace, or for NTSC, by repeating some 480p frames 2 times and others 3 times, to make 24 fps material play at 30fps, or 60 fields per second. On an EDTV display, or on HDTVs in 480p mode, DVD players can display progressive disc content without needing to convert it to interlaced format. Various signal processing tricks are used to fake the progressive scan. Blu-ray Disc and HD DVD formats can encode all EDTV forms, but because HDTV is a primary selling point of Blu-ray/HD DVDs, this is only used for certain bonus content. However, some distributors have chosen to publish older TV series on SD Blu-rays, due to the format having a greater storage capacity.
The video resolution of video game consoles reached EDTV specifications starting with the Sega Dreamcast, becoming the first mainstream console with a VGA output, supporting EDTV. The PlayStation 2, Nintendo GameCube, Microsoft Xbox and Wii are EDTV compatible with a component connection; the Xbox 360 can output 480p via YPBPR VGA and HDMI cables. The PlayStation 3 outputs EDTV via its component video connections.
The Sisyphus fragment is a fragment of verse, preserved in the works of Sextus Empiricus and thought to have been composed in the 5th-century BC by a Greek playwright, either Critias or Euripides, and, thought to contain an atheistic argument. The Greek text is conserved in Sextus Empiricus; that by R. G. Bury runs:- The authorship of the fragment, which survives in the writings of Sextus Empiricus, is vigorously debated. Modern classical scholarship accepted the attribution to Critias on the basis of an hypothesis first advanced by Ulrich von Wilamowitz-Moellendorff in 1875, thereafter Hermann Diels, Johann August Nauck, Bruno Snell, endorsed this ascription for which there is but one source in antiquity. In 1979, Albrecht Dihle in a major paper challenged this ascription and assigned the work to Euripides, arguing that the fragment comes from the latter's satyr play of this name, produced in 415 BCE. Dihle's gained wide acceptance, being endorsed by several modern scholars, among them Charles Kahn, Ruth Scodel, Martin Ostwald, Jan Bremmer and Harvey Yunis.
Not all have been persuaded however. And, at that time, Walter Burkert, the doyen of scholars of Greek religion for one, remained skeptical. One source in antiquity ascribed the passage to Critias, one of the thirty oligarchs who ruled Athens in the immediate aftermath of the city-state's defeat in the Peloponesian War: two attribute it, or lines in it, to Euripides. Sextus Empiricus assigned these verses to Critias without however indicating which of his works. Both the Stoic logician Chrysippus and the doxographer Aëtius cited Euripides as the author, specifying that it was taken from that author's lost play Sisyphus. In modern times, Wilamowitz came down for the view that it was written by Critias, a disciple of Socrates, dated it, as forming the coda of a tetralogy, following 3 tragedies by Critias -Peirithous and Tennes -, which he argued was written sometime after his return from exile in 411; the view that it was written by Euripides identifies it as belonging to the Sisyphus, the satyr play capping his 415 trilogy: Alexandros and The Trojan Women, though Jan N. Bremmer suggests another lost play by Euripides, his Autolykos would be a more attractive candidate as the original source.
A major issue in discussing to authorship of the passage hinges round the question as to whether the speaker's views reflect those of an historic atheist, or whether the lines are a dramatic mise en scène of an atheistic outlook, therefore not one entertained by its author. Dihle argued that there was no evidence in the surviving fragments of Kritias that he was an atheist, except for the testimony of Sextus Empiricus and Plutarch, a point Burkert challenged in the revised English version of his book on Greek Religion by citing the testimony of a fragment of Epicurus from Bk.11 of his work On Nature. The fragment is composed of 42 iambic trimeters; the topic concerns the mythical figure of Sisyphus. Style plays an important function in the authorship question: if we take it as expressing the view of the sophist Critias, the cynical deconstruction of religion would appear to harmonize with the character of that historical person, -'that brilliant but sinister figure in the politics and letters of the end of the fifth century' - who gained a reputation for ruthless unscrupulousness.
But were it to pertain to the genre of the satyr play we would not expect a straightforward exposition of a theory but rather a parody of it, a tone lacking in the surviving fragment. W. K. C. Guthrie stated that the Sisyphus fragment is'the first occurrence in history of the theory of religion as a political invention to ensure good behaviour,' an approach, subsequently adopted by the Hellenistic historian Polybius in his 40 volume history of Rome's emergence as an empire. Karl Popper in his The Open Society and its Enemies noted a'striking' similarity between the passage ascribed to Critias, the views Plato, Critias's nephew, developed in his two dialogues, the Republic and the Laws regarding the Noble lie. An English translation of the Sisyphus fragment
Empire Interactive was a British video game developer and publisher based in London. Founded in 1987 by Ian Higgins and Simon Jeffrey, it was acquired by Silverstar Holdings in 2006 and went out of business in 2009. Empire Interactive was established by Ian Higgins and Simon Jeffrey in 1987. In November 2000, the company acquired development studio Razorworks. Silverstar Holdings, a U. S. public company listed on NASDAQ, offered to acquired Empire Interactive in late October 2006. The deal was accepted by 90% of Empire Interactive's shareholders by late November, so Silverstar Holdings acquired 85% of Empire Interactive's shares; the deal was valued at GB£4.5 million. Admissions of further Empire Interactive shares on the Alternative Investments Market of the London Stock Exchange, were expected to be cancelled, effective on 20 December. Higgins stepped down from his position in May 2008. In July, Empire Interactive reduced its staff count with the intent to sell Razorworks. Razorworks was absorbed by Rebellion Developments a few days later.
After Silverstar Holdings was delisted from NASDAQ in March 2009, Empire Interactive was placed into administration on 1 May 2009, with KPMG Restructuring appointed as administrator. Subsequently, 49 out of 55 employees were laid off, with the remaining six staying to aiding KPMG Restructuring in the winding-down of the company. Empire Interactive's intellectual property was sold to U. S.-based company New World IP. Shortly thereafter, U. S. publisher Zoo Publishing acquired an exclusive licence for the publishing and distribution of Empire Interactive from New World IP
Ammar Jemal is a Tunisian professional footballer who plays as a defender for Etoile du Sahel. He has earned 31 caps scoring six goals playing for the Tunisian national team. Jemal was born in Tunisia. On 11 June 2009, Jemal was linked with a move to French club FC Nantes on a four-year contract; this move would have reunited him with his former coach Gernot Rohr, but the transfer was cancelled. On 7 May 2010, he signed with BSC Young Boys. Jemal started the first leg of their Champions League Playoff against Tottenham Hotspur because of an injury to regular center back Emiliano Dudar. On 30 August 2011, Jemal went on loan to 1. FC Köln for one year buy option. Scores and results list Tunisia's goal tally first. Ammar Jemal at FootballDatabase.eu Ammar Jemal at WorldFootball.net
The Spirit of Rett is a car designed to challenge the wheel-driven land speed record. On September 21, 2010 it made two speed runs piloted by Charlie Nearburg at the Bonneville Salt Flats; the first run averaged 417 MPH with an exit speed of 422.6. The return run, made under more difficult track conditions, averaged 411.7 MPH with a top speed of 417.65. The average speed of 414.4 MPH exceeded the 45 year old Summers brothers’ Goldenrod record. The “Spirit of Rett” now has the fastest single engine car record in history; the car was named after Nearburg's son who died in 2005. Fastest single engine car record in history 414.316 MPH as of September 21, 2010 Fastest aspirated car in history First and only unblown single engine car over 400 MPH First and only car to set two over 300 MPH records in one day First and only car to hold all four of the fastest unblown records at Bonneville at the same time A/FS 379.6 MPH, A/GS 353.825 MPH, AA/GS 368.136 MPH, AA/FS 392.503 MPH First and only car to hold the two fastest unblown FIA records at the same time At the 2011 FIA Landspeed Shootout held in September, the “Spirit of Rett” increased its FIA Category A, Group II, Class 10 record to 366.59 MPH.
The only over 400 MPH records that have been set by conventional race cars are as follows: Tom Burkland "Burklands 411" 417.020 MPH SCTA AA/BFS Oct, 2004 Charles Nearburg "Spirit of Rett" 414.316 MPH FIA Sept 21, 2010 Nolan White "Spirit of Autopower" 413.156 MPH SCTA AA/BFS Aug, 2002 Al Teague "Speed-O-Motive" 409.86 MPH FIA Aug, 1991 Bob Summers "Goldenrod" 409.277 MPH FIA Nov 12, 1965 George Poteet "Speed Demon" 404.562 SCTA D/BFS Aug 19, 2010 Donald Campbell "Bluebird CN7" 403.10 FIA July, 1964 Video: Charles Nearburg Breaks 45 year old Record at Bonneville Video: Spirit of Rett driver Charles Nearburg at Bonneville 2011 Video: Where They Raced - Charlie Nearburg Video: Spirit of Rett land speed record Video: World's Fastest Car: Spirit of Rett World Record at Bonneville Salt Flats Video: Spirit of Rett return run push-off
Étude Op. 25, No. 10, in B minor is a solo piano study in B minor, composed by Frédéric Chopin in 1835. Étude Op. 25, No. 10 features many unique aspects not present in most Chopin's études, including a significant and distinctive ternary form. The first theme is presented as a series of eighth note-tuplets in cut time, but not in 128 time, played at a fast tempo of Allegro; the second theme is in B minor's parallel major, B major, in triple metre. The second theme is repeated four times, develops into a variation of the first theme, returning to cut time and B minor. Copious pedal point notes and phrase markings are present in the second theme, but the entire étude lacks any pedal indications. Similar to the Op. 10, No. 4 étude, Chopin emphasizes legato playing through the phrasing and pedal marking. Throughout the entire work, Chopin marks only five dynamic markings. Analysis of Chopin Etudes at Chopin: the poet of the piano Études Op. 25: Scores at the International Music Score Library Project