Oblique matching pursuit

A method for selecting a suitable subspace for discriminating signal components through an oblique projection is proposed. The selection criterion is based on the consistency principle introduced by Unser and Aldroubi and extended by Elder. An effective implementation of this principle for the purpose of subspace selection is achieved by updating of the dual vectors yielding the corresponding oblique projector. © 2007 IEEE.

Do educators need educating?

Actual text: I was recently at the Spanish College of Optometry biennial conference and attended a meeting of contact lens lecturers from around Spain and Portugal. We discussed various ideas, mainly about how to share good practice and improve standards. What came to my mind was ‘is there a blueprint for training trainers?’ Well probably not but there are many things that we need to acknowledge such as the way students learn for example. Many educators themselves were taught by lecturers who would write on a blackboard or use acetate on an overhead projector, then came the 35 mm slide era followed by the Powerpoint era. More recently there is a move towards a much more integrated approach of various teaching methods. At my university our contact lens and anterior eye lectures generally follow a format where a narrated Powerpoint lecture is uploaded onto our internal virtual learning environment. This narrated version of the slides is designed to give the didactic element of the topic. The students listen to that before attending an interactive seminar on that topic. The seminar is also recorded so that students can listen to that afterwards. The seminar is designed to give additional information, such as case reports, or to clarify key points or for live demonstrations. It is a good way of doubling the contact time with the students without imposing further on an already packed formal timetable as the students can work in their own time. One problem that we noticed with this approach was that attendance can vary. If the students feel that they will gain something from the interactive seminar then they are more likely to attend – exam tips usually win them over! At the Spanish meeting the educators decided that they wanted to have regular meetings. The industry colleagues in attendance said that they were happy to help but could not necessarily give money, but they could offer meeting rooms, pay for lunch and evening meals. They even said that that they were happy to host meetings and invite other companies too (except to manufacturing plants). In the UK the British Committee of Contact Lens Educators (BUCCLE) meets for one day on three occasions in the year. The American Optometric Contact Lens Educators (AOCLE) meets annually at a three day event. Both these organisations get some help from industry. BUCCLE usually has one of its meetings at a university, one at a company training centre/manufacturing plant/national headquarters and one meeting the day before the BCLA annual conference. BUCCLE usually has its pre-BCLA meeting in conjunction with the International Association of Contact Lens Educators (IACLE). So when educators meet what would they discuss; well probably the focus should be on education rather than actual contact lens knowledge. For example sharing ideas on how to teach toric lens fitting would be better than discussing the actual topic of toric lenses itself. Most universities will have an education department with an expert who could share ideas on how to use the internet in teaching or how to structure lectures or assessments etc. In the past I have helped with similar training programmes in other countries and sharing good practice in pedagogy is always a popular topic. Anyone who is involved in education in the field of contact lenses should look at the IACLE web page and look out for the IACLE World Congress in 2015 in the days preceding the BCLA. Finally, IACLE, AOCLE and BUCCLE all exist as a result of generous educational grants from contact lens companies and anyone interested in finding out more about should refer to their respective web pages.

Ultrasound imaging in teaching cardiac physiology

This laboratory session provides hands-on experience for students to visualize the beating human heart with ultrasound imaging. Simple views are obtained from which students can directly measure important cardiac dimensions in systole and diastole. This allows students to derive, from first principles, important measures of cardiac function, such as stroke volume, ejection fraction, and cardiac output. By repeating the measurements from a subject after a brief exercise period, an increase in stroke volume and ejection fraction are easily demonstrable, potentially with or without an increase in left ventricular end-diastolic volume (which indicates preload). Thus, factors that affect cardiac performance can readily be discussed. This activity may be performed as a practical demonstration and visualized using an overhead projector or networked computers, concentrating on using the ultrasound images to teach basic physiological principles. This has proved to be highly popular with students, who reported a significant improvement in their understanding of Frank-Starling's law of the heart with ultrasound imaging.

La cinématographie-attraction à Montréal à la lumière de la législation (1896-1913)

La cinématographie-attraction a longtemps été considérée comme les débuts du cinéma, jusqu’à ce qu’une controverse, en 1978, marque une rupture historiographique et la considère comme un objet d’études à part entière, distinct du cinéma institutionnel. Nous l’analysons ici dans le contexte de Montréal, entre la présentation du Cinématographe Lumière en 1896 et l’entrée en fonction du Bureau de censure des vues animées de la province du Québec en 1913. Plus précisément, nous interrogeons son institutionnalisation à la lumière de la législation ; les représentants du gouvernement canadien donnent un statut juridique aux vues animées en modifiant et en votant des textes légaux. Cette étude définit le contexte cinématographique, historique et géographique. Elle aborde ensuite trois domaines de la cinématographie-attraction qui ne sont pas les mêmes que ceux du cinéma : la fabrication (le financement, le tournage et la modification des œuvres cinématographiques), l’exhibition (les séances de projections payantes d’images animées) et la réception (les jugements portés sur les vues animées). Nous montrons comment la cinématographie-attraction est d’abord contrôlée par de nombreuses personnes (celles qui financent, celles qui tournent les vues animées, les propriétaires de lieux d’amusements, le policier ou le pompier présent au cours des projections), puis par des institutions reconnues et les représentants du gouvernement. En nous appuyant sur la presse montréalaise, les discours officiels, les discours diocésains, les textes légaux, les catalogues publiés par les compagnies de fabrication et sur les vues animées, nous montrons quels sont les enjeux de l’institutionnalisation pour les différents groupes sociaux.

MULTI-WAVELENGTH SPECKLE REDUCTION FOR LASER PICO-PROJECTORS USING DIFFRACTIVE OPTICS

Personal electronic devices, such as cell phones and tablets, continue to decrease in size while the number of features and add-ons keep increasing. One particular feature of great interest is an integrated projector system. Laser pico-projectors have been considered, but the technology has not been developed enough to warrant integration. With new advancements in diode technology and MEMS devices, laser-based projection is currently being advanced for pico-projectors. A primary problem encountered when using a pico-projector is coherent interference known as speckle. Laser speckle can lead to eye irritation and headaches after prolonged viewing. Diffractive optical elements known as diffusers have been examined as a means to lower speckle contrast. Diffusers are often rotated to achieve temporal averaging of the spatial phase pattern provided by diffuser surface. While diffusers are unable to completely eliminate speckle, they can be utilized to decrease the resultant contrast to provide a more visually acceptable image. This dissertation measures the reduction in speckle contrast achievable through the use of diffractive diffusers. A theoretical Fourier optics model is used to provide the diffuser’s stationary and in-motion performance in terms of the resultant contrast level. Contrast measurements of two diffractive diffusers are calculated theoretically and compared with experimental results. In addition, a novel binary diffuser design based on Hadamard matrices will be presented. Using two static in-line Hadamard diffusers eliminates the need for rotation or vibration of the diffuser for temporal averaging. Two Hadamard diffusers were fabricated and contrast values were subsequently measured, showing good agreement with theory and simulated values. Monochromatic speckle contrast values of 0.40 were achieved using the Hadamard diffusers. Finally, color laser projection devices require the use of red, green, and blue laser sources; therefore, using a monochromatic diffractive diffuser may not optimal for color speckle contrast reduction. A simulation of the Hadamard diffusers is conducted to determine the optimum spacing between the two diffusers for polychromatic speckle reduction. Experimental measured results are presented using the optimal spacing of Hadamard diffusers for RGB color speckle reduction, showing 60% reduction in contrast.

La cinématographie-attraction à Montréal à la lumière de la législation (1896-1913)

La cinématographie-attraction a longtemps été considérée comme les débuts du cinéma, jusqu’à ce qu’une controverse, en 1978, marque une rupture historiographique et la considère comme un objet d’études à part entière, distinct du cinéma institutionnel. Nous l’analysons ici dans le contexte de Montréal, entre la présentation du Cinématographe Lumière en 1896 et l’entrée en fonction du Bureau de censure des vues animées de la province du Québec en 1913. Plus précisément, nous interrogeons son institutionnalisation à la lumière de la législation ; les représentants du gouvernement canadien donnent un statut juridique aux vues animées en modifiant et en votant des textes légaux. Cette étude définit le contexte cinématographique, historique et géographique. Elle aborde ensuite trois domaines de la cinématographie-attraction qui ne sont pas les mêmes que ceux du cinéma : la fabrication (le financement, le tournage et la modification des œuvres cinématographiques), l’exhibition (les séances de projections payantes d’images animées) et la réception (les jugements portés sur les vues animées). Nous montrons comment la cinématographie-attraction est d’abord contrôlée par de nombreuses personnes (celles qui financent, celles qui tournent les vues animées, les propriétaires de lieux d’amusements, le policier ou le pompier présent au cours des projections), puis par des institutions reconnues et les représentants du gouvernement. En nous appuyant sur la presse montréalaise, les discours officiels, les discours diocésains, les textes légaux, les catalogues publiés par les compagnies de fabrication et sur les vues animées, nous montrons quels sont les enjeux de l’institutionnalisation pour les différents groupes sociaux.