Tuesday, March 17, 2009

PowerLite Pro Cinema 7500UB Projector

Overview
A superior cinematic experience. Quality beyond compare.
1600 lumens; 75,000:1 contrast ratio
D7 C2Fine® TFT technology for greater image detail
Built-in HQV processor
Color isolation feature for easy adjustments
120 Hz FineFrame™ tech. for smoother video
Preset color space
Anamorphic scaling mode
ISF calibration for customized viewing
Cinema filter for true-to-life color
Fujinon lens with 2.1 zoom ratio
12-bit panel driver for smoother gradations
Auto iris function for optimum speed/quality

PowerLite Pro Cinema 7500UB Marketing Brochure
Enjoy the home theater experience in a way you never thought possible. With a 75,000:1 contrast ratio, the highest currently available in its class, the Epson PowerLite Pro Cinema 7500 UB puts you right in the middle of where the action is, as larger-than-life images leap right off the screen.

Whether you’re watching movies or sports, or playing video games, this 1080p projector ensures amazing image quality with the latest-generation Epson D7 panels, UltraBlack™ technology and 1600 lumens of color and white light output.1 With innovative color adjustment features and a state-of-the-art Fujinon lens, the kind typically used by renowned Hollywood filmmakers, this product delivers blockbuster video performance. And, with Epson’s 3LCD, 3-chip optical engine, it offers such incredible quality, you’re sure to achieve a true cinematic experience.
Setup is easy with the color isolation feature and ISF calibration, which allows you to adjust colors according to that which the filmmaker intended. The PowerLite Pro Cinema 7500 UB brings big-screen entertainment home in a whole new way.

http://www.epson.com/cgi-bin/Store/consumer/consDetail.jsp?BV_UseBVCookie=yes&oid=63077381

The Lexus and the Olive Tree: Understanding Globalization - Thomas L. Friedman

One day in 1992, Thomas Friedman toured a Lexus factory in Japan and marveled at the robots that put the luxury cars together. That evening, as he ate sushi on a Japanese bullet train, he read a story about yet another Middle East squabble between Palestinians and Israelis. And it hit him: Half the world was lusting after those Lexuses, or at least the brilliant technology that made them possible, and the other half was fighting over who owned which olive tree.

Friedman, the well-traveled New York Times foreign-affairs columnist, peppers The Lexus and the Olive Tree with stories that illustrate his central theme: that globalization--the Lexus--is the central organizing principle of the post-cold war world, even though many individuals and nations resist by holding onto what has traditionally mattered to them--the olive tree.
Problem is, few of us understand what exactly globalization means. As Friedman sees it, the concept, at first glance, is all about American hegemony, about Disneyfication of all corners of the earth. But the reality, thank goodness, is far more complex than that, involving international relations, global markets, and the rise of the power of individuals (Bill Gates, Osama Bin Laden) relative to the power of nations.

No one knows how all this will shake out, but The Lexus and the Olive Tree is as good an overview of this sometimes brave, sometimes fearful new world as you'll find. --Lou Schuler --This text refers to an out of print or unavailable edition of this title.

http://www.amazon.com/Lexus-Olive-Tree-Understanding-Globalization/dp/0385499345/ref=pd_sim_b_4

The World Is Flat 3.0: A Brief History of the Twenty-first Century - Thomas L. Friedman

Thomas L. Friedman is not so much a futurist, which he is sometimes called, as a presentist. His aim in The World Is Flat, as in his earlier, influential Lexus and the Olive Tree, is not to give you a speculative preview of the wonders that are sure to come in your lifetime, but rather to get you caught up on the wonders that are already here. The world isn't going to be flat, it is flat, which gives Friedman's breathless narrative much of its urgency, and which also saves it from the Epcot-style polyester sheen that futurists--the optimistic ones at least--are inevitably prey to.
What Friedman means by "flat" is "connected": the lowering of trade and political barriers and the exponential technical advances of the digital revolution that have made it possible to do business, or almost anything else, instantaneously with billions of other people across the planet. This in itself should not be news to anyone. But the news that Friedman has to deliver is that just when we stopped paying attention to these developments--when the dot-com bust turned interest away from the business and technology pages and when 9/11 and the Iraq War turned all eyes toward the Middle East--is when they actually began to accelerate. Globalization 3.0, as he calls it, is driven not by major corporations or giant trade organizations like the World Bank, but by individuals: desktop freelancers and innovative startups all over the world (but especially in India and China) who can compete--and win--not just for low-wage manufacturing and information labor but, increasingly, for the highest-end research and design work as well. (He doesn't forget the "mutant supply chains" like Al-Qaeda that let the small act big in more destructive ways.)

Friedman has embraced this flat world in his own work, continuing to report on his story after his book's release and releasing an unprecedented hardcover update of the book a year later with 100 pages of revised and expanded material. What's changed in a year? Some of the sections that opened eyes in the first edition--on China and India, for example, and the global supply chain--are largely unaltered. Instead, Friedman has more to say about what he now calls "uploading," the direct-from-the-bottom creation of culture, knowledge, and innovation through blogging, podcasts, and open-source software. And in response to the pleas of many of his readers about how to survive the new flat world, he makes specific recommendations about the technical and creative training he thinks will be required to compete in the "New Middle" class.

As before, Friedman tells his story with the catchy slogans and globe-hopping anecdotes that readers of his earlier books and his New York Times columns know well, and he holds to a stern sort of optimism. He wants to tell you how exciting this new world is, but he also wants you to know you're going to be trampled if you don't keep up with it. A year later, one can sense his rising impatience that our popular culture, and our political leaders, are not helping us keep pace. --Tom Nissley

http://www.amazon.com/World-Flat-3-0-History-Twenty-first/dp/0312425074/ref=sr_1_1?ie=UTF8&s=books&qid=1237292540&sr=1-1