parallax lcd display quotation

As mentioned earlier, the commands that send text, numbers, formatters and control characters to a serial LCD are remarkably similar to the ones you use with DEBUG command.· That"s not just a coincidence either.· The DEBUG command is actually a special case of a command called SEROUT.· The SEROUT command has many uses, some of which include sending messages to serial LCDs, other BASIC Stamps, and computers.·

In this activity, you will display and animate text messages, numeric values.· The SEROUT command will be your tool for accomplishing these tasks.· You will use the SEROUT command to send text, numbers, control characters and formatters to the Parallax serial LCD.· As you will soon see, the text, numbers, and formatters are identical to ones you use with the DEBUG command.· The control characters will be a little different, but with a little practice, they"ll be just as easy to use as the DEBUG command"s CR, CLS, HOME, and CRSRXY control characters.···

Unlike the Debug Terminal, the serial LCD needs to be turned on with a command from the BASIC Stamp.· The LCD has to receive the value 22 from the BASIC Stamp to activate its display.· Here"s the PBASIC command for sending the serial LCD the value 22:

SEROUT 14, 84, [noparse]/noparse][/size][/font][font=Times New Roman][size=2][color=#ff0000]"See this?"[/color][/size][/font][font=Times New Roman][size=2], 13, [/size][/font][font=Times New Roman][size=2][color=#ff0000]"The LCD works!"[/color][/size][/font][font=Times New Roman][size=2

Ö·······If the LCD didn"t display properly, go through the instructions leading up to this program, and verify that each one was completed correctly.· Also double-check your wiring, program, and the SW settings on the back of the LCD.· Also try resetting power to your Board of Education.

Remember that 22 turns the display on, and 21 turns it off?· You can use these control characters to make the LCD text flash on and off.· All you have to do is replace the END command with this loop:

Most of the formatters that worked for displaying numbers with the Debug Terminal can also be used with the Parallax Serial LCD.· The DEC formatter is probably the most useful, but you can also use DIG, REP, ASC, BIN, SDEC, and most of the others.· For example, if you want to display the decimal value of a variable named counter, you can use commands like this:

Aside from demonstrating that you can display variable values on the serial LCD, this program also shows what happens if the text displayed tries to go beyond 16 characters in line 1; it wraps to line 2.

The LCD"s control characters are different from the DEBUG command"s control characters.· For example, HOME, and CRSRXY just don"t have the same effect they do with the Debug Terminal.· Take a look at the LCD documentation"s Command Set section.· It lists all the valid control characters for the LCD; here are a few more examples from the list:

The values from 128 to 143 and 148 to 163 are particularly useful.· Figure 10 shows where these values will place the cursor.· You can use values from 128 to 143 to place the cursor at characters 0 to 15 on the top line of the LCD.· Likewise, you can use values from 148 to 163 to place the cursor on characters 0 to 15 of the bottom line.

After placing the cursor, the next character you send the LCD will display at that location.· For example, here is a SEROUT command with an optional pacing value set to 200 ms.· This command will display the characters "L", "I", "N", "E", "-", and "2", evenly spaced across the top line, one character every 200 ms.

The LCD will still automatically shift the cursor to the right after each character, making it easy to place the cursor and then display a message.· For example, you can also place the cursor on character 7 of the top line and then display "ALL", then move the cursor to character 6 of the bottom line and display "DONE!" like this:

[color=#0000ff]FOR[/color][color=#000000] index = 1 [/color][color=#0000ff]TO[/color][color=#000000] 4 [/color]" Flash display 5 times

More elaborate displays can benefit from loops and lookup tables.· Here is an example of a "T E S T" display in a loop and with the help of lookup table.· Note that you can control the position of each character"s placement by adjusting the values in the second LOOKUP command"s table.

The Parallax Serial LCDs (liquid crystal displays) can be easily connected to and controlled by a microcontroller using a simple serial protocol sent from a single I/O pin. The LCD displays provide basic text wrapping so that your text looks correct on the display. Full control over all of their advanced LCD features allows you to move the cursor anywhere on the display with a single instruction and turn the display on and off in any configuration. They support visible ASCII characters Dec 32-127). In addition, you may define up to eight of your own custom characters to display anywhere on the LCD. An onboard piezospeaker provides audible output, with full control over tone note, scale and duration using ASCII characters Dec 208–232.

The LCDs currently for sale are updated to Revision F. Basic functionality remains the same, but power requirements and the layout of the backpack have changed. Please see the documentation for information on your model.

This device can be connected to a PC serial port using a MAX232 line driver. The circuit isn’t supported by Parallax, but it’s possible to make this connection with a few extra parts.

I think your program is similar to the way I envisioned it. I think you could prettify your code by eliminating "d" and by cleaning up your "for" loops. You"re placing the characters 1 by 1 in the "for" loop controlled by "i". I copied this concept. The LCDs I"m familiar with do not require placing the cursor prior to sequentially displaying the characters. In your program, you set the cursor prior to displaying each char. I left this in the "i" loop but I don"t think it is necessary. Instead, setting the cursor prior to the start of each text message should be sufficient.

10. Although the model of the parallax algorithm in The Surya Siddhanta is equivalent to the theoretic algorithm, there is an error between the results in The Surya Siddhanta and the theoretic results.

20. Based on the principle that homologous points in different parallax images correspond to the same object point, a method is proposed to eliminate the vertical parallax in multi-view parallax images.

21. Terrain texture: the camera is at a low distance with a low angle. The parallax effect can clearly be visible - this is the good case for the algorithm! -.

25. When placed in front of an LCD, the screen creates a sense of depth using the parallax effect (each eye views an object from a slightly different angle).

26. For solving the problem of ghost image recurred on 3DTV, the light-path of lens is symmetrically divided by optical switch to obtain parallax image.

28. In addition, all stars appear to move in the sky due to "stellar parallax" – the slight displacement caused by the motion of the Earth around the Sun.

When did this particular blue light start to light up my life? Someone must have switched it on at some point. Or is it truly without beginning or end? If I trace it beyond my phone’s projections, one streak beckons to the blue apparel of Margaret Thatcher. She started her politics of deregulation, privatization, and flexibilization wearing 15,000 Kelvin, the color of a clear blue sky. And as we’ve learned from Adam Curtis, many who had destroyed the policeman inside their heads voted for this new economy of the product-aided, limitless self to explore further what they really, really wanted. Deregulation put the control, the ownership, and even the traffic into private hands. Ronald Reagan, Thatcher’s fellow blue rider, followed the same privatization politics repeatedly announced in his campaign: he vowed to “let the people rule” and to “take government off your backs and turn you loose to do what you can do so well.” In fact, privatization meant shutting down the idea of a common project, of shared responsibilities, and of a system of accountability and welfare. Now everyone was responsible for their own individual happiness-production and management, and had to work 24/7 to express and promote the results. It required special techniques of staying put. A new reversed type of “American night” filter had to be applied to the scene, one that simulated day in the middle of the night and illuminated our faces with the appropriate white balance. Additionally, due to the refresh rate of our displays, this new light came in the form of a stroboscopic flicker that pulsed the artificial day. Anyone who has experienced strobe at a club probably discovered that it changes the perception of motion profoundly. Movement can come to a standstill in this light.

We receive our daily data of images, texts, audio, and video on increasingly flat devices, and interestingly, they are increasingly difficult to disassemble. I recall a time when I was able to open my laptop or phone or even the screen and replace parts. Now their slimness connotes an impervious object that is just surface, and effectively, its parts are also mostly glued together. The device seemingly has no material depth; it is a mere surface, a screen held by your hand or another base. When you look at it from the side, it looks like one thin consolidated entity. But although a liquid crystal display is astonishingly flat, it consists of several layers assembled in a glass stack that help to make things visible on the screen and also to deal with similar problems like the ones traffic lights have to confront: diffusion, directionality, and conflicting light sources like the sun.

Despite its physical flatness, the display is eternally deep if you install the required software and apps that connect you to the stream of data provided in never-ending sequences by tireless algorithms. Exposing one’s gaze solely to the frontal view of the device and to the hypnotizingly infinite stream of images, text messages, and other content on the screen, the experience of depth is magnificent. But any other experience, or, as Haraway would say, “touching,” of depth is fairly intricate. Looking at my tablet from all sides, I suspect that this is intentional. I am supposed to remain in the belief that my device is flat and that the potentials it facilitates are infinitely deep.

Already our motionless posture in front of a screen suggests that we’re experiencing a resurgent version of a flat-earth belief system—one that makes it hard, painful, and even dangerous to look beyond the firmament. You might fall over the edge or be expelled. However, looking straightforwardly at the device will let you forget about this abyss, as you’re always busy with a new feed. But the abyss of other depths—like the one found in Jim’s Dog—will not just go away if we simply ignore it. As Paul Virilio points out, the invention of new technologies is also the invention of new accidents. By inventing the plane, you also invent the plane crash.5 Whether or not I want it to, the light on my LCD extends beyond the content on my screen and beyond the display’s glass stack in both directions, towards me but also towards sources I can’t trace with my eyes—the inventor or owner of the file format, the assembly line of the camera manufacturer, the room that hosts the server, the water that cools the data center, the nuclear accident that happened in the power plant, and so forth. A junkyard full of world-making stuff blows in my face when the light hits it, regardless of the image that shows on my feed.

An LCD schematic view of a TN liquid crystal cell shows the ON state with voltage applied (right). Illustration by M. Schadt. Copyright: Creative Commons.

On the website Gizmag, the physicist Brian Dodson recommends scraping off the polarizing filter of one’s monitor in order to deal with the implications of visible and invisible layers of surfaces.6 When the first layer of an LCD display is removed, the images disappear and only the light remains. Polarizing glasses can aid the eyes to still see the content of the screen if necessary. Even though Dodson’s main motivation is privacy in public spaces, the intervention also serves another purpose. It’s a first step to making the stack’s depth tangible and to creating a contact zone with the light itself.

But how does this help with touching the depth beyond the glass stack in my display? A depth that some have described as a multilayered stack that structures the political geography and architecture that I as user and my address, my interface, the cloud, the data center, and eventually the planet are part of.

I know stacks first of all from Donald Judd. One of them is dwelling in the museum of contemporary art in Tehran. Unlike most of the museum’s impressive collection of modern and postmodern art, which is in storage most of the time, Donald Judd’s Stack is on permanent display in the last corner of the course that takes you through the entire exhibition space. It is patiently sitting between two fire extinguishers: crooked, dusty, badly lit, the metal surfaces dented and stained from failed attempts at cleaning. It is completely removed from the controlling maintenance and display arrangements that you would normally find in a museum. Judd placed high value on ample dispersed daylight. He was really upset about mishandlings that would break up the uniformity of a flat surface, like fingerprints or scratches. I think of Eleonora Nagy, the chief expert on conserving Judd’s work. She would certainly be desperate to bring this stack back on track. But for now it remains here in its bleak existence in the basement of the museum. I do enjoy visiting it here. I enjoy it much more than seeing its decent and proper cousins at any of the well-tempered environments like MoMA or Kunsthaus Bregenz.

This is disco of the finest complex sort. I can contemplate various ambitions, failures, and depths, visually, spatially, and contextually without forfeiting the pleasure of looking at the tinted, refracted, and reflected lights that play with the different surfaces on and around the object. Analogous to the glass stack of my display, Judd’s Stack is part of other stacks that involve geopolitical orders, histories, and possibly futures. It casts and refracts the light using plastic and metal elements. Both materials come from subterranean strata. Judd’s Stack was acquired with petro-dollars before the Revolution. It is part of the most valuable collection of Western modern art outside of Europe and the United States. Yet it is neglected, like the traffic light on Ohlauer Strasse—still in operation but not directly representing the current order. But it is also a stack of another time. Judd’s Stack was produced in the 1960s. It echoes a time of serial, industrial production: each section of the stack is a uniform unit of a sequence, and each Stack is part of a sequence. Today, a vast portion of production has shifted to planetary scale computing, and industrial production is accompanied and often replaced by other types of automations that are run by algorithms. Stacks look different now.

But known formations like geography, jurisdiction, and sovereignty are inconsistent in this stack. They appear distorted, refracted, partial, and sometimes contradictory. The way that places, things, and events correlate is reorganized in the stack and does not follow the established coherences. It even creates previously inexistent territories, for example via cloud computing. Who or what governs, who or what maps, regulates, or judges these new territories is partly unaccounted for. Human and inhuman actants can multiply as they appear and act simultaneously as consumer, producer, commodity, data, citizen, activist, hacker, and owner, and as carbon storage within the stack, changing their mode of involvement, status, and identity. To trace the refracting lights in this stack is to be violently scattered like shrapnel. It is to experience depth as a non-consistent space—at least not consistent in the way we have learned about geographies, nation-states, identities, and legality. Theoretically, I can appear several times as entirely different instances in the chain that leads from my display to your display. As Hito Steyerl ostensibly showed in her lecture “Is a Museum a Battlefield?,” you can trace something like a bullet through the stack and end up at your own artwork. Invisible gunshot residue and bullet holes in the various layers of the stack show you the way.

The English word “pig” refers to the animal raised and sold by farmers, while the French-derived word “pork” refers to the edible meat from the pig. The gap between these two words relays the class dimensions of the animal, its producers and its consumers. The dual use of wording marks the distance between those who produce and those who consume: the prosperous Norman conquerors who could afford to eat porque from the pig raised by the underprivileged Saxon farmers. Japanese philosopher and literary critic Kojin Karatani refers to this very gap as the parallax dimension—a phenomenon that appears when we are confronted with irreducible antimonies and the opposed positions they produce. Karatani says that radical critique starts with asserting antimony as irreducible and renouncing all attempts to close the gap between positions. True critique, then, involves seeing things neither from one’s own viewpoint nor from the viewpoint of others, but rather recognizing the reality that is the structural interstice between positions.8

Parallax is the reason why we have a perception of depth, why we see 3-D. It occurs when a thing is viewed or screened from two positions, like the position of our eyes. But what if the positions are further apart then our own eyes?

What if this parallax is in fact the default experience of viewing—of staring at the irreducible antimonies the system constantly produces? The siege on Ohlauer Strasse had this parallax dimension, and not surprisingly, it was undecidable where inside and outside were. The positions are structurally so far apart that they cannot create coherent space together. For the time being, one has to endure the nausea that the parallax produces in order to see and formulate a radical critique of the system that produces such antimonies. Blocking the police siege made the space jump, change size, multiply. Together with the police line and the rooftop withdrawal, the irreducible gap became visible.

I am back at the corner of Ohlauer Strasse, but instead of facing a police line defending Europe’s outside borders in the middle of my neighborhood, I am stopped by the traffic light whose red signal I awkwardly obey—not because I normally do, but because there is a police car right behind my bicycle. The light turns green and I continue my journey, cycling past the intersection along with all the other bicycles, cars, pedestrians. On the surface, the street corner has turned back to normal after ten days of an exceptional police operation and the protests that accompanied it. The refugee activists left the occupied school’s roof after continuous, nerve-splitting threats of eviction and negotiations with municipal officials. All of this effort led only to a minimal agreement: officials would tolerate the remaining forty activists in the building, but they rejected the other demands concerning rights of residence and free movement. So in fact the state of exception that had been very visible and tangible a few days earlier was not resolved, but was rather folded in and tucked away behind the surface of normality. Underneath this surface, which lets traffic flow, shops open, cyclists pay attention to traffic lights, and which makes the neighborhood livable, rests a continuous state of exception in which mobility is not a human right. But this state has retreated back to another layer, one that is hardly visible even though the banners are still covering the facade of the school and the refugees have to show ID when they leave and enter the building. Even though the events that happened on the same surface a few days earlier have accidentally allowed a glimpse into the depths of the stack and revealed the parallax dimension of the European system, it is tempting to adjust your eyes back to the smoothness of restored order.