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Angiography captures images of the entire retina for 5 to 10 minutes and retains all the images as the sequence information is necessary to reveal and understand circulatory rhythms. So with perhaps the exception of revealing conditions of complete blindness, retinal scanning for identification arguably contains no medical information. And because of the delicate registration requirements for retinal (and iris) scanning, blind persons are unfortunately precluded from using these systems in the first place. While iris scanning has drawn recent attention for being the most accurate, super biometric, both biometrics of the eye are regarded as highly accurate. Albeit products are still evolving and changing, both techniques are based on well developed, mature technologies. While Dr. Daugman has published his patented iris analysis techniques, retinal scanning lacks publicly available mathematical models to estimate and compare its ultimate strength of function. (Although no formal comparative analysis exists, relative template sizes and intuitions on feature density suggests the information space of a retina encoding is less than an iris encoding.) Both techniques are essentially single-vendor, proprietary implementations that are known to function well for access control applications. So which is better No biometric by itself is ever a magic solution to identification applications. The advantages of scanning the eye s internal surface as opposed to the external, visible surface are a matter of application, purpose, and user preference. Cost, initial costs, as well as installation and integration may also weigh in as determining factors.

benefits that may be derived from the requested service. Auditors need to examine selected feasibility study documents as well as policy and procedure documents for performing feasibility projects.

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An active audio bandpass filter (Fig. 6.55).

If you re an artist, a knowledge of anatomy and the ability to draw from life are valuable attributes. Art directors prize these qualities, and if you possess them, your portfolio should reflect it especially if you re applying for jobs where you will be drawing or animating people. However, use some discretion! Nudity is one thing; blatant sexuality is another. As in everything else about job-hunting, you want to avoid offending your interviewer, and your presentation should be tailored to your audience. Few games call for erotic material, so there s no need to include erotic material in your portfolio unless you know that that is what your interviewer wants to see. I know of one case in which an artist proudly showed off his collection of photographs of celebrities, which he had retouched to make them look naked. The interviewer was completely repulsed by this display of adolescent lubriciousness, cut short the interview, and showed him the door. While it did demonstrate a certain facility with Adobe Photoshop, there are plenty of other ways to illustrate the same skill without giving offense. In short: life drawings and classical poses are okay, and even recommended, as part of a portfolio; porn is not, unless you re interviewing at a company that makes porn itself.

that really works. By expanding that out, you're only cluttering the horizon. I think I've also seen quotes from you on nding ways to increase the expressiveness of MIDI music, which of course is one thing that XG does, but it doesn't help if no one out there can hear the extra nuances that you put into the music. Absolutely. The battle for computer game music over the last ten years has been all because of a misunderstanding that people believe that features have a place in music for computers, rather than compatibility. I will no longer consider endorsing anything that puts features over compatibility. It's all about standards and sticking to them. And, that is one thing that Red Book audio has going for it. With CD-ROMs as opposed to MIDI over the Internet have the advantage that they're more than likely to play. More likely to work. All of our MIDI stuff, I always felt like, Well, how would the Beatles feel if there was a sticker on their albums that said CAUTION: MAY NOT PLAY BACK CORRECTLY You mentioned that you are doing pure audio for the CyberStrike title, is that right CyberStrike 2. That's right. Do you worry about integrating the audio with the game when you're doing the music Currently, the biggest consideration in doing the music for CyberStrike is disc space. I believe that we've got the integration and the ow and the mechanics of it all worked out, or certainly we haven't seen anything that was going to stop us from doing it well. Really, the biggest issue right now is that there is only room for about 15 minutes music on each of the two discs. That's got to be distributed in a way that alleviates boredom rather than accentuates it. That's the challenge in that case. We are opting to stick with 15 minutes of Red Book rather than 30 minutes of 22Kbps music. That's the way that this project is going. There is always that option of reading a WAV le in streaming a WAV le. That's always a possibility if the programmers are feeling up to it. A lot times I have to sound out the mood of the programmers and see if they're in the mood to be harassed by some musician. What they feel like they want to go out and kick ass on and what they don't. A producer like Ron Gilbert and there aren't many producers like Ron Gilbert who run

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FIguRE 6-7 Dipole-dipole interactions. Two angles must be considered for each dipole: one angle in the xy plane between the x-axis and the dipole, and the other angle in the yz plane between the y-axis and the dipole. to keep things simple, we orient the axes so that the distance r between the two dipoles is along the x-axis.

characteristic impedance of the microstrip, ohms (in this case it must be 100 ohms) width of the microstrip conductor (use same units as h) thickness of the substrate between the ground plane and the microstrip conductor (use same units as W) dielectric constant of the board material

many of its opponents in a matter of seconds. It had such destructive force that it was once banned from continuing to compete in a contest and was automatically declared co-champion for that event. Today, most combat robots are remote-controlled; but in the early years of Robot Wars, there were several fully autonomous combat robots. These robots ran completely on their own, using internal microcontrollers and computers for brains, and sensors to find and attack their opponents. Many people think autonomous combat robots would be too slow to compete because they would require too much time to locate and attack an opponent. This isn t always the case, however. The 1997 Robot Wars Autonomous Class champion, Thumper (built by Bob Gross), won a match in 10 seconds flat. That s Thumper in Figure 1-2. Today, most autonomous combat robots are found in robot sumo events, where two bots try to find and push each other out of a sumo ring. In this event, bots are not allowed to destroy each other. Sumo builders face a unique challenge, as they design their bots to see their opponent and push them out of the ring before getting pushed out themselves. This contest has become increasingly popular in recent years, and new sumo events are popping up all over the world. In the past, competition divisions consisted of man versus man, or team of men versus team of men (let s face it it began as a male-dominated sport). Strength, speed, agility, endurance, and strategy were the only factors that determined the winner or loser. Thanks to robot combat, this isn t the case anymore. At robot competitions, ingenuity, creativity, and intelligence now rule the game. No longer are 6-foot 5-inch, 240-pound male athletes dominating the game. A 10-year-old girl with excellent engineering skills can now defeat a 250-pound former