Abstract: A method includes receiving, and storing in a computer-readable storage medium, asset base criteria for one or more properties of a participant, where the asset base criteria characterize the respective one or more properties of the participant. Acquisition criteria for one or more properties one or more other participants anticipate purchasing are also received and stored in a computer-readable medium, where the acquisition criteria characterize the respective one or more properties the one or more other participants anticipating purchasing. The method also includes providing, to the participant, a number of properties the one or more other participants anticipate purchasing that have acquisition criteria matching the asset base criteria of the respective one or more properties of the participant. In this regard, the number of properties is provided for display as a measure of demand for the one or more properties of the participant.

Abstract: Techniques have been developed to facilitate the livestreaming of group audiovisual performances. Audiovisual performances including vocal music are captured and coordinated with performances of other users in ways that can create compelling user and listener experiences. For example, in some cases or embodiments, duets with a host performer may be supported in a sing-with-the-artist style audiovisual livestream in which aspiring vocalists request or queue particular songs for a live radio show entertainment format. The developed techniques provide a communications latency-tolerant mechanism for synchronizing vocal performances captured at geographically-separated devices (e.g., at globally-distributed, but network-connected mobile phones or tablets or at audiovisual capture devices geographically separated from a live studio).

Abstract: User interface techniques provide user vocalists with mechanisms for seeding subsequent performances by other users (e.g., joiners). A seed may be a full-length seed spanning much or all of a pre-existing audio (or audiovisual) work and mixing, to seed further contributions of one or more joiners, a user's captured media content for at least some portions of the audio (or audiovisual) work. A short seed may span less than all (and in some cases, much less than all) of the audio (or audiovisual) work. For example, a verse, chorus, refrain, hook or other limited “chunk” of an audio (or audiovisual) work may constitute a seed. A seeding user's call invites other users to join the full-length or short-form seed by singing along, singing a particular vocal part or musical section, singing harmony or other duet part, rapping, talking, clapping, recording video, adding a video clip from camera roll, etc.

Abstract: An endoscope comprises a handpiece housing, an elongate flexible shaft extending from the handpiece housing, a pull wire extending from the handpiece housing into the elongate flexible shaft, and a tensioning mechanism configured to adjust tension in the pull wire. A method for adjusting tension in a pull wire of a controller for an endoscope comprises preparing an endoscope for use before a procedure, adjusting tension in a pull wire for deflecting a flexible elongate shaft of the endoscope to reduce knob dwell, and performing an endoscopic procedure with the endoscope.

Abstract: Techniques have been developed to facilitate (1) the capture and pitch correction of vocal performances on handheld or other portable computing devices and (2) the mixing of such pitch-corrected vocal performances with backing tracks for audible rendering on targets that include such portable computing devices and as well as desktops, workstations, gaming stations, even telephony targets. Implementations of the described techniques employ signal processing techniques and allocations of system functionality that are suitable given the generally limited capabilities of such handheld or portable computing devices and that facilitate efficient encoding and communication of the pitch-corrected vocal performances (or precursors or derivatives thereof) via wireless and/or wired bandwidth-limited networks for rendering on portable computing devices or other targets.

Abstract: Techniques have been developed to facilitate the livestreaming of group audiovisual performances. Audiovisual performances including vocal music are captured and coordinated with performances of other users in ways that can create compelling user and listener experiences. For example, in some cases or embodiments, duets with a host performer may be supported in a sing-with-the-artist style audiovisual livestream in which aspiring vocalists request or queue particular songs for a live radio show entertainment format. The developed techniques provide a communications latency-tolerant mechanism for synchronizing vocal performances captured at geographically-separated devices (e.g., at globally-distributed, but network-connected mobile phones or tablets or at audiovisual capture devices geographically separated from a live studio).

Abstract: An intraocular lens (IOL) injector is configured for single hand operation and employs a compressed gas to provide a motive force to present an IOL to a surgical site. The IOL injector includes a mechanical brake coupled to a plunger to preclude translation of an IOL absent operator input. The mechanical brake provides for selectively varying the speed and translation of the plunger, and hence IOL during presentation of the IOL to a patient. The IOL injector can also include at least a first stop, which halts movement of the plunger at a predetermined position. The at least first stop is then moved to a passing position, thereby allowing further operator controlled translation of the plunger to present the IOL to the surgical site.

Abstract: User interface techniques provide user vocalists with mechanisms for solo audiovisual capture and for seeding subsequent performances by other users (e.g., joiners). Audiovisual capture may be against a full-length work or seed spanning much or all of a pre-existing audio (or audiovisual) work and in some cases may mix, to seed further contributions of one or more joiners, a user's captured media content for at least some portions of the audio (or audiovisual) work. A short seed or short segment may span less than all (and in some cases, much less than all) of the audio (or audiovisual) work. For example, a verse, chorus, refrain, hook or other limited “chunk” of an audio (or audiovisual) work may constitute a short seed or short segment. Computational techniques are described that allow a system to automatically identify suitable short seeds or short segments.

Abstract: Techniques have been developed to facilitate the livestreaming of group audiovisual performances. Audiovisual performances including vocal music are captured and coordinated with performances of other users in ways that can create compelling user and listener experiences. For example, in some cases or embodiments, duets with a host performer may be supported in a sing-with-the-artist style audiovisual livestream in which aspiring vocalists request or queue particular songs for a live radio show entertainment format. The developed techniques provide a communications latency-tolerant mechanism for synchronizing vocal performances captured at geographically-separated devices (e.g., at globally-distributed, but network-connected mobile phones or tablets or at audiovisual capture devices geographically separated from a live studio).

Abstract: Techniques have been developed to facilitate the livestreaming of group audiovisual performances. Audiovisual performances including vocal music are captured and coordinated with performances of other users in ways that can create compelling user and listener experiences. For example, in some cases or embodiments, duets with a host performer may be supported in a sing-with-the-artist style audiovisual livestream in which aspiring vocalists request or queue particular songs for a live radio show entertainment format. The developed techniques provide a communications latency-tolerant mechanism for synchronizing vocal performances captured at geographically-separated devices (e.g., at globally-distributed, but network-connected mobile phones or tablets or at audiovisual capture devices geographically separated from a live studio).

Abstract: Techniques have been developed to facilitate the livestreaming of group audiovisual performances. Audiovisual performances including vocal music are captured and coordinated with performances of other users in ways that can create compelling user and listener experiences. For example, in some cases or embodiments, duets with a host performer may be supported in a sing-with-the-artist style audiovisual livestream in which aspiring vocalists request or queue particular songs for a live radio show entertainment format. The developed techniques provide a communications latency-tolerant mechanism for synchronizing vocal performances captured at geographically-separated devices (e.g., at globally-distributed, but network-connected mobile phones or tablets or at audiovisual capture devices geographically separated from a live studio).

Abstract: User interface techniques provide user vocalists with mechanisms for seeding subsequent performances by other users (e.g., joiners). A seed may be a full-length seed spanning much or all of a pre-existing audio (or audiovisual) work and mixing, to seed further contributions of one or more joiners, a user's captured media content for at least some portions of the audio (or audiovisual) work. A short seed may span less than all (and in some cases, much less than all) of the audio (or audiovisual) work. For example, a verse, chorus, refrain, hook or other limited “chunk” of an audio (or audiovisual) work may constitute a seed. A seeding user's call invites other users to join the full-length or short-form seed by singing along, singing a particular vocal part or musical section, singing harmony or other duet part, rapping, talking, clapping, recording video, adding a video clip from camera roll, etc.

Abstract: Techniques have been developed to facilitate (1) the capture and pitch correction of vocal performances on handheld or other portable computing devices and (2) the mixing of such pitch-corrected vocal performances with backing tracks for audible rendering on targets that include such portable computing devices and as well as desktops, workstations, gaming stations, even telephony targets. Implementations of the described techniques employ signal processing techniques and allocations of system functionality that are suitable given the generally limited capabilities of such handheld or portable computing devices and that facilitate efficient encoding and communication of the pitch-corrected vocal performances (or precursors or derivatives thereof) via wireless and/or wired bandwidth-limited networks for rendering on portable computing devices or other targets.

Abstract: Techniques have been developed to facilitate the livestreaming of group audiovisual performances. Audiovisual performances including vocal music are captured and coordinated with performances of other users in ways that can create compelling user and listener experiences. For example, in some cases or embodiments, duets with a host performer may be supported in a sing-with-the-artist style audiovisual livestream in which aspiring vocalists request or queue particular songs for a live radio show entertainment format. The developed techniques provide a communications latency-tolerant mechanism for synchronizing vocal performances captured at geographically-separated devices (e.g., at globally-distributed, but network-connected mobile phones or tablets or at audiovisual capture devices geographically separated from a live studio).

Abstract: User interface techniques provide user vocalists with mechanisms for seeding subsequent performances by other users (e.g., joiners). A seed may be a full-length seed spanning much or all of a pre-existing audio (or audiovisual) work and mixing, to seed further contributions of one or more joiners, a user's captured media content for at least some portions of the audio (or audiovisual) work. A short seed may span less than all (and in some cases, much less than all) of the audio (or audiovisual) work. For example, a verse, chorus, refrain, hook or other limited “chunk” of an audio (or audiovisual) work may constitute a seed. A seeding user's call invites other users to join the full-length or short-form seed by singing along, singing a particular vocal part or musical section, singing harmony or other duet part, rapping, talking, clapping, recording video, adding a video clip from camera roll, etc.

Abstract: Techniques have been developed to facilitate the livestreaming of group audiovisual performances. Audiovisual performances including vocal music are captured and coordinated with performances of other users in ways that can create compelling user and listener experiences. For example, in some cases or embodiments, duets with a host performer may be supported in a sing-with-the-artist style audiovisual livestream in which aspiring vocalists request or queue particular songs for a live radio show entertainment format. The developed techniques provide a communications latency-tolerant mechanism for synchronizing vocal performances captured at geographically-separated devices (e.g., at globally-distributed, but network-connected mobile phones or tablets or at audiovisual capture devices geographically separated from a live studio).

Abstract: User interface techniques provide user vocalists with mechanisms for forward and backward traversal of audiovisual content, including pitch cues, waveform- or envelope-type performance timelines, lyrics and/or other temporally-synchronized content at record-time, during edits, and/or in playback. Recapture of selected performance portions, coordination of group parts, and overdubbing may all be facilitated. Direct scrolling to arbitrary points in the performance timeline, lyrics, pitch cues and other temporally-synchronized content allows user to conveniently move through a capture or audiovisual edit session. In some cases, a user vocalist may be guided through the performance timeline, lyrics, pitch cues and other temporally-synchronized content in correspondence with group part information such as in a guided short-form capture for a duet. A scrubber allows user vocalists to conveniently move forward and backward through the temporally-synchronized content.

Abstract: Techniques have been developed to facilitate the livestreaming of group audiovisual performances. Audiovisual performances including vocal music are captured and coordinated with performances of other users in ways that can create compelling user and listener experiences. For example, in some cases or embodiments, duets with a host performer may be supported in a sing-with-the-artist style audiovisual livestream in which aspiring vocalists request or queue particular songs for a live radio show entertainment format. The developed techniques provide a communications latency-tolerant mechanism for synchronizing vocal performances captured at geographically-separated devices (e.g., at globally-distributed, but network-connected mobile phones or tablets or at audiovisual capture devices geographically separated from a live studio).

Abstract: Techniques have been developed to facilitate (1) the capture and pitch correction of vocal performances on handheld or other portable computing devices and (2) the mixing of such pitch-corrected vocal performances with backing tracks for audible rendering on targets that include such portable computing devices and as well as desktops, workstations, gaming stations, even telephony targets. Implementations of the described techniques employ signal processing techniques and allocations of system functionality that are suitable given the generally limited capabilities of such handheld or portable computing devices and that facilitate efficient encoding and communication of the pitch-corrected vocal performances (or precursors or derivatives thereof) via wireless and/or wired bandwidth-limited networks for rendering on portable computing devices or other targets.

Abstract: User interface techniques provide user vocalists with mechanisms for forward and backward traversal of audiovisual content, including pitch cues, waveform- or envelope-type performance timelines, lyrics and/or other temporally-synchronized content at record-time, during edits, and/or in playback. Recapture of selected performance portions, coordination of group parts, and overdubbing may all be facilitated. Direct scrolling to arbitrary points in the performance timeline, lyrics, pitch cues and other temporally-synchronized content allows user to conveniently move through a capture or audiovisual edit session. In some cases, a user vocalist may be guided through the performance timeline, lyrics, pitch cues and other temporally-synchronized content in correspondence with group part information such as in a guided short-form capture for a duet. A scrubber allows user vocalists to conveniently move forward and backward through the temporally-synchronized content.