are handheld display screens real quotation

When we receive briefs that don’t have a budget we know straight way that most likely the same brief is being sent to ten or more other point of sale display manufacturers. We prioritise the briefs that have clear and detailed information provided over the ones that don’t.

When there is no budget provided we are left to guess, we can easily say it is $10 per unit or $1,000 because in most cases the brief is so broad that the lack of clarity or budget means we are just guessing.

It actually becomes a waste of time for both of us. You might only want to spend $10 per display but in reality the solution you need to have the best point of sale display might cost $450.

One of the more effective techniques that can be used is to provide a budget range for point of sale display items. This could be per unit or for the whole project. This immediately helps us to come up with specific solutions that meet your exact financial investment available rather than guessing.

This is one of the myths in the industry within marketing teams and agencies. Knowing how much you have to spend doesn’t change our behaviour when we are quoting for a brief. We know there are more than fifty agencies in Australia who will all be competing to win a brief.

There is no point for us to quote ridiculous point of sale display costs because a simple comparison to other agencies can be done. Therefore hiding your budget doesn’t mean you get a better price, if anything, you miss out on getting the best all round value & execution.

You might not disclose your budget or only share 80% of it, but this might mean you miss out on learning about better alternatives or options available to execute your POSM brief. Knowing there was another 20% could mean the difference between better materials, different finishing, or even the choice of an interactive display vs a static one.

Just remember, agencies are getting requests for quotes every day, just like job applications the good ones stand out from the bad ones. Every POSM agency will do the same thing – focus on the ones that look legitimate and likely to be a real opportunity.

There are a lot of myths about the way agencies handle point of sale display briefs. Sure, we realise every brand wants to maximise their marketing spend, that is natural. Although conversely, as a point of sale display agency in Sydney we want to build up our client base with a solid group of repeat clients, we can only achieve this by providing high-quality work that represents good value.

A 3D display is a display device capable of conveying depth to the viewer. Many 3D displays are stereoscopic displays, which produce a basic 3D effect by means of stereopsis, but can cause eye strain and visual fatigue. Newer 3D displays such as holographic and light field displays produce a more realistic 3D effect by combining stereopsis and accurate focal length for the displayed content. Newer 3D displays in this manner cause less visual fatigue than classical stereoscopic displays.

As of 2021, the most common type of 3D display is a stereoscopic display, which is the type of display used in almost all virtual reality equipment. 3D displays can be near-eye displays like in VR headsets, or they can be in a device further away from the eyes like a 3D-enabled mobile device or 3D movie theater.

The term “3D display” can also be used to refer to a volumetric display which may generate content that can be viewed from all angles. One company that produces volumetric displays is Voxon Photonics.

Stereoscopic displays are commonly referred to as “stereo displays,” “stereo 3D displays,” “stereoscopic 3D displays,” or sometimes erroneously as just “3D displays.”

The basic technique of stereo displays is to present offset images that are displayed separately to the left and right eye. Both of these 2D offset images are then combined in the brain to give the perception of 3D depth. Although the term "3D" is ubiquitously used, it is important to note that the presentation of dual 2D images is distinctly different from displaying a light field, and is also different from displaying an image in three-dimensional space.

The most notable difference to real 3D displays is that the observer"s head and eyes movements will not increase information about the 3D objects being displayed. For example, holographic displays do not have such limitations.

It is an overstatement of capability to refer to dual 2D images as being "3D". The accurate term "stereoscopic" is more cumbersome than the common misnomer "3D", which has been entrenched after many decades of unquestioned misuse. Although most stereoscopic displays do not qualify as real 3D displays, all real 3D displays are often referred to as also stereoscopic displays because they meet the lower criteria of being stereoscopic as well.

Based on the principles of stereopsis, described by Sir Charles Wheatstone in the 1830s, stereoscopic technology provides a different image to the viewer"s left and right eyes. The following are some of the technical details and methodologies employed in some of the more notable stereoscopic systems that have been developed.

If eyestrain and distortion are to be avoided, each of the two 2D images preferably should be presented to each eye of the viewer so that any object at infinite distance seen by the viewer should be perceived by that eye while it is oriented straight ahead, the viewer"s eyes being neither crossed nor diverging. When the picture contains no object at infinite distance, such as a horizon or a cloud, the pictures should be spaced correspondingly closer together.

A stereoscope is a device for viewing stereographic cards, which are cards that contain two separate images that are printed side by side to create the illusion of a three-dimensional image.

Pairs of stereo views printed on a transparent base are viewed by transmitted light. One advantage of transparency viewing is the opportunity for a wider, more realistic dynamic range than is practical with prints on an opaque base; another is that a wider field of view may be presented since the images, being illuminated from the rear, may be placed much closer to the lenses.

The practice of viewing film-based stereoscopic transparencies dates to at least as early as 1931, when Tru-Vue began to market sets of stereo views on strips of 35 mm film that were fed through a hand-held Bakelite viewer. In 1939, a modified and miniaturized variation of this technology, employing cardboard disks containing seven pairs of small Kodachrome color film transparencies, was introduced as the View-Master.

The user typically wears a helmet or glasses with two small LCD or OLED displays with magnifying lenses, one for each eye. The technology can be used to show stereo films, images or games. Head-mounted displays may also be coupled with head-tracking devices, allowing the user to "look around" the virtual world by moving their head, eliminating the need for a separate controller.

Owing to rapid advancements in computer graphics and the continuing miniaturization of video and other equipment these devices are beginning to become available at more reasonable cost. Head-mounted or wearable glasses may be used to view a see-through image imposed upon the real world view, creating what is called augmented reality. This is done by reflecting the video images through partially reflective mirrors. The real world can be seen through the partial mirror.

A recent development in holographic-waveguide or "waveguide-based optics" allows a stereoscopic images to be superimposed on real world without the uses of bulky reflective mirror.

Head-mounted projection displays (HMPD) is similar to head-mounted displays but with images projected to and displayed on a retroreflective screen, The advantage of this technology over head-mounted display is that the focusing and vergence issues didn"t require fixing with corrective eye lenses. For image generation, Pico-projectors are used instead of LCD or OLED screens.

In an anaglyph, the two images are superimposed in an additive light setting through two filters, one red and one cyan. In a subtractive light setting, the two images are printed in the same complementary colors on white paper. Glasses with colored filters in each eye separate the appropriate image by canceling the filter color out and rendering the complementary color black. A compensating technique, commonly known as Anachrome, uses a slightly more transparent cyan filter in the patented glasses associated with the technique. Process reconfigures the typical anaglyph image to have less parallax.

An alternative to the usual red and cyan filter system of anaglyph is ColorCode 3-D, a patented anaglyph system which was invented in order to present an anaglyph image in conjunction with the NTSC television standard, in which the red channel is often compromised. ColorCode uses the complementary colors of yellow and dark blue on-screen, and the colors of the glasses" lenses are amber and dark blue.

To present a stereoscopic picture, two images are projected superimposed onto the same screen through different polarizing filters. The viewer wears eyeglasses which also contain a pair of polarizing filters oriented differently (clockwise/counterclockwise with circular polarization or at 90 degree angles, usually 45 and 135 degrees,

Polarized light reflected from an ordinary motion picture screen typically loses most of its polarization. So an expensive silver screen or aluminized screen with negligible polarization loss has to be used. All types of polarization will result in a darkening of the displayed image and poorer contrast compared to non-3D images. Light from lamps is normally emitted as a random collection of polarizations, while a polarization filter only passes a fraction of the light. As a result, the screen image is darker. This darkening can be compensated by increasing the brightness of the projector light source. If the initial polarization filter is inserted between the lamp and the image generation element, the light intensity striking the image element is not any higher than normal without the polarizing filter, and overall image contrast transmitted to the screen is not affected.

With the eclipse method, a shutter blocks light from each appropriate eye when the converse eye"s image is projected on the screen. The display alternates between left and right images, and opens and closes the shutters in the glasses or viewer in synchronization with the images on the screen. This was the basis of the Teleview system which was used briefly in 1922.

A variation on the eclipse method is used in LCD shutter glasses. Glasses containing liquid crystal that will let light through in synchronization with the images on the cinema, television or computer screen, using the concept of alternate-frame sequencing. This is the method used by nVidia, XpanD 3D, and earlier IMAX systems. A drawback of this method is the need for each person viewing to wear expensive, electronic glasses that must be synchronized with the display system using a wireless signal or attached wire. The shutter-glasses are heavier than most polarized glasses, though lighter models are no heavier than some sunglasses or deluxe polarized glasses.

Liquid crystal light valves work by rotating light between two polarizing filters. Due to these internal polarizers, LCD shutter-glasses darken the display image of any LCD, plasma, or projector image source, which has the result that images appear dimmer and contrast is lower than for normal non-3D viewing. This is not necessarily a usage problem; for some types of displays which are already very bright with poor grayish black levels, LCD shutter glasses may actually improve the image quality.

Dolby 3D uses specific wavelengths of red, green, and blue for the right eye, and different wavelengths of red, green, and blue for the left eye. Eyeglasses which filter out the very specific wavelengths allow the wearer to see a 3D image. This technology eliminates the expensive silver screens required for polarized systems such as RealD, which is the most common 3D display system in theaters. It does, however, require much more expensive glasses than the polarized systems. It is also known as spectral comb filtering or wavelength multiplex visualization

The recently introduced Omega 3D/Panavision 3D system also uses this technology, though with a wider spectrum and more "teeth" to the "comb" (5 for each eye in the Omega/Panavision system). The use of more spectral bands per eye eliminates the need to color process the image, required by the Dolby system. Evenly dividing the visible spectrum between the eyes gives the viewer a more relaxed "feel" as the light energy and color balance is nearly 50-50. Like the Dolby system, the Omega system can be used with white or silver screens. But it can be used with either film or digital projectors, unlike the Dolby filters that are only used on a digital system with a color correcting processor provided by Dolby. The Omega/Panavision system also claims that their glasses are cheaper to manufacture than those used by Dolby.

In this method, glasses are not necessary to see the stereoscopic image. Lenticular lens and parallax barrier technologies involve imposing two (or more) images on the same sheet, in narrow, alternating strips, and using a screen that either blocks one of the two images" strips (in the case of parallax barriers) or uses equally narrow lenses to bend the strips of image and make it appear to fill the entire image (in the case of lenticular prints). To produce the stereoscopic effect, the person must be positioned so that one eye sees one of the two images and the other sees the other. The optical principles of multiview auto-stereoscopy have been known for over a century.

Both images are projected onto a high-gain, corrugated screen which reflects light at acute angles. In order to see the stereoscopic image, the viewer must sit within a very narrow angle that is nearly perpendicular to the screen, limiting the size of the audience. Lenticular was used for theatrical presentation of numerous shorts in Russia from 1940 to 1948Robinzon Kruzo

Though its use in theatrical presentations has been rather limited, lenticular has been widely used for a variety of novelty items and has even been used in amateur 3D photography.Fujifilm FinePix Real 3D with an autostereoscopic display that was released in 2009. Other examples for this technology include autostereoscopic LCD displays on monitors, notebooks, TVs, mobile phones and gaming devices, such as the Nintendo 3DS.

Volumetric displays use some physical mechanism to display points of light within a volume. Such displays use voxels instead of pixels. Volumetric displays include multiplanar displays, which have multiple display planes stacked up, and rotating panel displays, where a rotating panel sweeps out a volume.

Other technologies have been developed to project light dots in the air above a device. An infrared laser is focused on the destination in space, generating a small bubble of plasma which emits visible light.

A light field display tries to recreate a "light field" on the surface of the display. In contrast to a 2D display which shows a distinct color on each pixel, a light field display shows a distinct color on each pixel for each direction that the light ray emits to. This way, eyes from different positions will see different pictures on the display, creating parallax and thus creating a sense of 3D. A light field display is like a glass window, people see 3D objects behind the glass, despite that all light rays they see come from (through) the glass.

Holographic display is a display technology that has the ability to provide all four eye mechanisms: binocular disparity, motion parallax, accommodation and convergence. The 3D objects can be viewed without wearing any special glasses and no visual fatigue will be caused to human eyes.

In 2013, a Silicon valley Company LEIA Inc started manufacturing holographic displays well suited for mobile devices (watches, smartphones or tablets) using a multi-directional backlight and allowing a wide full-parallax angle view to see 3D content without the need of glasses.Red Hydrogen One) and later on in their own Android tablet.

Integral imaging is an autostereoscopic or multiscopic 3D display, meaning that it displays a 3D image without the use of special glasses on the part of the viewer. It achieves this by placing an array of microlenses (similar to a lenticular lens) in front of the image, where each lens looks different depending on viewing angle. Thus rather than displaying a 2D image that looks the same from every direction, it reproduces a 3D light field, creating stereo images that exhibit parallax when the viewer moves.

A new display technology called "compressive light field" is being developed. These prototype displays use layered LCD panels and compression algorithms at the time of display. Designs include dualcomputed tomography and Non-negative matrix factorization and non-negative tensor factorization.

Each of these display technologies can be seen to have limitations, whether the location of the viewer, cumbersome or unsightly equipment or great cost. The display of artifact-free 3D images remains difficult.

Holliman, Nicolas S.; Dodgson, Neil A.; Favalora, Gregg E.; Pockett, Lachlan (June 2011). "Three-Dimensional Displays: A Review and Applications Analysis" (PDF). IEEE Transactions on Broadcasting. 57 (2).

Fattal, David; Peng, Zhen; Tran, Tho; Vo, Sonny; Fiorentino, Marco; Brug, Jim; Beausoleil, Raymond G. (2013). "A multi-directional backlight for a wide-angle, glasses-free three-dimensional display". Nature. 495 (7441): 348–351. Bibcode:2013Natur.495..348F. doi:10.1038/nature11972. PMID 23518562. S2CID 4424212.

Lanman, D.; Wetzstein, G.; Hirsch, M.; Heidrich, W.; Raskar, R. (2019). "Polarization Fields: Dynamic Light Field Display using Multi-Layer LCDs". ACM Transactions on Graphics (SIGGRAPH Asia).

The EXO Handheld from YSI is designed and engineered as a dedicated interface to EXO sondes. Log real-time data, calibrate sensors, set up sondes for deployment, and transfer water quality data to a PC with this feature-packed device. Designed for reliable field use in challenging environmental conditions, this display features a waterproof IP-67, impact-resistant case and wet-mate connector.

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The last two decades have seen an explosion in the use of digital technology. It has accelerated human’s exposure to prolonged screen time which is becoming a growing concern. Digital technology is essentially the use of electronic devices to store, generate or process data; facilitates communication and virtual interactions on social media platforms using the internet (Vizcaino et al., 2020). Electronic devices include computer, laptop, palmtop, smartphone, tablet or any other similar devices with a screen. They are a medium of communication, virtual interactions and connectedness between people. Social connection is fundamental to humans. In addition, social connectedness also enhances mental well-being. COVID-19 pandemic has imposed digital platforms as the only means for people to maintain socio-emotional connection (Kanekar and Sharma, 2020). The digital technology is influencing how people use digital devices to maintain, or avoid social relations or how much time to spend for virtual social connectedness (Antonucci et al., 2017).

Screen time refers to the amount of time spent and the diverse activities performed online using digital devices (DataReportal, 2020). For instance, screen time encompasses both, using digital devices for work purposes (regulated hours of work or educational purpose) as well as for leisure and entertainment (unregulated hours of gaming, viewing pornography or social media use).

The COVID-19 pandemic came with restrictions, regulations and stay-at-home orders. This meant that people stayed indoors, offices remained shut, playgrounds were empty and streets remained barren of human interaction. Many individuals could not return to their homes, many stuck in foreign lands and many in solitude. As a result, the usage of digital devices has increased manifold across the globe. Irrespective of age, people are pushed to rely on digital platforms. Education, shopping, working, meeting, entertaining and socializing suddenly leaped from offline to online. Here, digital technology came as a blessing in disguise, enabling individuals to remain emotionally connected despite the social distancing. At the same time, prolonged screen time has caused concerns related to its impact on physical and mental health. While mindful (and regulated) use of digital devices is linked with well-being, excessive screen time is reported to be associated with a range of negative mental health outcomes such as psychological problems, low emotional stability, and greater risk for depression or anxiety (Allen et al., 2019; Aziz Rahman et al., 2020; Ministry of Human Resource Development, 2020). Negative consequences often result when digital use is impulsive, compulsive, unregulated or addictive (Kuss and Lopez-Fernandez, 2016).

Restricted social interactions imposed by the pandemic aggravated the over-use of digital devices for socializing which included virtual dates, virtual tourism, virtual parties, and family conferences (Pandey and Pal, 2020). Notably, in times of social distancing; there is a possibility that screen time may not negatively interfere with well-being as it is the only way to remain socially connected. However, mindful use of the digital screen time needs to be under the check. The unprecedented digital life during the pandemic also gave rise to increased levels of anxiety, sad mood, uncertainty and negative emotions like irritability and aggression, a normative response to pandemic (Rajkumar, 2020). However, anxiety and aggression also meant an increase in cybercrimes and cyber-attacks (Lallie et al., 2021). This has raised concerns about the impact of screen time on mental health. A survey recorded about 50–70 percent increase in internet use during the COVID-19 pandemic and of that 50 percent of the time was spent engaging on social media in 2020 (Beech, 2020). Reiterating, it is difficult to discrepantly state healthy versus unhealthy extents of social connectedness over digital media; however, negative effects of digital technology are undeniable. Interesting to note is the fact that though digital health technology boomed, digital health and well-being demanded a lot more attention with prolonged hours being spent on the screen. Numerous studies have highlighted the increased screen time propelled by COVID-19; however, they are scattered. The present review synthesises the evidence on the use of digital technology in the context of COVID-19 pandemic, its impact on health and summarizes recommendations reported in the literature to foster positive health. It also identifies recommended digital habits to optimize screen time and warrant protection from its ill effects. Lastly, it introduces a multipronged approach to prevent adverse effects of prolonged screen time and promote healthy digital habits.

During the pandemic induced lockdown, people turned to social media, messaging applications and video conferencing platforms. These platforms provided people with an opportunity to stay connected (Kietzmann et al., 2011). Social connection and interaction is one of the strongest predictors of well-being, thus potentially impacting the mental health of a person. Research conducted to understand the impact of digital social interactions on well-being has shown both positive and negative effects (Gurvich et al., 2020; Pandey and Pal, 2020). Overall, people who spend some time using digital and social media are happier than those who do not use internet at all, but those who spend the most time online tend to be the least happy (Qin et al., 2020). For working people, checking email and being interrupted by digital messages was found to be linked with experiencing greater stress. Given that digital communications have increased manifold during the pandemic, these negative aspects of digital interactions may only be magnified while social distancing. Indispensable to note is that this is not a simplistic correlational understanding, there are several factors like personality traits, existing social support, thriving environment and balance with in-person communication bound to affect the screen time impact. Many people rely on technology to build and sustain relationships but at times over dependence on digital technology leaves people feeling qualitatively empty and alone. There is a need to regulate the digital social connectedness which can be established by mindful and healthy digital habits that can promote a balance between plugging in and unplugging, consequently impacting well-being and mental health.

Several research studies during the pandemic period (in countries like India, China, United States, Canada and Australia) have delineated the problem with increasing screen time. As aforementioned, COVID-19 aggravated use of digital devices and consequently its impact on health colossally (Bahkir and Grandee, 2020; Gupta, 2020; Ko and Yen, 2020; Moore et al., 2020; Small et al., 2020; Ting et al., 2020). Overall digital device usage increased by 5 h, giving a plunge to screen time up to 17.5 h per day for heavy users and an average of 30 h per week for non-heavy users (Balhara et al., 2020; Dienlin and Johannes, 2020; Ministry of Human Resource Development, 2020; Vanderloo et al., 2020; Xiang et al., 2020). A recent study, (Ministry of Human Resource Development, 2020) reported 8.8 h of screen time among younger adults and 5.2 h among elderly (>65 years old), presenting concerns among these populations too. A recent narrative review discusses that screen time increased for children and adults (men and women) during the pandemic (as compared to pre-pandemic times) globally. The jump in screen time among children and adolescents was noted to be higher than what is the prescribed screen time by American Academy of Child and Adolescent Psychiatry (from the recommended hours to more than 6 h). For adults, screen time has been between more than 60–80% from before the pandemic. However, there aren"t any comparative studies to state exact differences for the same (Sultana et al., 2021). Another report prepared by the UNICEF had pointed out the several gaps and methodological limitations in evidence-based literature supporting the validity and utility of having arbitrary screen-time cutoffs in today"s digital world (Kardefelt-Winther, 2017).

The two crucial negative impacts of screen time on the physical health of children & adolescents is that of sleep problems and increased risk of myopia (Singh and Balhara, 2021). A large number of original studies indicate excessive screen time has adverse health effects in long run such as physical health symptoms like eye strain, sleep disturbance, carpal tunnel syndrome, neck pain as well as mental health problems ranging from difficulties in concentration, obsession to diagnosable mental illness such as anxiety, depression and attention-deficit hyperactivity disorder (Király et al., 2020; Meyer et al., 2020; Oberle et al., 2020; Stavridou et al., 2021). In a study (George et al., 2018) with older adolescents aged between 18 and 20, researchers found that smartphone dependency can predict higher reports of depressive symptoms and loneliness. Another study (Twenge et al., 2018) revealed that the generation of teens, known as “iGen”–born after 1995–are more likely to experience mental health issues than counterparts–their millennial predecessors.

Despite the potential adverse effects of screen time on health, it is impossible to abstain from screen time in modern times. Oftentimes, the most successful tactics to minimize technology harm are not technical at all, but behavioural such as self-imposed limitations on use of digital platforms, using non-digital means when possible and using digital platforms for better health and well-being.

Unregulated amounts of screen time may lead to adverse effects on health. Studies clearly indicate differences in the effects of regulated, rational use and actively engaging with the digital devices than passively absorbing what is on the screen (Bahkir and Grandee, 2020; Dienlin and Johannes, 2020; Ministry of Human Resource Development, 2020; Pandey and Pal, 2020; Winther and Byrne, 2020). Digital devices can be adapted for numerous positive activities such as online exercise classes, mindfulness training, webinars on healthy lifestyles, and so on (Harvard Pilgrim HealthCare, 2021). Table 2 presents a synthesis of strategies recommended in reviewed studies that promote healthy digital habits among adults.

The above recommendations are conducive to socio-emotional connectedness among adults whilst keeping in mind that they practice healthy digital habits that promote better health and well-being. In addition, the following may be kept in mind:

6. Use of mobile applications for promoting digital wellbeing. Mobile health apps are becoming increasingly popular to stay socially connected as well as aid mental wellbeing.

It is inevitable to realize the need to be socially connected with one another which has also led to momentous increase in screen time during the COVID-19 induced lockdown. Literature on screen time is reflective of both positive and negative consequences of screen time on (mental) health. Perhaps, digital technology offered a platform to deal with psychological reactions fuelled by COVID-19 if it were for a shorter period. However, the prolonged period of the pandemic has led the use of digital technology to culminate into threat for people’s physical as well as mental health. Literacy about digital habits and parental supervision on children"s digital habits command attention. Increased use of games among youth is concerning. Indispensable to note is that digital habits must be balanced with the non-connected activities. It is important to be cognizant of what are the absolutes where one can depend on digital devices for convenience and betterment versus where one needs to pause and disconnect.

A concerted and evidence informed effort with a three-pronged approach is imperative to promote social connectedness while ensuring to prevent the ill effects of prolonged screen time. We propose immediate, intermediate and long-term strategies to promote healthy digital habits among communities during COVID-19 pandemic and beyond. They are described in the following sections and summarized in Table 3.

Promoting healthy digital habits is imperative. Although potentially challenging, public campaigns and establishing a reliable platform for sharing information regarding healthy digital habits are imperative. Using a behaviour change communication approach, people can be educated on signs of excessive screen time or gaming, healthy digital habits and available screening and treatment services. Partnership with digital media giants (such as IT companies, social media companies) to promote healthy digital habits, positive use of digital media can be scrutinized.

Machine learning and big data analytics can be potential in understanding digital screen usage. The screenome project (Reeves et al., 2021) is an initiative that studies duration of screen time, specific content observed, created and/or shared, exposures to apps, social media, games etc. Such data catalyses to inform policy, maximizing the potential of digital devices and interventions to remedy its most pernicious effects.

The authors declare that the research was conducted in the absence of any commercial or financial relationships that could be construed as a potential conflict of interest.

American Academy of Child and Adolescent Psychiatry (2020). Media Habits During COVID-19: Children & Teens on Screens in Quarantine. Available at: https://www.aacap.org/App_Themes/AACAP/Docs/resource_libraries/covid-19/Screen- Time-During-COVID.pdf.

DataReportal (2020). Digital: 2020 Global Digital Overview [Internet]. Available at: https://datareportal.com/reports/digital-2020-global-digital- overview.

Kanekar, A., and Sharma, M. (2020). COVID-19 and Mental Well-Being: Guidance on the Application of Behavioral and Positive Well-Being Strategies. Healthcare 8 (3), 336. doi:10.3390/healthcare8030336

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"I fear the day when the technology overlaps with our humanity. The world will only have a generation of idiots." Albert Einstein This quote is one that perhaps my brother-in-law could have said. With the move to digital devices we are coming to a point where people don’t need to remember anything, they have it all in the palm of their hand. Got a question, look it up! I find myself doing this more and more in conversations with people.

One complaint I have heard from professors and others is that the generation of young people now entering the workplace don’t know how to communicate. They are poor writers and their coordination and collaboration skills are lacking. Some of this would have to be a direct result their being wedded to their “digital assistants.”

My elementary teacher son and his wife are telling me that kids will soon not be taught math tables. This is because they will have their personal handheld devices to do the math for them. Some would call this progress. I wonder what Einstein would call it?

Handheld scanner solutions are specifically designed for automatic data capture applications and process automation throughout the customers’ entire value chain in the retail, manufacturing, transportation & logistics and healthcare industries. Handheld scanners offer outstanding performance and reliability through the different scanning options: laser, linear or area-imaging technologies. The standard, rugged, or antimicrobial enclosure allow their use in any environment, and their ergonomic design make these scanners easy to use also for long period.

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In the manufacturing market, they are crucial from shipping and receiving to Work In Progress (WIP) traceability, to configure and set up machines for operation. In retail environments, handheld scanners are fundamental to support the different configuration needs at the check-outs or to keep inventory accurate while providing useful business intelligence data for future planning and operations. Healthcare professionals rely on Datalogic barcode scanners during direct care activities, in order to guarantee a correct patient identification, medication verification and a comprehensive Electronic Medical Records (EMR) management. In Transportation & Logistics sector, industrial handheld scanners put automation in the hands of workers as they ship, receive, pick, pack, and palletize.

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It’s a critical component of every Warehouse Management System (WMS). Handheld barcode technology allows companies to control inventory levels in real-time. These solutions are essential to help maximize the order accuracy loaded in the right truck, and ultimately delivered to the correct destination.

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His saga is the entrepreneurialcreation myth writ large: Steve Jobs cofounded Apple in his parents’ garage in 1976, was ousted in 1985, returned to rescue it from near bankruptcy in 1997, and by the time he died, in October 2011, had built it into the world’s most valuable company. Along the way he helped to transform seven industries: personal computing, animated movies, music, phones, tablet computing, retail stores, and digital publishing. He thus belongs in the pantheon of America’s great innovators, along with Thomas Edison, Henry Ford, and Walt Disney. None of these men was a saint, but long after their personalities are forgotten, history will remember how they applied imagination to technology and business.

One of the last times I saw him, after I had finished writing most of the book, I asked him again about his tendency to be rough on people. “Look at the results,” he replied. “These are all smart people I work with, and any of them could get a top job at another place if they were truly feeling brutalized. But they don’t.” Then he paused for a few moments and said, almost wistfully, “And we got some amazing things done.” Indeed, he and Apple had had a string of hits over the past dozen years that was greater than that of any other innovative company in modern times: iMac, iPod, iPod nano, iTunes Store, Apple Stores, MacBook, iPhone, iPad, App Store, OS X Lion—not to mention every Pixar film. And as he battled his final illness, Jobs was surrounded by an intensely loyal cadre of colleagues who had been inspired by him for years and a very loving wife, sister, and four children.

So I think the real lessons from Steve Jobs have to be drawn from looking at what he actually accomplished. I once asked him what he thought was his most important creation, thinking he would answer the iPad or the Macintosh. Instead he said it was Apple the company. Making an enduring company, he said, was both far harder and more important than making a great product. How did he do it? Business schools will be studying that question a century from now. Here are what I consider the keys to his success.

When Jobs returned to Apple in 1997, it was producing a random array of computers and peripherals, including a dozen different versions of the Macintosh. After a few weeks of product review sessions, he’d finally had enough. “Stop!” he shouted. “This is crazy.” He grabbed a Magic Marker, padded in his bare feet to a whiteboard, and drew a two-by-two grid. “Here’s what we need,” he declared. Atop the two columns, he wrote “Consumer” and “Pro.” He labeled the two rows “Desktop” and “Portable.” Their job, he told his team members, was to focus on four great products, one for each quadrant. All other products should be canceled. There was a stunned silence. But by getting Apple to focus on making just four computers, he saved the company. “Deciding what not to do is as important as deciding what to do,” he told me. “That’s true for companies, and it’s true for products.”

After he righted the company, Jobs began taking his “top 100” people on a retreat each year. On the last day, he would stand in front of a whiteboard (he loved whiteboards, because they gave him complete control of a situation and they engendered focus) and ask, “What are the 10 things we should be doing next?” People would fight to get their suggestions on the list. Jobs would write them down—and then cross off the ones he decreed dumb. After much jockeying, the group would come up with a list of 10. Then Jobs would slash the bottom seven and announce, “We can only do three.”

Focus was ingrained in Jobs’s personality and had been honed by his Zen training. He relentlessly filtered out what he considered distractions. Colleagues and family members would at times be exasperated as they tried to get him to deal with issues—a legal problem, a medical diagnosis—they considered important. But he would give a cold stare and refuse to shift his laserlike focus until he was ready.

Near the end of his life, Jobs was visited at home by Larry Page, who was about to resume control of Google, the company he had cofounded. Even though their companies were feuding, Jobs was willing to give some advice. “The main thing I stressed was focus,” he recalled. Figure out what Google wants to be when it grows up, he told Page. “It’s now all over the map. What are the five products you want to focus on? Get rid of the rest, because they’re dragging you down. They’re turning you into Microsoft. They’re causing you to turn out products that are adequate but not great.” Page followed the advice. In January 2012 he told employees to focus on just a few priorities, such as Android and Google+, and to make them “beautiful,” the way Jobs would have done.

Jobs’s Zenlike ability to focus was accompanied by the related instinct to simplify things by zeroing in on their essence and eliminating unnecessary components. “Simplicity is the ultimate sophistication,” declared Apple’s first marketing brochure. To see what that means, compare any Apple software with, say, Microsoft Word, which keeps getting uglier and more cluttered with nonintuitive navigational ribbons and intrusive features. It is a reminder of the glory of Apple’s quest for simplicity.

Jobs aimed for the simplicity that comes from conquering, rather than merely ignoring, complexity. Achieving this depth of simplicity, he realized, would produce a machine that felt as if it deferred to users in a friendly way, rather than challenging them. “It takes a lot of hard work,” he said, “to make something simple, to truly understand the underlying challenges and come up with elegant solutions.”

In Jony Ive, Apple’s industrial designer, Jobs met his soul mate in the quest for deep rather than superficial simplicity. They knew that simplicity is not merely a minimalist style or the removal of clutter. In order to eliminate screws, buttons, or excess navigational screens, it was necessary to understand profoundly the role each element played. “To be truly simple, you have to go really deep,” Ive explained. “For example, to have no screws on something, you can end up having a product that is so convoluted and so complex. The better way is to go deeper with the simplicity, to understand everything about it and how it’s manufactured.”

During the design of the iPod interface, Jobs tried at every meeting to find ways to cut clutter. He insisted on being able to get to whatever he wanted in three clicks. One navigation screen, for example, asked users whether they wanted to search by song, album, or artist. “Why do we need that screen?” Jobs demanded. The designers realized they didn’t. “There would be times when we’d rack our brains on a user interface problem, and he would go, ‘Did you think of this?’” says Tony Fadell, who led the iPod team. “And then we’d all go, ‘Holy shit.’ He’d redefine the problem or approach, and our little problem would go away.” At one point Jobs made the simplest of all suggestions: Let’s get rid of the on/off button. At first the team members were taken aback, but then they realized the button was unnecessary. The device would gradually power down if it wasn’t being used and would spring to life when reengaged.

Likewise, when Jobs was shown a cluttered set of proposed navigation screens for iDVD, which allowed users to burn video onto a disk, he jumped up and drew a simple rectangle on a whiteboard. “Here’s the new application,” he said. “It’s got one window. You drag your video into the window. Then you click the button that says ‘Burn.’ That’s it. That’s what we’re going to make.”

In looking for industries or categories ripe for disruption, Jobs always asked who was making products more complicated than they should be. In 2001 portable music players and ways to acquire songs online fit that description, leading to the iPod and the iTunes Store. Mobile phones were next. Jobs would grab a phone at a meeting and rant (correctly) that nobody could possibly figure out how to navigate half the features, including the address book. At the end of his career he was setting his sights on the television industry, which had made it almost impossible for people to click on a simple device to watch what they wanted when they wanted.

Jobs knew that the best way to achieve simplicity was to make sure that hardware, software, and peripheral devices were seamlessly integrated. An Apple ecosystem—an iPod connected to a Mac with iTunes software, for example—allowed devices to be simpler, syncing to be smoother, and glitches to be rarer. The more complex tasks, such as making new playlists, could be done on the computer, allowing the iPod to have fewer functions and buttons.

Jobs and Apple took end-to-end responsibility for the user experience—something too few companies do. From the performance of the ARM microprocessor in the iPhone to the act of buying that phone in an Apple Store, every aspect of the customer experience was tightly linked together. Both Microsoft in the 1980s and Google in the past few years have taken a more open approach that allows their operating systems and software to be used by various hardware manufacturers. That has sometimes proved the better business model. But Jobs fervently believed that it was a recipe for (to use his technical term) crappier products. “People are busy,” he said. “They have other things to do than think about how to integrate their computers and devices.”

Part of Jobs’s compulsion to take responsibility for what he called “the whole widget” stemmed from his personality, which was very controlling. But it was also driven by his passion for perfection and making elegant products. He got hives, or worse, when contemplating the use of great Apple software on another company’s uninspired hardware, and he was equally allergic to the thought that unapproved apps or content might pollute the perfection of an Apple device. It was an approach that did not always maximize short-term profits, but in a world filled with junky devices, inscrutable error messages, and annoying interfaces, it led to astonishing products marked by delightful user experiences. Being in the Apple ecosystem could be as sublime as walking in one of the Zen gardens of Kyoto that Jobs loved, and neither experience was created by worshipping at the altar of openness or by letting a thousand flowers bloom. Sometimes it’s nice to be in the hands of a control freak.

But instead of merely catching up by upgrading the iMac’s CD drive, he decided to create an integrated system that would transform the music industry. The result was the combination of iTunes, the iTunes Store, and the iPod, which allowed users to buy, share, manage, store, and play music better than they could with any other devices.

John Sculley, who ran Apple from 1983 to 1993, was a marketing and sales executive from Pepsi. He focused more on profit maximization than on product design after Jobs left, and Apple gradually declined. “I have my own theory about why decline happens at companies,” Jobs told me: They make some great products, but then the sales and marketing people take over the company, because they are the ones who can juice up profits. “When the sales guys run the company, the product guys don’t matter so much, and a lot of them just turn off. It happened at Apple when Sculley came in, which was my fault, and it happened when Ballmer took over at Microsoft.”

Caring deeply about what customers want is much different from continually asking them what they want; it requires intuition and instinct about desires that have not yet formed. “Our task is to read things that are not yet on the page,” Jobs explained. Instead of relying on market research, he honed his version of empathy—an intimate intuition about the desires of his customers. He developed his appreciation for intuition—feelings that are based on accumulated experiential wisdom—while he was studying Buddhism in India as a college dropout. “The people in the Indian countryside don’t use their intellect like we do; they use their intuition instead,” he recalled. “Intuition is a very powerful thing—more powerful than intellect, in my opinion.”

Jobs’s (in)famous ability to push people to do the impossible was dubbed by colleagues his Reality Distortion Field, after an episode of Star Trek in which aliens create a convincing alternative reality through sheer mental force. An early example was when Jobs was on the night shift at Atari and pushed Steve Wozniak to create a game called Breakout. Woz said it would take months, but Jobs stared at him and insisted he could do it in four days. Woz knew that was impossible, but he ended up doing it.

Those who did not know Jobs interpreted the Reality Distortion Field as a euphemism for bullying and lying. But those who worked with him admitted that the trait, infuriating as it might be, led them to perform extraordinary feats. Because Jobs felt that life’s ordinary rules didn’t apply to him, he could inspire his team to change the course of computer history with a small fraction of the resources that Xerox or IBM had. “It was a self-fulfilling distortion,” recalls Debi Coleman, a member of the original Mac team who won an award one year for being the employee who best stood up to Jobs. “You did the impossible because you didn’t realize it was impossible.”

When Jobs was designing the iPhone, he decided that he wanted its face to be a tough, scratchproof glass, rather than plastic. He met with Wendell Weeks, the CEO of Corning, who told him that Corning had developed a chemical exchange process in the 1960s that led to what it dubbed “Gorilla glass.” Jobs replied that he wanted a major shipment of Gorilla glass in six months. Weeks said that Corning was not making the glass and didn’t have that capacity. “Don’t be afraid,” Jobs replied. This stunned Weeks, who was unfamiliar with Jobs’s Reality Distortion Field. He tried to explain that a false sense of confidence would not overcome engineering challenges, but Jobs had repeatedly shown that he didn’t accept that premise. He stared unblinking at Weeks. “Yes, you can do it,” he said. “Get your mind around it. You can do it.” Weeks recalls that he shook his head in astonishment and then called the managers of Corning’s facility in Harrodsburg, Kentucky, which had been making LCD displays, and told them to convert immediately to making Gorilla glass full-time. “We did it in under six months,” he says. “We put our best scientists and engineers on it, and we just made it work.” As a result, every piece of glass on an iPhone or an iPad is made in America by Corning.

Sometimes Jobs used the design of a machine to “impute” a signal rather than to be merely functional. For example, when he was creating the new and playful iMac, after his return to Apple, he was shown a design by Ive that had a little recessed handle nestled in the top. It was more semiotic than useful. This was a desktop computer. Not many people were really going to carry it around. But Jobs and Ive realized that a lot of people were still intimidated by computers. If it had a handle, the new machine would seem friendly, deferential, and at one’s service. The handle signaled permission to touch the iMac. The manufacturing team was opposed to the extra cost, but Jobs simply announced, “No, we’re doing this.” He didn’t even try to explain.

The same was true for the iPhone. The initial design had the glass screen set into an aluminum case. One Monday morning Jobs went over to see Ive. “I didn’t sleep last night,” he said, “because I realized that I just don’t love it.” Ive, to his dismay, instantly saw that Jobs was right. “I remember feeling absolutely embarrassed that he had to make the observation,” he says. The problem was that the iPhone should have been all about the display, but in its current design the case competed with the display instead of getting out of the way. The whole device felt too masculine, task-driven, efficient. “Guys, you’ve killed yourselves over this design for the last nine months, but we’re going to change it,” Jobs told Ive’s team. “We’re all going to have to work nights and weekends, and if you want, we can hand out some guns so you can kill us now.” Instead of balking, the team agreed. “It was one of my proudest moments at Apple,” Jobs recalled.

A similar thing happened as Jobs and Ive were finishing the iPad. At one point Jobs looked at the model and felt slightly dissatisfied. It didn’t seem casual and friendly enough to scoop up and whisk away. They needed to signal that you could grab it with one hand, on impulse. They decided that the bottom edge should be slightly rounded, so that a user would feel comfortable just snatching it up rather than lifting it carefully. That meant engineering had to design the necessary connection ports and buttons in a thin, simple lip that sloped away gently underneath. Jobs delayed the product until the change could be made.

Jobs’s perfectionism extended even to the parts unseen. As a young boy, he had helped his father build a fence around their backyard, and he was told they had to use just as much care on the back of the fence as on the front. “Nobody will ever know,” Steve said. His father replied, “But you will know.” A true craftsman uses a good piece of wood even for the back of a cabinet against the wall, his father explained, and they should do the same for the back of the fence. It was the mark of an artist to have such a passion for perfection. In overseeing the Apple II and the Macintosh, Jobs applied this lesson to the circuit board inside the machine. In both instances he sent the engineers back to make the chips line up neatly so the board would look nice. This seemed particularly odd to the engineers of the Macintosh, because Jobs had decreed that the machine be tightly sealed. “Nobody is going to see the PC board,” one of them protested. Jobs reacted as his father had: “I want it to be as beautiful as possible, even if it’s inside the box. A great carpenter isn’t going to use lousy wood for the back of a cabinet, even though nobody’s going to see it.” They were true artists, he said, and should act that way. And once the board was redesigned, he had the engineers and other members of the Macintosh team sign their names so that they could be engraved inside the case. “Real artists sign their work,” he said.

Jobs was famously impatient, petulant, and tough with the people around him. But his treatment of people, though not laudable, emanated from his passion for perfection and his desire to work with only the best. It was his way of preventing what he called “the bozo explosion,” in which managers are so polite that mediocre people feel comfortable sticking around. “I don’t think I run roughshod over people,” he said, “but if something sucks, I tell people to their face. It’s my job to be honest.” When I pressed him on whether he could have gotten the same results while being nicer, he said perhaps so. “But it’s not who I am,” he said. “Maybe there’s a better way—a gentlemen’s club where we all wear ties and speak in this Brahmin language and velvet code words—but I don’t know that way, because I am middle-class from California.”

“I’ve learned over the years that when you have really good people, you don’t have to baby them,” Jobs told me. “By expecting them to do great things, you can get them to do great things. Ask any member of that Mac team. They will tell you it was worth the pain.” Most of them do. “He would shout at a meeting, ‘You asshole, you never do anything right,’” Debi Coleman recalls. “Yet I consider myself the absolute luckiest person in the world to have worked with him.”

Jobs’s passion was applied to issues both large and minuscule. Some CEOs are great at vision; others are managers who know that God is in the details. Jobs was both. Time Warner CEO Jeff Bewkes says that one of Jobs’s salient traits was his ability and desire to envision overarching strategy while also focusing on the tiniest aspects of design. For example, in 2000 he came up with the grand vision that the personal computer should become a “digital hub” for managing all of a user’s music, videos, photos, and content, and thus got Apple into the personal-device business with the iPod and then the iPad. In 2010 he came up with the successor strategy—the “hub” would move to the cloud—and Apple began building a huge server farm so that all a user’s co