Organoid intelligence (OI) is an emerging field of study in computer science and biology that develops and studies biological wetware computing using 3D cultures of human brain cells (or brain organoids) and brain-machine interface technologies. Such technologies may be referred to as OIs or the nervous filesystem. Organoid intelligent computer systems can be an example of biohybrid systems. == Differences with non-organic computing == As opposed to traditional non-organic silicon-based approaches, OI seeks to use lab-grown cerebral organoids to serve as "biological hardware". While these structures are still far from being able to think like a regular human brain and do not yet possess strong computing capabilities, OI research currently offers the potential to improve the understanding of brain development, learning and memory, potentially finding treatments for neurological disorders such as dementia. Thomas Hartung, a professor from Johns Hopkins University, argued in 2023 that "while silicon-based computers are certainly better with numbers, brains are better at learning." He noted that transistor density in computer chip may be approaching its limits, whereas brains, being wired differently, are more energy-efficient and can store large amounts of information. Some researchers claim that even though human brains are slower than machines at processing simple information, they are far better at processing complex information as brains can deal with fewer and more uncertain data, perform both sequential and parallel processing, being highly heterogenous, use incomplete datasets, and is said to outperform non-organic machines in decision-making. Training OIs involve the process of biological learning (BL) as opposed to machine learning (ML) for AIs. == Bioinformatics in OI == OI generates complex biological data, necessitating sophisticated methods for processing and analysis. Bioinformatics provides the tools and techniques to decipher raw data, uncovering the patterns and insights. Researchers have developed a platform named Neuroplatform for experimenting remotely with brain organoids via an API. == Intended functions == Brain-inspired computing hardware aims to emulate the structure and working principles of the brain and could be used to address current limitations in AI technologies. However, brain-inspired silicon chips are still limited in their ability to fully mimic brain function, as most examples are built on digital electronic principles. One study performed OI computation (which they termed Brainoware) by sending and receiving information from the brain organoid using a high-density multielectrode array. By applying spatiotemporal electrical stimulation, nonlinear dynamics, and fading memory properties, as well as unsupervised learning from training data by reshaping the organoid functional connectivity, the study showed the potential of this technology by using it for speech recognition and nonlinear equation prediction in a reservoir computing framework. == Ethical concerns == While researchers are hoping to use OI and biological computing to complement traditional silicon-based computing, there are also questions about the ethics of such an approach. Concerns include the possibility that an organoid could develop sentience or consciousness, and the question of the relationship between a stem cell donor (for growing the organoid) and the respective OI system.
Web application firewall
A Web application firewall (WAF) is a specific form of application firewall that filters, monitors, and blocks HTTP traffic to and from a web service. By inspecting HTTP traffic, it can prevent attacks exploiting a Web application's known vulnerabilities, such as SQL injection, cross-site scripting (XSS), file inclusion, and improper system configuration. Financial institutions often utilize WAFs to help in the mitigation of Web application zero-day vulnerabilities, as well as hard-to-patch bugs or weaknesses through custom attack signature strings. == History == Dedicated Web application firewalls entered the market in the late 1990s during a time when web server attacks were becoming more prevalent. Early WAF products, from Kavado and Gilian technologies, tried to solve the increasing amount of attacks on Web applications in the late 1990s. In 2002, the open-source project ModSecurity was formed in order to make WAF technology more accessible. They finalized a core rule set for protecting Web applications, based on OASIS Web Application Security Technical Committee’s (WAS TC) vulnerability work. In 2003, they expanded and standardized rules through the Open Web Application Security Project’s (OWASP) Top 10 List, an annual ranking for Web security vulnerabilities. This list would become the industry standard for Web application security compliance. Since then, the market has continued to grow and evolve, especially focusing on credit card fraud prevention. With the development of the Payment Card Industry Data Security Standard (PCI DSS), a standardization of control over cardholder data, security has become more regulated in this sector. == Description == A Web application firewall is a special type of application firewall that applies specifically to Web applications. It is deployed in front of Web applications and analyzes bi-directional web-based (HTTP) traffic – detecting and blocking anything malicious. The OWASP provides a broad technical definition for a WAF as “a security solution on the Web application level which – from a technical point of view – does not depend on the application itself”. According to the PCI DSS Information Supplement for requirement 6.6, a WAF is defined as “a security policy enforcement point positioned between a Web application and the client endpoint. This functionality can be implemented in software or hardware, running in an appliance device, or in a typical server running a common operating system. It may be a stand-alone device or integrated into other network components.” In other words, a WAF can be a virtual or physical appliance that prevents vulnerabilities in Web applications from being exploited by outside threats. These vulnerabilities may be because the application itself is a legacy type or was insufficiently coded by design. The WAF addresses these code shortcomings by special configurations of rule-sets, also known as policies. Previously unknown vulnerabilities can be discovered through penetration testing or via a vulnerability scanner. A Web application vulnerability scanner, also known as a web application security scanner, is defined in the SAMATE NIST 500-269 as “an automated program that examines Web applications for potential security vulnerabilities. In addition to searching for Web application-specific vulnerabilities, the tools also look for software coding errors.” Resolving vulnerabilities is commonly referred to as remediation. Corrections to the code can be made in the application, but typically a more prompt response is necessary. In these situations, the application of a custom policy for a unique Web application vulnerability to provide a temporary but immediate fix (known as a virtual patch) may be necessary. WAFs are not an ultimate security solution, rather they are meant to be used in conjunction with other network perimeter security solutions such as network firewalls and intrusion prevention systems to provide a holistic defense strategy. WAFs typically follow a positive security model, a negative security, or a combination of both as mentioned by the SANS Institute. WAFs use a combination of rule-based logic, parsing, and signatures to detect and prevent attacks such as cross-site scripting and SQL injection. In general, features like browser emulation, obfuscation and virtualization, and IP obfuscation are used to attempt to bypass WAFs. The OWASP produces a list of the top ten Web application security flaws. All commercial WAF offerings cover these ten flaws at a minimum. There are non-commercial options as well. As mentioned earlier, the well-known open-source WAF engine called ModSecurity is one of these options. A WAF engine alone is insufficient to provide adequate protection, therefore OWASP along with Trustwave's Spiderlabs help organize and maintain a Core-Rule Set via GitHub to use with the ModSecurity WAF engine. == Deployment options == Although the names for operating mode may differ, WAFs are basically deployed inline in three different ways. According to NSS Labs, deployment options are transparent bridge, transparent reverse proxy, and reverse proxy. "Transparent" refers to the fact that the HTTP traffic is sent straight to the Web application, therefore the WAF is transparent between the client and server. This is in contrast to reverse proxy, where the WAF acts as a proxy, and the client’s traffic is sent directly to the WAF. The WAF then separately sends filtered traffic to Web applications. This can provide additional benefits such as IP masking but may introduce disadvantages such as performance latencies. == JA3 fingerprint == JA3, developed by Salesforce in 2017, is a technique for generating a unique fingerprint for SSL/TLS traffic based on specific fields in the handshake, such as the version, cipher suites, and extensions used by the client. This fingerprint enables the identification and tracking of clients based on the characteristics of their encrypted traffic. In the context of distributed denial of service (DDoS) protection, JA3 fingerprints are used to detect and differentiate malicious traffic, often associated with attack bots, from legitimate traffic, allowing for more precise filtering of potential threats. In September 2023, AWS WAF announced built-in support for JA3, enabling customers to inspect the JA3 fingerprints of incoming requests. JA3 was deprecated in May 2025 in favor of JA4. JA4 is currently patent pending.
Thunderspy
Thunderspy is a type of security vulnerability, based on the Intel Thunderbolt 3 port, first reported publicly on 10 May 2020, that can result in an evil maid (i.e., attacker of an unattended device) attack gaining full access to a computer's information in about five minutes, and may affect millions of Apple, Linux and Windows computers, as well as any computers manufactured before 2019, and some after that. According to Björn Ruytenberg, the discoverer of the vulnerability, "All the evil maid needs to do is unscrew the backplate, attach a device momentarily, reprogram the firmware, reattach the backplate, and the evil maid gets full access to the laptop. All of this can be done in under five minutes." The malicious firmware is used to clone device identities which makes classical DMA attack possible. == History == The Thunderspy security vulnerabilities were first publicly reported by Björn Ruytenberg of Eindhoven University of Technology in the Netherlands on 10 May 2020. Thunderspy is similar to Thunderclap, another security vulnerability, reported in 2019, that also involves access to computer files through the Thunderbolt port. == Impact == The security vulnerability affects millions of Apple, Linux and Windows computers, as well as all computers manufactured before 2019, and some after that. However, this impact is restricted mainly to how precise a bad actor would have to be to execute the attack. Physical access to a machine with a vulnerable Thunderbolt controller is necessary, as well as a writable ROM chip for the Thunderbolt controller's firmware. Additionally, part of Thunderspy, specifically the portion involving re-writing the firmware of the controller, requires the device to be in sleep, or at least in some sort of powered-on state, to be effective. Machines that force power-off when the case is open may assist in resisting this attack to the extent that the feature (switch) itself resists tampering. Due to the nature of attacks that require extended physical access to hardware, it's unlikely the attack will affect users outside of a business or government environment. == Mitigation == The researchers claim there is no easy software solution, and may only be mitigated by disabling the Thunderbolt port altogether. However, the impacts of this attack (reading kernel level memory without the machine needing to be powered off) are largely mitigated by anti-intrusion features provided by many business machines. Intel claims enabling such features would substantially restrict the effectiveness of the attack. Microsoft's official security recommendations recommend disabling sleep mode while using BitLocker. Using hibernation in place of sleep mode turns the device off, mitigating potential risks of attack on encrypted data.
Comparison of color models in computer graphics
This article provides introductory information about the RGB, HSV, and HSL color models from a computer graphics (web pages, images) perspective. An introduction to colors is also provided to support the main discussion. == Basics of color == === Primary colors and hue === First, "color" refers to the human brain's subjective interpretation of combinations of a narrow band of wavelengths of light. For this reason, the definition of "color" is not based on a strict set of physical phenomena. Therefore, even basic concepts like "primary colors" are not clearly defined. For example, traditional "Painter's Colors" use red, blue, and yellow as the primary colors, "Printer's Colors" use cyan, yellow, and magenta, and "Light Colors" use red, green, and blue. "Light colors", more formally known as additive colors, are formed by combining red, green, and blue light. This article refers to additive colors and refers to red, green, and blue as the primary colors. Hue is a term describing a pure color, that is, a color not modified by tinting or shading (see below). In additive colors, hues are formed by combining two primary colors. When two primary colors are combined in equal intensities, the result is a "secondary color". === Color wheel === A color wheel is a tool that provides a visual representation of the relationships between all possible hues. The primary colors are arranged around a circle at equal (120 degree) intervals. (Warning: Color wheels frequently depict "Painter's Colors" primary colors, which leads to a different set of hues than additive colors.) The illustration shows a simple color wheel based on the additive colors. Note that the position (top, right) of the starting color, typically red, is arbitrary, as is the order of green and blue (clockwise, counter-clockwise). The illustration also shows the secondary colors, yellow, cyan, and magenta, located halfway between (60 degrees) the primary colors. == Complementary color == The complement of a hue is the hue that is opposite it (180 degrees) on the color wheel. Using additive colors, mixing a hue and its complement in equal amounts produces white. === Tints and shades === The following discussion uses an illustration involving three projectors pointing to the same spot on a screen. Each projector is capable of generating one hue. The "intensities" of each projector are "matched" and can be equally adjusted from zero to full. (Note: "Intensity" is used here in the same sense as the RGB color model. The subject of matching, or "gamma correction", is beyond the level of this article.) A shade is produced by "dimming" a maximum chroma color. Painters refer to this as "adding black". In our illustration, one projector is set to full intensity, a second is set to some intensity between zero and full, and third is set to zero. "Dimming" is accomplished by decreasing each projector's intensity setting to the same fraction of its start setting. In the shade example, with any fully shaded hue, that all three projectors are set to zero intensity, resulting in black. A tint is produced by "lightening" a maximum chroma color. Painters refer to this as "adding white". In our illustration, one projector is set to full intensity, a second is set to some intensity between zero and full, and third is set to zero. "Lightening" is accomplished by increasing each projector's intensity setting by the same fraction from its start setting to full. In the tinting example, note that the third projector is now contributing. When the hue is fully lightened, all three projectors are each at full intensity, and the result is white. Note an attribute of the total intensity in the additive model. If full intensity for one projector is 1, then a primary color has a combined intensity of 1. A secondary color has a total intensity of 2. White has a total intensity of 3. Tinting, or "adding white", increases the total intensity of the hue. While this is simply a fact, the HSL model will take this fact into account in its design. === Tones === Tone is a general term, typically used by painters, to refer to the effects of reducing the "colorfulness" of a maximum chroma color; painters refer to it as "adding gray". Note that gray is not a color or even a single concept but refers to all the range of values between black and white where all three primary colors are equally represented. The general term is provided as more specific terms have conflicting definitions in different color models. Thus, shading takes a hue toward black, tinting takes a hue towards white, and tones cover the range between. == Choosing a color model == No one color model is necessarily "better" than another. Typically, the choice of a color model is dictated by external factors, such as a graphics tool or the need to specify colors according to the CSS2 or CSS3 standard. The following discussion only describes how the models function, centered on the concepts of hue, shade, tint, and tone. === RGB === The RGB model's approach to colors is important because: It directly reflects the physical properties of "Truecolor" displays As of 2011, most graphic cards define pixel values in terms of the colors red, green, and blue. The typical range of intensity values for each color, 0–255, is based on taking a binary number with 32 bits and breaking it up into four bytes of 8 bits each. 8 bits can hold a value from 0 to 255. The fourth byte is used to specify the "alpha", or the opacity, of the color. Opacity comes into play when layers with different colors are stacked. If the color in the top layer is less than fully opaque (alpha < 255), the color from underlying layers "shows through". In the RGB model, hues are represented by specifying one color as full intensity (255), a second color with a variable intensity, and the third color with no intensity (0). The following provides some examples using red as the full-intensity and green as the partial-intensity colors; blue is always zero: Shades are created by multiplying the intensity of each primary color by 1 minus the shade factor, in the range 0 to 1. A shade factor of 0 does nothing to the hue, a shade factor of 1 produces black: new intensity = current intensity (1 – shade factor) The following provides examples using orange: Tints are created by modifying each primary color as follows: the intensity is increased so that the difference between the intensity and full intensity (255) is decreased by the tint factor, in the range 0 to 1. A tint factor of 0 does nothing, a tint factor of 1 produces white: new intensity = current intensity + (255 – current intensity) tint factor The following provides examples using orange: Tones are created by applying both a shade and a tint. The order in which the two operations are performed does not matter, with the following restriction: when a tint operation is performed on a shade, the intensity of the dominant color becomes the "full intensity"; that is, the intensity value of the dominant color must be used in place of 255. The following provides examples using orange: === HSV === The HSV, or HSB, model describes colors in terms of hue, saturation, and value (brightness). Note that the range of values for each attribute is arbitrarily defined by various tools or standards. Be sure to determine the value ranges before attempting to interpret a value. Hue corresponds directly to the concept of hue in the Color Basics section. The advantages of using hue are The angular relationship between tones around the color circle is easily identified Shades, tints, and tones can be generated easily without affecting the hue Saturation corresponds directly to the concept of tint in the Color Basics section, except that full saturation produces no tint, while zero saturation produces white, a shade of gray, or black. Value corresponds directly to the concept of intensity in the Color Basics section. Pure colors are produced by specifying a hue with full saturation and value Shades are produced by specifying a hue with full saturation and less than full value Tints are produced by specifying a hue with less than full saturation and full value Tones are produced by specifying a hue and both less than full saturation and value White is produced by specifying zero saturation and full value, regardless of hue Black is produced by specifying zero value, regardless of hue or saturation Shades of gray are produced by specifying zero saturation and between zero and full value The advantage of HSV is that each of its attributes corresponds directly to the basic color concepts, which makes it conceptually simple. The perceived disadvantage of HSV is that the saturation attribute corresponds to tinting, so desaturated colors have increasing total intensity. For this reason, the CSS3 standard plans to support RGB and HSL but not HSV. === HSL === The HSL model describes colors in terms of hue, saturation, and lightness (also called luminance). (Note: the definition of sa
Multimedia database
A Multimedia database (MMDB) is a collection of related for multimedia data. The multimedia data include one or more primary media data types such as text, images, graphic objects (including drawings, sketches and illustrations) animation sequences, audio and video. A Multimedia Database Management System (MMDBMS) is a framework that manages different types of data potentially represented in a wide diversity of formats on a wide array of media sources. It provides support for multimedia data types, and facilitate for creation, storage, access, query and control of a multimedia database. == Contents of MMDB == A Multimedia Database (MMDB) hosts one or more multimedia data types (i.e. text, images, graphic objects, audio, video, animation sequences). These data types are broadly categorized into three classes: Static media (time-independent: image and graphic object). Dynamic media (time-dependent: audio, video and animation). Dimensional media(3D game and computer aided drafting programs). === Comparison of multimedia data types === Additionally, a Multimedia Database (MMDB) needs to manage additional information pertaining to the actual multimedia data. The information is about the following: Media data: the actual data representing an object. Media format data: information about the format of the media data after it goes through the acquisition, processing, and encoding phases. Media keyword data: the keyword descriptions, usually relating to the generation of the media data. Media feature data: content dependent data such as contain information about the distribution of colours, the kinds of textures and the different shapes present in an image. The last three types are called metadata as they describe several different aspects of the media data. The media keyword data and media feature data are used as indices for searching purpose. The media format data is used to present the retrieved information. == Requirements of Multimedia databases == Like the traditional databases, Multimedia databases should address the following requirements: Integration Data items do not need to be duplicated for different programs invocations Data independence Separate the database and the management from the application programs Concurrency control Allows concurrent transactions Persistence Data objects can be saved and re-used by different transactions and program invocations Privacy Access and authorization control Integrity control Ensures database consistency between transactions Recovery Failures of transactions should not affect the persistent data storage Query support Allows easy querying of multimedia data Multimedia databases should have the ability to uniformly query data (media data, textual data) represented in different formats and have the ability to simultaneously query different media sources and conduct classical database operations across them. (Query support) They should have the ability to retrieve media objects from a local storage device in a good manner. (Storage support) They should have the ability to take the response generated by a query and develop a presentation of that response in terms of audio-visual media and have the ability to deliver this presentation. (Presentation and delivery support) == Issues and challenges == Multimedia data consists of a variety of media formats or file representations including TIFF, BMP, PPT, IVUE, FPX, JPEG, MPEG, AVI, MID, WAV, DOC, GIF, EPS, PNG, etc. Because of restrictions on the conversion from one format to the other, the use of the data in a specific format has been limited as well. Usually, the data size of multimedia is large such as video; therefore, multimedia data often require a large storage. Multimedia database consume a lot of processing time, as well as bandwidth. Some multimedia data types such as video, audio, and animation sequences have temporal requirements that have implications on their storage, manipulation and presentation, but images, video and graphics data have special constraints in terms of their content. == Application areas == Examples of multimedia database application areas: Digital Libraries News-on-Demand Video-on-Demand Music database Geographic Information Systems (GIS) Telemedicine
Computer audition
Computer audition (CA) or machine listening is the general field of study of algorithms and systems for audio interpretation by machines. Since the notion of what it means for a machine to "hear" is very broad and somewhat vague, computer audition attempts to bring together several disciplines that originally dealt with specific problems or had a concrete application in mind. The engineer Paris Smaragdis, interviewed in Technology Review, talks about these systems — "software that uses sound to locate people moving through rooms, monitor machinery for impending breakdowns, or activate traffic cameras to record accidents." Inspired by models of human audition, CA deals with questions of representation, transduction, grouping, use of musical knowledge and general sound semantics for the purpose of performing intelligent operations on audio and music signals by the computer. Technically this requires a combination of methods from the fields of signal processing, auditory modelling, music perception and cognition, pattern recognition, and machine learning, as well as more traditional methods of artificial intelligence for musical knowledge representation. == Applications == Like computer vision versus image processing, computer audition versus audio engineering deals with understanding of audio rather than processing. It also differs from problems of speech understanding by machine since it deals with general audio signals, such as natural sounds and musical recordings. Applications of computer audition are widely varying, and include search for sounds, genre recognition, acoustic monitoring, music transcription, score following, audio texture, music improvisation, emotion in audio and so on. == Related disciplines == Computer Audition overlaps with the following disciplines: Music information retrieval: methods for search and analysis of similarity between music signals. Auditory scene analysis: understanding and description of audio sources and events. Computational musicology and mathematical music theory: use of algorithms that employ musical knowledge for analysis of music data. Computer music: use of computers in creative musical applications. Machine musicianship: audition driven interactive music systems. == Areas of study == Since audio signals are interpreted by the human ear–brain system, that complex perceptual mechanism should be simulated somehow in software for "machine listening". In other words, to perform on par with humans, the computer should hear and understand audio content much as humans do. Analyzing audio accurately involves several fields: electrical engineering (spectrum analysis, filtering, and audio transforms); artificial intelligence (machine learning and sound classification); psychoacoustics (sound perception); cognitive sciences (neuroscience and artificial intelligence); acoustics (physics of sound production); and music (harmony, rhythm, and timbre). Furthermore, audio transformations such as pitch shifting, time stretching, and sound object filtering, should be perceptually and musically meaningful. For best results, these transformations require perceptual understanding of spectral models, high-level feature extraction, and sound analysis/synthesis. Finally, structuring and coding the content of an audio file (sound and metadata) could benefit from efficient compression schemes, which discard inaudible information in the sound. Computational models of music and sound perception and cognition can lead to a more meaningful representation, a more intuitive digital manipulation and generation of sound and music in musical human-machine interfaces. The study of CA could be roughly divided into the following sub-problems: Representation: signal and symbolic. This aspect deals with time-frequency representations, both in terms of notes and spectral models, including pattern playback and audio texture. Feature extraction: sound descriptors, segmentation, onset, pitch and envelope detection, chroma, and auditory representations. Musical knowledge structures: analysis of tonality, rhythm, and harmonies. Sound similarity: methods for comparison between sounds, sound identification, novelty detection, segmentation, and clustering. Sequence modeling: matching and alignment between signals and note sequences. Source separation: methods of grouping of simultaneous sounds, such as multiple pitch detection and time-frequency clustering methods. Auditory cognition: modeling of emotions, anticipation and familiarity, auditory surprise, and analysis of musical structure. Multi-modal analysis: finding correspondences between textual, visual, and audio signals. === Representation issues === Computer audition deals with audio signals that can be represented in a variety of fashions, from direct encoding of digital audio in two or more channels to symbolically represented synthesis instructions. Audio signals are usually represented in terms of analogue or digital recordings. Digital recordings are samples of acoustic waveform or parameters of audio compression algorithms. One of the unique properties of musical signals is that they often combine different types of representations, such as graphical scores and sequences of performance actions that are encoded as MIDI files. Since audio signals usually comprise multiple sound sources, then unlike speech signals that can be efficiently described in terms of specific models (such as source-filter model), it is hard to devise a parametric representation for general audio. Parametric audio representations usually use filter banks or sinusoidal models to capture multiple sound parameters, sometimes increasing the representation size in order to capture internal structure in the signal. Additional types of data that are relevant for computer audition are textual descriptions of audio contents, such as annotations, reviews, and visual information in the case of audio-visual recordings. === Features === Description of contents of general audio signals usually requires extraction of features that capture specific aspects of the audio signal. Generally speaking, one could divide the features into signal or mathematical descriptors such as energy, description of spectral shape etc., statistical characterization such as change or novelty detection, special representations that are better adapted to the nature of musical signals or the auditory system, such as logarithmic growth of sensitivity (bandwidth) in frequency or octave invariance (chroma). Since parametric models in audio usually require very many parameters, the features are used to summarize properties of multiple parameters in a more compact or salient representation. === Musical knowledge === Finding specific musical structures is possible by using musical knowledge as well as supervised and unsupervised machine learning methods. Examples of this include detection of tonality according to distribution of frequencies that correspond to patterns of occurrence of notes in musical scales, distribution of note onset times for detection of beat structure, distribution of energies in different frequencies to detect musical chords and so on. === Sound similarity and sequence modeling === Comparison of sounds can be done by comparison of features with or without reference to time. In some cases an overall similarity can be assessed by close values of features between two sounds. In other cases when temporal structure is important, methods of dynamic time warping need to be applied to "correct" for different temporal scales of acoustic events. Finding repetitions and similar sub-sequences of sonic events is important for tasks such as texture synthesis and machine improvisation. === Source separation === Since one of the basic characteristics of general audio is that it comprises multiple simultaneously sounding sources, such as multiple musical instruments, people talking, machine noises or animal vocalization, the ability to identify and separate individual sources is very desirable. Unfortunately, there are no methods that can solve this problem in a robust fashion. Existing methods of source separation rely sometimes on correlation between different audio channels in multi-channel recordings. The ability to separate sources from stereo signals requires different techniques than those usually applied in communications where multiple sensors are available. Other source separation methods rely on training or clustering of features in mono recording, such as tracking harmonically related partials for multiple pitch detection. Some methods, before explicit recognition, rely on revealing structures in data without knowing the structures (like recognizing objects in abstract pictures without attributing them meaningful labels) by finding the least complex data representations, for instance describing audio scenes as generated by a few tone patterns and their trajectories (polyphonic voices) and acoustical contours drawn by a tone (c
Digital Michelangelo Project
The Digital Michelangelo Project was a pioneering initiative undertaken during the 1998–1999 academic year to digitize the sculptures and architecture of Michelangelo using advanced laser scanning technology. The project was led by a team of 30 faculty, staff, and students from Stanford University and the University of Washington, with the aim of creating high-resolution 3D models of Michelangelo's works for scholarly, educational, and preservation purposes. == Objectives == The primary goals of the Digital Michelangelo Project were: To apply recent advancements in laser rangefinder technology for digitizing large cultural artifacts. To create detailed digital archives of Michelangelo's sculptures and architectural spaces for future study and analysis. To explore potential educational and curatorial applications for 3D scanned data. === Artworks digitized === The project involved scanning several iconic works by Michelangelo, including: David The Unfinished Slaves (Atlas, Awakening, Bearded, and Youthful) St. Matthew The allegorical statues from the Medici tombs (Night, Day, Dawn, and Dusk) The architectural interiors of the Tribuna del David at the Galleria dell'Accademia and the New Sacristy in the Medici Chapels. == Technology and methodology == === 3D scanning === The project's primary scanner was a laser triangulation rangefinder mounted on a motorized gantry, custom-built by Cyberware Inc. The scanner used a laser sheet to project onto an object, capturing its shape through triangulation. Multiple scans were taken from various angles and combined into a single, detailed 3D mesh. The resolution achieved was fine enough to capture even Michelangelo's chisel marks, with triangles approximately 0.25 mm on each side. In addition to shape data, color data was captured using a spotlight and a secondary camera, enabling the creation of textured 3D models. === Data processing === The project developed a software suite for processing the scanned data. This included: Aligning and merging multiple scans into a seamless 3D model. Filling holes in the geometry caused by inaccessible areas. Correcting color data for lighting inconsistencies and shadowing. Non-photorealistic rendering techniques were also applied, highlighting surface features such as Michelangelo’s chisel marks for enhanced visualization. == Logistical challenges == The scale and complexity of the project presented several challenges: Data size: The dataset for David alone comprised 2 billion polygons and 7,000 color images, occupying 60 GB of storage. Artifact safety: Ensuring the safety of the statues during scanning required extensive crew training, foam-encased equipment, and collision-prevention mechanisms. == Applications and impact == The digitized models have numerous potential applications: Art history: Allowing precise measurements and geometric analysis, such as determining chisel types or evaluating structural balance. Education: Providing new ways to study art, including interactive viewing from unconventional angles and with custom lighting. Museum curation: Enhancing visitor experiences through interactive kiosks and virtual models. The project demonstrated the potential for 3D technology to preserve and disseminate cultural heritage. == Data distribution == The project's models are available through Stanford University for scholarly purposes, under strict licensing due to Italian intellectual property laws. === ScanView === To provide public access to the 3D models while respecting usage restrictions, the project developed ScanView, a client/server rendering system. ScanView allows users to view and interact with high-resolution 3D models without downloading the data. The client component consists of a freely available viewer program and simplified 3D models. Users can navigate these models locally, adjusting position, orientation, lighting, and surface appearance. When a user finalizes a view, the client queries a remote server for a high-resolution rendering of the model, which is sent back to overwrite the simplified version on the user’s screen. A typical query-response cycle takes 1–2 seconds, depending on network conditions. To protect the models from unauthorized reconstruction, the system employs several security measures, including: Encrypting queries Perturbing viewpoint and lighting parameters Adding noise and warping rendered images Compressing images before transmission ScanView operates on Windows-based PCs and provides access to selected models, including David and St. Matthew, as well as other artifacts such as fragments of the Forma Urbis Romae and items from the Stanford 3D Scanning Repository. == Sponsors == The Digital Michelangelo Project was supported by Stanford University, Interval Research Corporation, and the Paul G. Allen Foundation for the Arts.