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LCD crosstalk
LCD crosstalk is a visual defect in an LCD screen which occurs because of interference between adjacent pixels. Owing to the way rows and columns in the display are addressed, and charge is pushed around, the data on one part of the display has the potential to influence what is displayed elsewhere. This is generally known as crosstalk, and in matrix displays typically occurs in the horizontal and vertical directions. Crosstalk used to be a serious problem in the old passive-matrix (STN) displays, but is rarely discernable in modern active-matrix (TFT) displays. A fortunate side effect of inversion (see above) is that, for most display material, what little crosstalk there is largely cancelled out. For most practical purposes, the level of crosstalk in modern LCDs is negligible. Certain patterns, particularly those involving fine dots, can interact with the inversion and reveal visible crosstalk. If you try moving a small Window in front of the inversion pattern (above) which makes your screen flicker the most, you may well see crosstalk in the surrounding pattern. Different patterns are required to reveal crosstalk on different displays (depending on their inversion scheme).
Play Integrity API
Play Integrity API (formerly known as SafetyNet) consists of several application programming interfaces (APIs) offered by the Google Play Services to support security sensitive applications and enforce DRM. Currently, these APIs include device integrity verification, app verification, recaptcha and web address verification. It uses an environment called DroidGuard to perform the attestation. == Attestation == The SafetyNet Attestation API, one of the APIs under the SafetyNet umbrella, provides verification that the integrity of the device is not compromised. In practice, non-official ROMs such as LineageOS fail the hardware attestation and thus prevent the user from using a non-compliant ROM with third-party apps (mainly banking) that require the API. Due to this, some consider this a monopolistic practice deterring the entrance of competing mobile operating systems in the market. It requires a network connection to Google servers and validates the hardware signatures. Amongst the checks, the API looks for bootloader unlock status, ROM signatures, kernel strings, it also uses AVB2.0 and dm-verity attestations. Upon successful checks, Google Play will mark the device as Certified. The attestation runs in an environment called DroidGuard (com.google.android.gms.unstable). The SafetyNet Attestation API (one of the four APIs under the SafetyNet umbrella) has been deprecated. As of 6 October 2023, Google planned to replace it with the Play Integrity API by the end of January 2025. The transition ended on 20 May 2025, breaking applications which hadn't been updated. These attestations are offered by Google Play Services and thus are not available on free Android environments, like AOSP. Therefore, developers can require the API to be available and may refuse to execute on AOSP builds. == Google Play Protect == Under the same umbrella, Play Protect is a mechanism to find and remove "vulnerable" apps from one's Android device as well as store apps. Although it's meant to scan for malware-containing apps, it also looks for non-DRM compliant apps. == Criticism == Multiple groups have criticised SafetyNet and the Play Integrity API. Criticisms include that it offers weaker protection compared to alternatives such as Android's hardware attestation API, which provides a stronger form of verification while having the ability to remain compatible with more secure Android operating systems like GrapheneOS. Critics argued it undermines competition by effectively requiring developers to rely on Google's proprietary services, strengthening its monopoly over the Android ecosystem and disadvantaging alternative, privacy-focused operating systems. Users have also developed tools, such as the Play Integrity Fix module for Magisk/KernelSU/APatch, which tricks the attestation using leaked fingerprints of vulnerable devices. Furthermore, some have questioned the effectiveness of the attestation, claiming it does not deliver the level of security promised by Google and instead serves more as a form of vendor lock-in than a meaningful security measure. Activists have also raised concerns that it may violate antitrust and competition laws, like the Digital Markets Act.
Computer Graphics International
Computer Graphics International (CGI) is one of the oldest annual international conferences on computer graphics. It is organized by the Computer Graphics Society (CGS). Researchers across the whole world are invited to share their experiences and novel achievements in various fields - like computer graphics and human-computer interaction. Former conferences have been held recently in Hong Kong (China), Geneva (Switzerland), Shanghai (China), Geneva (virtually), Calgary (Canada), Bintan (Indonesia) and Yokohama (Japan). == Awards == Starting in the year of 2013, CGI has given yearly a Best Paper Award and a Career Achievement Award. == Venues ==
Cybernetic Serendipity
Cybernetic Serendipity was an exhibition of cybernetic art curated by Jasia Reichardt, shown at the Institute of Contemporary Arts, London, England, from 2 August to 20 October 1968, and then toured across the United States. Two stops in the United States were the Corcoran Annex (Corcoran Gallery of Art), Washington, D.C., from 16 July to 31 August 1969, and the newly opened Exploratorium in San Francisco, from 1 November to 18 December 1969. == Content == One part of the exhibition was concerned with algorithms and devices for generating music. Some exhibits were pamphlets describing the algorithms, whilst others showed musical notation produced by computers. Devices made musical effects and played tapes of sounds made by computers. Peter Zinovieff lent part of his studio equipment - visitors could sing or whistle a tune into a microphone and his equipment would improvise a piece of music based on the tune. Another part described computer projects such as Gustav Metzger's self-destructive Five Screens With Computer, a design for a new hospital, a computer programmed structure, and dance choreography. The machines and installations were a very noticeable part of the exhibition. Gordon Pask produced a collection of large mobiles (Colloquy of Mobiles (1968)) with interacting parts that let the viewers join in the conversation. Many machines formed kinetic environments or displayed moving images. Bruce Lacey contributed his radio-controlled robots and a light-sensitive owl. Nam June Paik was represented by Robot K-456 and televisions with distorted images. Jean Tinguely provided two of his painting machines. Edward Ihnatowicz's biomorphic hydraulic ear (Sound Activated Mobile (SAM, 1968)) turned toward sounds and John Billingsley's Albert 1967 turned to face light. Wen-Ying Tsai presented his interactive cybernetic sculptures of vibrating stainless-steel rods, stroboscopic light, and audio feedback control. Several artists exhibited machines that drew patterns that the visitor could take away, or involved visitors in games. Cartoonist Rowland Emett designed the mechanical computer Forget-me-not, which was commissioned by Honeywell. Another section explored the computer's ability to produce text - both essays and poetry. Different programs produced Haiku, children's stories, and essays. One of the first computer-generated poems, by Alison Knowles and James Tenney, was included in the exhibition and catalogue. Computer-generated movies were represented by John Whitney's Permutations and a Bell Labs movie on their technology for producing movies. Some samples included images of tesseracts rotating in four dimensions, a satellite orbiting the Earth, and an animated data structure. Computer graphics were also represented, including pictures produced on cathode ray oscilloscopes and digital plotters. There was a variety of posters and graphics demonstrating the power of computers to do complex (and apparently random) calculations. Other graphics showed a simulated Mondrian and the iconic decreasing squares spiral that appeared on the exhibition's poster and book. The Boeing Company exhibited their use of wireframe graphics. The innovative computer-generated sculpture, Quad 1, was displayed at the Cybernetic Serendipity exhibit. Created by the American abstract expressionist sculptor, Robert Mallary, in 1968, Quad 1 is widely believed to be the world's first Computer Aided Design sculpture. Keith Albarn & Partners contributed to the design of the exhibition. Reflecting the prominence of music in the show, a ten-track album Cybernetic Serendipity Music was released by the ICA to accompany the show. Artists featured included Iannis Xenakis, John Cage, and Peter Zinovieff, a detail of whose graphic score for 'Four Sacred April Rounds’ (1968) was used as the cover artwork. == Attendance == Time magazine noted that there had been 40,000 visitors to the London exhibition. Other reports suggested visitor numbers were as high as 44,000 to 60,000. However, the ICA did not accurately count visitors. == After-effects == The exhibition provided the energy for the formation of British Computer Arts Society which continued to explore the interaction between science, technology and art, and put on exhibitions (for example Event One at the Royal College of Art). Several pieces were purchased by the Exploratorium in 1971, some of which are on display to this day. In 2014 the ICA held a retrospective exhibition Cybernetic Serendipity: A Documentation which included documents, installation photographs, press reviews and publications and a series of discussions in one of which Peter Zinovieff took part. To coincide with the exhibition, Cybernetic Serendipity Music was re-released as a limited-edition vinyl LP by The Vinyl Factory. The Victoria and Albert Museum marked the 50th anniversary with an exhibition in 2018 entitled "Chance and Control: Art in the Age of Computers". The V&A exhibition included many works by artists who featured in the original ICA show, plus related ephemera. "Chance and Control" subsequently toured to Chester Visual Arts and Firstsite, Colchester. In 2020, The Centre Pompidou exhibited the replica of Gordon Pask's 1968 Colloquy of Mobiles, reproduced by Paul Pangaro and TJ McLeish in 2018. In 2022 the Australian National University's School of Cybernetics launched the school by presenting an exhibition Australian Cybernetic: a point through time. The exhibition included works from Cybernetic Serendipity (1968), Australia ‘75: Festival of Creative Arts and Science (1975), and contemporary pieces curated by the School of Cybernetics. In describing Reichardt's Cybernetic Serendipity exhibition the school stated that it "represented points of expanding the cybernetic imagination" and was a "ground-breaking" "glimpse of a future in which computers were entangled with people and cultures, and through this she fashioned a blueprint for the future of computing that has since inspired generations".
Molecular graphics
Molecular graphics is the discipline and philosophy of studying molecules and their properties through graphical representation. IUPAC limits the definition to representations on a "graphical display device". Ever since Dalton's atoms and Kekulé's benzene, there has been a rich history of hand-drawn atoms and molecules, and these representations have had an important influence on modern molecular graphics. Colour molecular graphics are often used on chemistry journal covers artistically. == History == Prior to the use of computer graphics in representing molecular structure, Robert Corey and Linus Pauling developed a system for representing atoms or groups of atoms from hard wood on a scale of 1 inch = 1 angstrom connected by a clamping device to maintain the molecular configuration. These early models also established the CPK coloring scheme that is still used today to differentiate the different types of atoms in molecular models (e.g. carbon = black, oxygen = red, nitrogen = blue, etc). This early model was improved upon in 1966 by W.L. Koltun and are now known as Corey-Pauling-Koltun (CPK) models. The earliest efforts to produce models of molecular structure was done by Project MAC using wire-frame models displayed on a cathode ray tube in the mid 1960s. In 1965, Carroll Johnson distributed the Oak Ridge thermal ellipsoid plot (ORTEP) that visualized molecules as a ball-and-stick model with lines representing the bonds between atoms and ellipsoids to represent the probability of thermal motion. Thermal ellipsoid plots quickly became the de facto standard used in the display of X-ray crystallography data, and are still in wide use today. The first practical use of molecular graphics was a simple display of the protein myoglobin using a wireframe representation in 1966 by Cyrus Levinthal and Robert Langridge working at Project MAC. Among the milestones in high-performance molecular graphics was the work of Nelson Max in "realistic" rendering of macromolecules using reflecting spheres. Initially much of the technology concentrated on high-performance 3D graphics. During the 1970s, methods for displaying 3D graphics using cathode ray tubes were developed using continuous tone computer graphics in combination with electro-optic shutter viewing devices. The first devices used an active shutter 3D system, generating different perspective views for the left and right channel to provide the illusion of three-dimensional viewing. Stereoscopic viewing glasses were designed using lead lanthanum zirconate titanate (PLZT) ceramics as electronically controlled shutter elements. Active 3D glasses require batteries and work in concert with the display to actively change the presentation by the lenses to the wearer's eyes. Many modern 3D glasses use a passive, polarized 3D system that enables the wearer to visualize 3D effects based on their own perception. Passive 3D glasses are more common today since they are less expensive. The requirements of macromolecular crystallography also drove molecular graphics because the traditional techniques of physical model-building could not scale. The first two protein structures solved by molecular graphics without the aid of the Richards' Box were built with Stan Swanson's program FIT on the Vector General graphics display in the laboratory of Edgar Meyer at Texas A&M University: First Marge Legg in Al Cotton's lab at A&M solved a second, higher-resolution structure of staph. nuclease (1975) and then Jim Hogle solved the structure of monoclinic lysozyme in 1976. A full year passed before other graphics systems were used to replace the Richards' Box for modelling into density in 3-D. Alwyn Jones' FRODO program (and later "O") were developed to overlay the molecular electron density determined from X-ray crystallography and the hypothetical molecular structure. === Timeline === == Types == === Ball-and-stick models === In the ball-and-stick model, atoms are drawn as small sphered connected by rods representing the chemical bonds between them. === Space-filling models === In the space-filling model, atoms are drawn as solid spheres to suggest the space they occupy, in proportion to their van der Waals radii. Atoms that share a bond overlap with each other. === Surfaces === In some models, the surface of the molecule is approximated and shaded to represent a physical property of the molecule, such as electronic charge density. === Ribbon diagrams === Ribbon diagrams are schematic representations of protein structure and are one of the most common methods of protein depiction used today. The ribbon shows the overall path and organization of the protein backbone in 3D, and serves as a visual framework on which to hang details of the full atomic structure, such as the balls for the oxygen atoms bound to the active site of myoglobin in the adjacent image. Ribbon diagrams are generated by interpolating a smooth curve through the polypeptide backbone. α-helices are shown as coiled ribbons or thick tubes, β-strands as arrows, and non-repetitive coils or loops as lines or thin tubes. The direction of the polypeptide chain is shown locally by the arrows, and may be indicated overall by a colour ramp along the length of the ribbon.
Lost Art-Database
The Lost Art-Datenbank is an online database published by the German Lost Art Foundation (Deutsches Zentrum Kulturgutverluste. It contains information on cultural objects looted from Jewish collectors or transferred due to Nazi persecution during the Nazi era. Until 2015, it was managed by the Koordinierungsstelle für Kulturgutverluste (Magdeburg Coordination Office). == Creation == Following the Washington Conference of 1998, and the commitments to provide more transparency regarding looted art, Germany launched the Lost Art Database in 2000 order to help Holocaust victims and their families track down artworks that had been looted from them or lost due to Nazi persecution. == Functionality == The Lost Art Database lists art and books and other cultural objects that were lost, seized, stolen or forceably sold during the Nazi era. The database is divided into search requests from victims' families, heirs or institutions and "found" reports from cultural institutions on items with unresolved provenance gaps from the Nazi periods. The section on reports of finds lists objects that are known to have been unlawfully seized or relocated as a result of the war. In addition, reports are published here on cultural objects for which an uncertain or incomplete provenance may indicate a possible unlawful seizure or war-related relocation. The publication of reports in the Lost Art Internet Database is carried out on behalf of and with the consent of the reporting persons and institutions. The responsibility for the content of the reports lies with these legal or natural persons. There have been controversies over which items should be included in the database. Lost Art is based on the Washington Principles adopted in 1998, which Germany has committed itself to implementing (Joint Declaration, 1999). The Lost Art Database is considered a key resource in the search for looted art and the victims of persecution. Every item in the Lost Art Database has an identifier, known as a Lost Art ID. Proveana is the linked research database. == Other lost art databases == Other countries have launched databases to help identify Nazi looted art. Each database has its own area of focus. The German Lost Art Database allows families or heirs to submit information. Other countries have databases that focus on looted artworks that have not been found or artworks that were repatriated to the national authorities after the defeat of the Nazis but were never returned to their original owners. Other databases have been created for stolen antiquities, looted art from colonial era, art stolen from Syria, Iraq, Ukraine, or from museums or collectors.