Средства цифрового определения и стабилизации температурного режима сушильного аппарата печатных машин

У статті представлена організація цифрових програмно-апаратних засобів визначення та стабілізації температурного режиму сушильного апарату друкарських машин, які забезпечують об’єктивність інтегральної оцінки вимірювань в реальному масштабі часу на основі проблемної орієнтації.The article presents the organization of digital software and hardware definitions and stabilizing temperature drying machine of printing machines, which provides an objective assessment of the integrated measurements in real time, based on problem orientation. The flow diagram of the system of the effective digital stabilizing of temperature condition of drying vehicle, which provides objectivity of integral estimation of temperature of drying for its adjusting due to the use of methods of statistical evaluation of parameters in the process of control of temperature condition is developed. Researches rotined that realization of process of objective determination and stabilizing of temperature condition of drying vehicle of printing presses real-time with the use of digital facilities of treatment of information and objective methods of statistical evaluation of temperature parameters allowed to promote exactness and authenticity of processes of stabilizing of temperature condition in printing presses.В статье представлена организация цифровых программно-аппаратных средств определения и стабилизации температурного режима сушильного аппарата печатных машин, которые обеспечивают объективность интегральной оценки измерений в реальном масштабе времени на основе проблемной ориентации

Learning from Jesus’ Wife: What Does Forgery Have to Do with the Digital Humanities?

McGrath’s chapter on the so-called Gospel of Jesus’ Wife sets aside as settled the question of the papyrus’ authenticity, and explores instead what we can learn about the Digital Humanities and scholarly interaction in a digital era from the way the discussions and investigations of that work unfolded, and how issues that arose were handled. As news of purported new finds can spread around the globe instantaneously facilitated by current technology and social media, how can academics utilize similar technology to evaluate authenticity, but even more importantly, inform the broader public about the importance of provenance, and the need for skepticism towards finds that appear via the antiquities market

Sampling the past:a tactile approach to interactive musical instrument exhibits in the heritage sector

In the last decade, the heritage sector has had to adapt to a shifting cultural landscape of public expectations and attitudes towards ownership and intellectual property. One way it has done this is to focus on each visitor’s encounter and provide them with a sense of experiential authenticity.There is a clear desire by the public to engage with music collections in this way, and a sound museological rationale for providing such access, but the approach raises particular curatorial problems, specifically how do we meaningfully balance access with the duty to preserve objects for future generations?This paper charts the development of one such project. Based at Fenton House in Hampstead, and running since 2008, the project seeks to model digitally the keyboard instruments in the Benton Fletcher Collection and provide a dedicated interactive exhibit, which allows visitors to view all of the instruments in situ, and then play them through a custom-built two-manual MIDI controller with touch-screen interface.We discuss the approach to modelling, which uses high-definition sampling, and highlight the strengths and weaknesses of the exhibit as it currently stands, with particular focus on its key shortcoming: at present, there is no way to effectively model the key feel of a historic keyboard instrument.This issue is of profound importance, since the feel of any instrument is fundamental to its character, and shapes the way performers relate to it. The issue is further compounded if we are to consider a single dedicated keyboard as being the primary mode of interface for several instrument models of different classes, each with its own characteristic feel.We conclude by proposing an outline solution to this problem, detailing early work on a real-time adaptive haptic keyboard interface that changes its action in response to sampled resistance curves, measured on a key-by-key basis from the original instruments

Maintaining authenticity: transferring patina from the real world to the digital to retain narrative value

This research is concerned with utilizing new technologies to harvest existing narrative, symbolic and emotive value for use in a digital environment enabling "emotional durability" (Chapman, 2005) in future design. The projects discussed in this paper have been conducted as part of PhD research by Rosemary Wallin into 'Technology for Sustainable Luxury' at University of the Arts London, and visual effects technology research undertaken by Florian Stephens at University of West London. Jonathan Chapman describes vast consumer waste being "symptomatic of failed relationships" between consumers and the goods they buy, and suggests approaches for designing love, dependency, and even cherishability into products to give them a longer lifespan. 'Failed relationships' might also be observed in the transference of physical objects to their virtual cousins. Consider the throwaway nature of digital photography when compared to the carefully preserved prints in a family album. Apple often use a skeuomorphic (Hobbs, 2012) approach to user interface design, to digitally replicate the patina and 'value' of real objects. However, true transference of physical form and texture presumably occurs when an object is scanned and a virtual 3D model is created. This paper presents three practice-based approaches to storing and transferring patina from an original object, utilizing high resolution scanning, photogrammetry, mobile applications and 3D print technologies. The objective is not merely accuracy, but evocation of the emotive data connecting the digital and physical realm. As the human face holds experience in the lines and wrinkles of the skin, so the surface of an object holds its narrative. From the signs of the craftsman to the bumps and scratches that accumulate over the life of an item over time and generations, marks gather like evidence to be read by a familiar or a trained eye. According to the time and the culture these marks are read within, they will either add to or detract from its value. These marks can be captured via complex 3D modelling and scanning technologies, which allow detailed forms to be recreated as dense 3D wireframe, but the result is often unsatisfying. 3D greyscale surfaces can never fully capture the richness of patina. Authentic surfaces require other qualities such as colour, texture and depth, but there is something else - more difficult to define. Donald A. Norman expands on the idea of emotion and objects by describing three 'levels’ of design "visceral, behavioural and reflective". Visceral is based on "look, feel and sound", behavioural is focused on an object’s use, and reflective is concerned with its message. New technology is commonly seen in terms of its ability to increase efficiency, but this research has longer-term objectives: to repair or even rebuild Chapman's 'broken relationships' and enable ‘emotionally durable' design. The PhD that has formed the context for this paper examines the concept of luxury value, and how and why the value of patina has been replaced by fashion. Luxury goods are aspirational items often emulated in the bulk of mass production. If we are to alter behaviour around consumption, one approach might be to use technology to harvest patina as a way to retain emotional, symbolic and poetic value with a view to maintaining a relationship with the things we buy

A Type of Preservation: Modern Recreations of Typeface at Genesee Country Village & Museum and the Cary Graphics Art Collection

Historical objects that serve educational and interpretive purposes face frequent use and can easily be damaged, particularly when those objects are designed to be disposed of following high usage. Conserving these artifacts through both digital and physical reproductions enables museum staff, scholars, and the general public to tell a more complete history of the objects and of material culture. To demonstrate the necessity of preserving functional artifacts, this thesis examined historic wooden typefaces used for document printing to answer the following question: do digital and physical reproductions of wood type fonts allow for preservation of the original fonts while maintaining an authentic, participatory experience for visitors? By working with the collection of typefaces at Genesee Country Village & Museum in Mumford, New York and the Cary Graphic Art Collection at Rochester Institute of Technology, I recreated damaged types with methods tested by scholars of printing history to demonstrate the value of physical and digital reproductions. I also showed how such efforts enable museums and other collecting institutions to view type as both an art form and a means of production. This research contributes to the ongoing discussion on the use of facsimiles in the museum space for exhibition and educational purposes and the conversations surrounding authenticity in museums

Optical Font Recognition in Smartphone-Captured Images, and its Applicability for ID Forgery Detection

In this paper, we consider the problem of detecting counterfeit identity documents in images captured with smartphones. As the number of documents contain special fonts, we study the applicability of convolutional neural networks (CNNs) for detection of the conformance of the fonts used with the ones, corresponding to the government standards. Here, we use multi-task learning to differentiate samples by both fonts and characters and compare the resulting classifier with its analogue trained for binary font classification. We train neural networks for authenticity estimation of the fonts used in machine-readable zones and ID numbers of the Russian national passport and test them on samples of individual characters acquired from 3238 images of the Russian national passport. Our results show that the usage of multi-task learning increases sensitivity and specificity of the classifier. Moreover, the resulting CNNs demonstrate high generalization ability as they correctly classify fonts which were not present in the training set. We conclude that the proposed method is sufficient for authentication of the fonts and can be used as a part of the forgery detection system for images acquired with a smartphone camera

Best Effort and Practice Activation Codes

Activation Codes are used in many different digital services and known by many different names including voucher, e-coupon and discount code. In this paper we focus on a specific class of ACs that are short, human-readable, fixed-length and represent value. Even though this class of codes is extensively used there are no general guidelines for the design of Activation Code schemes. We discuss different methods that are used in practice and propose BEPAC, a new Activation Code scheme that provides both authenticity and confidentiality. The small message space of activation codes introduces some problems that are illustrated by an adaptive chosen-plaintext attack (CPA-2) on a general 3-round Feis- tel network of size 2^(2n) . This attack recovers the complete permutation from at most 2^(n+2) plaintext-ciphertext pairs. For this reason, BEPAC is designed in such a way that authenticity and confidentiality are in- dependent properties, i.e. loss of confidentiality does not imply loss of authenticity.Comment: 15 pages, 3 figures, TrustBus 201

Why Print and Electronic Resources Are Essential to the Academic Law Library

Libraries have supported multiple formats for decades, from paper and microforms to audiovisual tapes and CDs. However, the newest medium, digital transmission, has presented a wider scope of challenges and caused library patrons to question the established and recognized multiformat library. Within the many questions posed, two distinct ones echo repeatedly. The first doubts the need to sustain print in an increasingly digital world, and the second warns of the dangers of relying on a still-developing technology. This article examines both of these positions and concludes that abandoning either format would translate into a failure of service to patrons, both present and future