In computing, a human-readable medium or human-readable format is any encoding of data or information that can be naturally read by humans, resulting in human-readable data. It is often encoded as ASCII or Unicode text, rather than as binary data. In most contexts, the alternative to a human-readable representation is a machine-readable format or medium of data primarily designed for reading by electronic, mechanical or optical devices, or computers. For example, Universal Product Code (UPC) barcodes are very difficult to read for humans, but very effective and reliable with the proper equipment, whereas the strings of numerals that commonly accompany the label are the human-readable form of the barcode information. Since any type of data encoding can be parsed by a suitably programmed computer, the decision to use binary encoding rather than text encoding is usually made to conserve storage space. Encoding data in a binary format typically requires fewer bytes of storage and increases efficiency of access (input and output) by eliminating format parsing or conversion. With the advent of standardized, highly structured markup languages, such as Extensible Markup Language (XML), the decreasing costs of data storage, and faster and cheaper data communication networks, compromises between human-readability and machine-readability are now more common-place than they were in the past. This has led to humane markup languages and modern configuration file formats that are far easier for humans to read. In addition, these structured representations can be compressed very effectively for transmission or storage. Human-readable protocols greatly reduce the cost of debugging. Various organizations have standardized the definition of human-readable and machine-readable data and how they are applied in their respective fields of application, e.g., the Universal Postal Union. Often the term human-readable is also used to describe shorter names or strings, that are easier to comprehend or to remember than long, complex syntax notations, such as some Uniform Resource Locator strings. Occasionally "human-readable" is used to describe ways of encoding an arbitrary integer into a long series of English words. Compared to decimal or other compact binary-to-text encoding systems, English words are easier for humans to read, remember, and type in.
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).
The Holocaust and social media
The representation of the Holocaust on social media has been a subject of scholarly inquiry and media attention. == Selfies at Holocaust memorial sites == Some visitors take selfies at Holocaust memorials, which has been the subject of controversy. In 2018, Rhian Sugden, a British model, received criticism after posting a selfie at the Memorial to the Murdered Jews of Europe in Berlin with the caption "ET phone home". She later removed the caption, but defended taking the photograph. Other celebrities have also been criticised for photographs at the Berlin memorial, including Indian actress Priyanka Chopra and US politician Pete Buttigieg, whose husband posted a photograph of him at the memorial on a personal social media account. The Israeli artist and satirist Shahak Shapira set up the website yolocaust.de in 2017 to expose people who take inappropriate selfies at the Holocaust memorial in Berlin. Shapira went through thousands of selfies posted to social media sites such as Facebook, Instagram, Tinder, and Grindr, choosing the twelve that he found most offensive. When the images were moused over, the website replaces the memorial backdrop with black and white images of Nazi victims. "Yolocaust" is a portmanteau of "Holocaust" and YOLO, an acronym for "you only live once". The website went viral, receiving 1.2 million views in the first 24 hours after its launch. Shapira honored requests to take down all of the photographs, which he had used without permission, and the website remains with only a textual documentation of the project. In an analysis of comments by Internet users on the project, Christoph Bareither estimated that 75% were positive. However, the memorial's architect, Peter Eisenman, criticized the website. In his 2018 book Postcards from Auschwitz, Grinnell professor Daniel P. Reynolds defends the practice of selfie-taking at Holocaust sites. In 2019, the Auschwitz-Birkenau State Museum requested that visitors not take inappropriate selfies, although the museum's staff acknowledged that other visitors take selfies in a thoughtful and respectful manner, which they did not criticize. In an academic paper, Gemma Commane and Rebekah Potton analyze the use of Instagram to share tourist photographs at Holocaust sites and conclude that "Instagram encourages conversation and empathy, keeping the Holocaust visible in youth discourses". According to their analysis, most images are tagged with respectful hashtags such as #tragic, #remembrance, and #sadness. The Auschwitz museum has an official Instagram account, auschwitzmemorial, which it uses to share selected appropriate Instagram posts. However, the image feed for the hashtag "Auschwitz" includes potentially offensive images such as an image of "Nazi Vs. Jews #beerpong". This image, according to the authors, expresses "mockery and contempt" for Holocaust victims. They also document offensive memes using images of Holocaust atrocities and shared on Instagram. Some social media users post in order to criticize what they see as inappropriate behavior at Holocaust sites, with one commenting, "Taking photos posing next to razor wire, selfies with victim's hair in the background, and even group shots in front of the crematoria had to be seen to be believed." == Assessment of tourism == Social media posts have been used by researchers to analyze the phenomenon of Holocaust-related tourism. == Social media groups == People have created groups on Facebook to discuss issues related to the Holocaust. One paper analyses two such groups, "The Holocaust and My Family" and "The Descendants of the Victims and Survivors of the Holocaust" in which people engage in collective trauma processing. == Eva.stories == In 2019, Israeli high-tech entrepreneur Mati Kochavi created a fictitious Instagram account for Eva Heyman, a Hungarian-Jewish girl who was murdered in Auschwitz concentration camp. The project met with mixed reception. Israeli prime minister Benjamin Netanyahu praised the project, saying that it "exposes the immense tragedy of our people through the story of one girl". == Holocaust denial == The issue of Holocaust denial on social media has also attracted attention. In October 2020, Facebook reversed its policy and banned Holocaust denial from the platform. Founder Mark Zuckerberg had previously argued that such content should not be banned on freedom of speech grounds.
Awwwards
Awwwards (Awwwards Online SL) is an organization that hosts web design competitions and conferences across Europe and the United States. Website owners and developers can participate by submitting their websites for review. Submissions are assessed by a jury, and top entries are presented and awarded prizes on a rotational basis. == Nomination process == Web designers submit their websites through Awwwards' platform for consideration for the Site of the Day. A jury, composed of industry professionals, and the Awwwards community evaluate the entries. The best daily sites are published annually in "The 365 Best Websites Around the World" book. == Jury == The jury consists of international designers, developers, and agencies who assess the creativity, technical skills, and insight of the submitted web projects. The panel's expertise ensures a comprehensive review process. === Developer Award === Awwwards, in partnership with Microsoft, created the Developer Award to recognize web developers who demonstrate excellence in creating websites that meet modern standards. The award highlights websites that work seamlessly across various platforms and devices, using best practices in HTML5, JavaScript, and CSS. == Annual winners == Some prominent Site of the Year winners include Mercedes-Benz, Bloomberg L.P., Bose Corporation, Warner Brothers, Volkswagen, Uber, and Google. == Awwwards conference == Awwwards also organizes two-day conferences featuring speakers from major tech companies and industry leaders such as Microsoft, Google, Spotify, Adobe, Opera, and Smashing Magazine. These events focus on the latest trends in web design and development. Speakers at Awwwards conferences have included notable figures in the design and technology industry such as Stefan Sagmeister, Paula Scher, and design leaders from companies including Wix. == Corporate affairs == === Platform === Awwwards operates an online platform where web designers and developers submit websites for evaluation and awards. Submitted projects are reviewed by a jury based on design, usability, creativity, and content. The platform also serves as a community hub for discovering digital trends, showcasing work, and accessing educational resources including talks and interviews. Design professionals from international companies have participated in Awwwards events and platform content. For example, Wix, a cloud-based web development company known for its website builder tools, has featured prominently in Awwwards conferences, with its design leadership contributing to discussions on design trends and creative thinking.
Web3D
Web3D, also called 3D Web, is a group of technologies to display and navigate websites using 3D computer graphics. These technologies enable applications such as online games, virtual reality experiences, interactive product demonstrations, and 3D data visualization directly within web browsers. The emergence of Web3D dates back to 1994, with the advent of VRML, a file format designed to store and display 3D graphical data on the World Wide Web. Modern Web3D is primarily powered by WebGL, a JavaScript API that enables hardware-accelerated 3D graphics rendering in web browsers without requiring plug-ins. == Pre-WebGL era == The emergence of Web3D dates back to 1994, with the advent of VRML, a file format designed to store and display 3D graphical data on the World Wide Web. In October 1995, at Internet World, Template Graphics Software demonstrated a 3D/VRML plug-in for the beta release of Netscape 2.0 by Netscape Communications. The Web3D Consortium was formed to further the collective development of the format. VRML and its successor, X3D, have been accepted as international standards by the International Organization for Standardization and the International Electrotechnical Commission. The main drawback of the technology was the requirement to use third-party browser plug-ins to perform 3D rendering, which slowed the adoption of the standard. Between 2000 and 2010, one of these plug-ins, Adobe Flash Player, was widely installed on desktop computers and was used to display interactive web pages and online games and to play video and audio content. Several Flash-based frameworks appeared that used software rendering and ActionScript 3 to perform 3D computations such as transformations, lighting, and texturing. Most notable among them were Papervision3D and Away3D. Eventually, Adobe developed Stage3D, an API for rendering interactive 3D graphics with GPU-acceleration for its Flash player and AIR products, which was adopted by software vendors. In 2009, an open-source 3D web technology called O3D was introduced by Google. It also required a browser plug-in, but contrary to Flash/Stage3D, was based on JavaScript API. O3D was geared not only for games but also for advertisements, 3D model viewers, product demos, simulations, engineering applications, control and monitoring systems. == WebGL and glTF == WebGL (short for "Web Graphics Library") evolved out of the Canvas 3D experiments started by Vladimir Vukićević at Mozilla Foundation. Vukićević first demonstrated a Canvas 3D prototype in 2006. By the end of 2007, both Mozilla and Opera had made their own separate implementations. In early 2009, the nonprofit technology consortium Khronos Group started the WebGL Working Group, with initial participation from Apple, Google, Mozilla, Opera, and others. Version 1.0 of the WebGL specification was released in March 2011. Major advantages of the new technology include conformity with web standards and near-native 3D performance without the use of any browser plug-ins. Since WebGL is based on OpenGL ES, it works on mobile devices without any additional abstraction layers. For other platforms, WebGL implementations leverage ANGLE to translate OpenGL ES calls to DirectX, OpenGL, or Vulkan API calls. Among notable WebGL frameworks are A-Frame, which uses HTML-based markup for building virtual reality experiences; PlayCanvas, an open-source engine alongside a proprietary cloud-hosted creation platform for building browser games; Three.js, an MIT-licensed framework used to create demoscene from the early 2000s; Unity, which obtained a WebGL back-end in version 5; and Verge3D, which integrates with Blender, 3ds Max, and Maya to create 3D web content. With the rapid adoption of WebGL, a new problem arose—the lack of a 3D file format optimized for the Web. This issue was addressed by glTF, a format that was conceived in 2012 by members of the COLLADA working group. At SIGGRAPH 2012, Khronos presented a demo of glTF, which was then called WebGL Transmissions Format (WebGL TF). On 19 October 2015, the glTF 1.0 specification was released. Version 2.0 glTF uses a physically based rendering material model, proposed by Fraunhofer. Other upgrades include sparse accessors and morph targets for techniques such as facial animation, and schema tweaks and breaking changes for corner cases or performance, such as replacing top-level glTF object properties with arrays for faster index-based access. == Future == "WebGPU" is the working name for a potential web standard and JavaScript API for accelerated graphics and computing, aiming to provide "modern 3D graphics and computation capabilities". It is developed by the W3C "GPU for the Web" Community Group, with engineers from Apple, Mozilla, Microsoft, and Google, among others. WebGPU will not be based on any existing 3D API and will use Rust-like syntax for shaders.
Curvelet
Curvelets are a non-adaptive technique for multi-scale object representation. Being an extension of the wavelet concept, they are becoming popular in similar fields, namely in image processing and scientific computing. Wavelets generalize the Fourier transform by using a basis that represents both location and spatial frequency. For 2D or 3D signals, directional wavelet transforms go further, by using basis functions that are also localized in orientation. A curvelet transform differs from other directional wavelet transforms in that the degree of localisation in orientation varies with scale. In particular, fine-scale basis functions are long ridges; the shape of the basis functions at scale j is 2 − j {\displaystyle 2^{-j}} by 2 − j / 2 {\displaystyle 2^{-j/2}} so the fine-scale bases are skinny ridges with a precisely determined orientation. Curvelets are an appropriate basis for representing images (or other functions) which are smooth apart from singularities along smooth curves, where the curves have bounded curvature, i.e. where objects in the image have a minimum length scale. This property holds for cartoons, geometrical diagrams, and text. As one zooms in on such images, the edges they contain appear increasingly straight. Curvelets take advantage of this property, by defining the higher resolution curvelets to be more elongated than the lower resolution curvelets. However, natural images (photographs) do not have this property; they have detail at every scale. Therefore, for natural images, it is preferable to use some sort of directional wavelet transform whose wavelets have the same aspect ratio at every scale. When the image is of the right type, curvelets provide a representation that is considerably sparser than other wavelet transforms. This can be quantified by considering the best approximation of a geometrical test image that can be represented using only n {\displaystyle n} wavelets, and analysing the approximation error as a function of n {\displaystyle n} . For a Fourier transform, the squared error decreases only as O ( 1 / n ) {\displaystyle O(1/{\sqrt {n}})} . For a wide variety of wavelet transforms, including both directional and non-directional variants, the squared error decreases as O ( 1 / n ) {\displaystyle O(1/n)} . The extra assumption underlying the curvelet transform allows it to achieve O ( ( log n ) 3 / n 2 ) {\displaystyle O({(\log n)}^{3}/{n^{2}})} . Efficient numerical algorithms exist for computing the curvelet transform of discrete data. The computational cost of the discrete curvelet transforms proposed by Candès et al. (Discrete curvelet transform based on unequally-spaced fast Fourier transforms and based on the wrapping of specially selected Fourier samples) is approximately 6–10 times that of an FFT, and has the same dependence of O ( n 2 log n ) {\displaystyle O(n^{2}\log n)} for an image of size n × n {\displaystyle n\times n} . == Curvelet construction == To construct a basic curvelet ϕ {\displaystyle \phi } and provide a tiling of the 2-D frequency space, two main ideas should be followed: Consider polar coordinates in frequency domain Construct curvelet elements being locally supported near wedges The number of wedges is N j = 4 ⋅ 2 ⌈ j 2 ⌉ {\displaystyle N_{j}=4\cdot 2^{\left\lceil {\frac {j}{2}}\right\rceil }} at the scale 2 − j {\displaystyle 2^{-j}} , i.e., it doubles in each second circular ring. Let ξ = ( ξ 1 , ξ 2 ) T {\displaystyle {\boldsymbol {\xi }}=\left(\xi _{1},\xi _{2}\right)^{T}} be the variable in frequency domain, and r = ξ 1 2 + ξ 2 2 , ω = arctan ξ 1 ξ 2 {\displaystyle r={\sqrt {\xi _{1}^{2}+\xi _{2}^{2}}},\omega =\arctan {\frac {\xi _{1}}{\xi _{2}}}} be the polar coordinates in the frequency domain. We use the ansatz for the dilated basic curvelets in polar coordinates: ϕ ^ j , 0 , 0 := 2 − 3 j 4 W ( 2 − j r ) V ~ N j ( ω ) , r ≥ 0 , ω ∈ [ 0 , 2 π ) , j ∈ N 0 {\displaystyle {\hat {\phi }}_{j,0,0}:=2^{\frac {-3j}{4}}W(2^{-j}r){\tilde {V}}_{N_{j}}(\omega ),r\geq 0,\omega \in [0,2\pi ),j\in N_{0}} To construct a basic curvelet with compact support near a ″basic wedge″, the two windows W {\displaystyle W} and V ~ N j {\displaystyle {\tilde {V}}_{N_{j}}} need to have compact support. Here, we can simply take W ( r ) {\displaystyle W(r)} to cover ( 0 , ∞ ) {\displaystyle (0,\infty )} with dilated curvelets and V ~ N j {\displaystyle {\tilde {V}}_{N_{j}}} such that each circular ring is covered by the translations of V ~ N j {\displaystyle {\tilde {V}}_{N_{j}}} . Then the admissibility yields ∑ j = − ∞ ∞ | W ( 2 − j r ) | 2 = 1 , r ∈ ( 0 , ∞ ) . {\displaystyle \sum _{j=-\infty }^{\infty }\left|W(2^{-j}r)\right|^{2}=1,r\in (0,\infty ).} see Window Functions for more information For tiling a circular ring into N {\displaystyle N} wedges, where N {\displaystyle N} is an arbitrary positive integer, we need a 2 π {\displaystyle 2\pi } -periodic nonnegative window V ~ N {\displaystyle {\tilde {V}}_{N}} with support inside [ − 2 π N , 2 π N ] {\displaystyle \left[{\frac {-2\pi }{N}},{\frac {2\pi }{N}}\right]} such that ∑ l = 0 N − 1 V ~ N 2 ( ω − 2 π l N ) = 1 {\displaystyle \sum _{l=0}^{N-1}{\tilde {V}}_{N}^{2}\left(\omega -{\frac {2\pi l}{N}}\right)=1} , for all ω ∈ [ 0 , 2 π ) {\displaystyle \omega \in \left[0,2\pi \right)} , V ~ N {\displaystyle {\tilde {V}}_{N}} can be simply constructed as 2 π {\displaystyle 2\pi } -periodizations of a scaled window V ( N ω 2 π ) {\displaystyle V\left({\frac {N\omega }{2\pi }}\right)} . Then, it follows that ∑ l = 0 N j − 1 | 2 3 j 4 ϕ ^ j , 0 , 0 ( r , ω − 2 π l N j ) | 2 = | W ( 2 − j r ) | 2 ∑ l = 0 N j − 1 V ~ N j 2 ( ω − 2 π l N ) = | W ( 2 − j r ) | 2 {\displaystyle \sum _{l=0}^{N_{j}-1}\left|2^{\frac {3j}{4}}{\hat {\phi }}_{j,0,0}\left(r,\omega -{\frac {2\pi l}{N_{j}}}\right)\right|^{2}=\left|W(2^{-j}r)\right|^{2}\sum _{l=0}^{N_{j}-1}{\tilde {V}}_{N_{j}}^{2}\left(\omega -{\frac {2\pi l}{N}}\right)=\left|W(2^{-j}r)\right|^{2}} For a complete covering of the frequency plane including the region around zero, we need to define a low pass element ϕ ^ − 1 := W 0 ( | ξ | ) {\displaystyle {\hat {\phi }}_{-1}:=W_{0}(\left|\xi \right|)} with W 0 2 ( r ) 2 := 1 − ∑ j = 0 ∞ W ( 2 − j r ) 2 {\displaystyle W_{0}^{2}(r)^{2}:=1-\sum _{j=0}^{\infty }W(2^{-j}r)^{2}} that is supported on the unit circle, and where we do not consider any rotation. == Applications == Image processing Seismic exploration Fluid mechanics PDEs solving Compressed sensing
RadioVIS
RadioVIS is a protocol for sideband signalling of images and text messages for a broadcast audio service to provide a richer visual experience. It is an application and sub-project of RadioDNS, which allows radio consumption devices to look up an IP-based service based on the parameters of the currently tuned broadcast station. In January 2015, the functionality of RadioVIS was integrated to Visual Slideshow (ETSI TS 101 499 v3.1.1). The original RVIS01 document is now deprecated. == Details == The protocol enables either Streaming Text Oriented Messaging Protocol (STOMP) or Comet to deliver text and image URLs to a client, with the images being acquired over a HTTP connection. The technology is currently implemented by a number of broadcasters across the world, including Global Radio, Bauer Radio in the UK, RTÉ in the Republic Of Ireland, Südwestrundfunk in Germany and a number of Australian media groups amongst others. A number of software clients exist to show the protocol, as well as hardware devices such as the Pure Sensia from Pure Digital, and the Colourstream from Roberts Radio.