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Diffstat (limited to 'db.json')
| -rw-r--r-- | db.json | 129 |
1 files changed, 63 insertions, 66 deletions
@@ -66,11 +66,11 @@ }, "links": [ { - "text": "Link text", + "text": "Wikipedia", "uri": "https://en.wikipedia.org/wiki/Public_health_surveillance" }, { - "text": "link text", + "text": "WHO", "uri": "http://www.who.int/topics/public_health_surveillance/en/" } ], @@ -115,11 +115,11 @@ }, "links": [ { - "text": "Link text", + "text": "NY Times", "uri": "http://www.nytimes.com/2006/01/13/opinion/back-when-spies-played-by-the-rules.html" }, { - "text": "Link text", + "text": "NSA", "uri": "https://www.nsa.gov/about/cryptologic-heritage/center-cryptologic-history/pearl-harbor-review/black-chamber.shtml" } ], @@ -144,7 +144,7 @@ }, "links": [ { - "text": "Link text ", + "text": "Wikipedia", "uri": "https://en.wikipedia.org/wiki/Panopticon" } ], @@ -169,7 +169,7 @@ }, "links": [ { - "text": "Link text", + "text": "CTIE History", "uri": "http://www.ctie.monash.edu/hargrave/rpav_home.html#Beginnings" } ], @@ -195,7 +195,7 @@ "credit": "James Wallace Black / 1860 / Public Domain\r\n", "links": [ { - "text": "Link text", + "text": "Met Museum", "uri": "http://www.metmuseum.org/art/collection/search/283189" } ], @@ -220,7 +220,7 @@ "credit": "Samuel Luke Fildes / The Graphic / 1873 via Jennifer Tucker", "links": [ { - "text": "link text", + "text": "Boston Globe", "uri": "https://www.bostonglobe.com/ideas/2014/11/23/facial-recognition-technology-goes-way-back/CkWaxzozvFcveQ7kvdLHGI/story.html" } ], @@ -242,14 +242,14 @@ "width": "640", "height": "331" }, - "credit": " Sir William James Herschel, “The Origin of Finger Printing\" 1916., (Public Domain)\r\n", + "credit": "Sir William James Herschel, “The Origin of Finger Printing\" 1916., (Public Domain)", "links": [ { - "text": "Link text", + "text": "ONIN", "uri": "http://www.onin.com/fp/fphistory.html" }, { - "text": "Link text ", + "text": "Archive.org", "uri": "https://archive.org/details/originoffingerpr00hersrich" } ], @@ -274,7 +274,7 @@ "credit": "Creative Commons CC0 1.0 Universal Public Domain Dedication\r\n", "links": [ { - "text": "Link text", + "text": "NIH", "uri": "https://www.nlm.nih.gov/visibleproofs/galleries/biographies/bertillon.html" } ], @@ -299,7 +299,7 @@ "credit": "(1) Rodolphe A Reiss, Demonstration of the Bertillon metric photography system, 1925. © RA Reiss, courtesy of Collection of the Institut de Police Scientifique et de Criminologie de l’Université de Lausanne.\r\n(2) A demonstration of the Bertillon metric photography system, 1908 Credit: Archives de la préfecture de Police \r\n", "links": [ { - "text": "Link text", + "text": "Archive.org", "uri": "https://archive.org/details/cu31924096442185" } ], @@ -324,11 +324,11 @@ "credit": "", "links": [ { - "text": "Link text", + "text": "IMDB", "uri": "http://www.imdb.com/title/tt0014646/" }, { - "text": "Link text", + "text": "Wikipedia", "uri": "https://en.wikipedia.org/wiki/Aelita" } ], @@ -343,10 +343,10 @@ "medium": "Novel", "category": "Surveillance", "keywords": "#Castle #paranoia #despotism #All-seeing-Eye\r\n", - "description": "Franz Kafka’s <i>The Castle</i> depicts a world dominated by uncertainty: everything is opaque and ambiguous. The protagonist, K., arrives in a village where he might have been summoned to work as a land surveyor. The villagers seem to be expecting and not expecting him at the same time; there seems to be a job – and no job. Governing the village is a castle from which officials give contradicting orders. Even though the castle’s bureaucracy seems arbitrary or incompetent, the inhabitants of the village hold the officials and the castle in the highest esteem, while completely ignoring the reasons behind any of the officials’ decisions. Though Kafka’s novel does not feature any actual surveillance technology – and it is further unclear if the bureaucracy of the officials is actually efficient – the general atmosphere is one of mistrust, paranoia, and despotism that is commonly associated with a surveillance society. \r\n", + "description": "Franz Kafka’s <i>The Castle</i> depicts a world dominated by uncertainty: everything is opaque and ambiguous. The protagonist, K., arrives in a village where he might have been summoned to work as a land surveyor. The villagers seem to be expecting and not expecting him at the same time; there seems to be a job – and no job. Governing the village is a castle from which officials give contradicting orders. Even though the castle’s bureaucracy seems arbitrary or incompetent, the inhabitants of the village hold the officials and the castle in the highest esteem, while completely ignoring the reasons behind any of the officials’ decisions. Though Kafka’s novel does not feature any actual surveillance technology – and it is further unclear if the bureaucracy of the officials is actually efficient – the general atmosphere is one of mistrust, paranoia, and despotism that is commonly associated with a surveillance society. \r\n\r\nQuote : “I dream of a grave, deep and narrow, where we could clasp each other in our arms as with clamps, and I would hide my face in you and you would hide your face in me, and nobody would ever see us any more”", "image": { "uri": "https://marsupial.s3.amazonaws.com/armory/0fb161e0-3656-11e7-a37a-4579121b15f0.jpg", - "caption": "Quote : “I dream of a grave, deep and narrow, where we could clasp each other in our arms as with clamps, and I would hide my face in you and you would hide your face in me, and nobody would ever see us any more” ", + "caption": "", "width": "180", "height": "281" }, @@ -354,7 +354,12 @@ "disabled": false, "__index": 17, "dateCreated": "Thu, 11 May 2017 14:29:05 GMT", - "links": [] + "links": [ + { + "text": "Wikipedia", + "uri": "https://en.wikipedia.org/wiki/The_Castle_(novel)" + } + ] }, { "id": "queen-bee-and-drone", @@ -402,7 +407,7 @@ "credit": "unknown\r\n", "links": [ { - "text": "Link text ", + "text": "IMDB", "uri": "http://www.imdb.com/title/tt0025968/" } ], @@ -427,11 +432,11 @@ "credit": "Edwin Black in IBM and the Holocaust / 2001\r\n", "links": [ { - "text": "Link text", + "text": "Jewish Virtual Library", "uri": "http://www.jewishvirtuallibrary.org/ibm-and-quot-death-s-calculator-quot" }, { - "text": "Link text ", + "text": "NY Times", "uri": "http://www.nytimes.com/books/first/b/black-ibm.html" } ], @@ -456,7 +461,7 @@ "credit": "public domain, 1935\r\n", "links": [ { - "text": "Link text ", + "text": "US Currency.gov", "uri": "https://www.uscurrency.gov/content/history-american-currency" } ], @@ -481,12 +486,12 @@ "credit": "", "links": [ { - "text": "Link text", + "text": "New Yorker", "uri": "http://www.newyorker.com/magazine/2006/02/06/code-breaker" }, { - "text": "Link text", - "uri": " https://www.cl.cam.ac.uk/projects/raspberrypi/tutorials/turing-machine/one.html" + "text": "Introduction", + "uri": "https://www.cl.cam.ac.uk/projects/raspberrypi/tutorials/turing-machine/one.html" } ], "disabled": false, @@ -510,11 +515,11 @@ "credit": "AR/BNPS\r\n", "links": [ { - "text": "Link text", + "text": "Audubon Society", "uri": "http://www.audubon.org/news/eyes-sky-short-history-bird-spies" }, { - "text": "Link text", + "text": "Royal Pigeon Racing Assn.", "uri": "http://www.rpra.org/pigeon-history/pigeons-in-war/" } ], @@ -539,7 +544,7 @@ "credit": "Cover of the UKUSA Agreement 1946, Public Domain\r\n", "links": [ { - "text": "Link text ", + "text": "Privacy Intl.", "uri": "https://www.privacyinternational.org/node/51" } ], @@ -564,7 +569,7 @@ "credit": "NASA, 1969\r\n", "links": [ { - "text": "Link text ", + "text": "National Security Archive", "uri": "http://nsarchive.gwu.edu/NSAEBB/NSAEBB479/" } ], @@ -609,7 +614,7 @@ "credit": "© Simon Menner and BStU 2017", "links": [ { - "text": "Link text", + "text": "Simon Menner", "uri": "https://simonmenner.com/_sites/SurveillanceComplex/StasiImages/_StasiImagesMenue.html#" } ], @@ -654,11 +659,7 @@ "credit": "screenshot\r\n", "links": [ { - "text": "Link text", - "uri": "http://www.academia.edu/305175/Surveillance_and_Ethics_In_Film_Rear_Window_and_The_Conversation" - }, - { - "text": "Link text", + "text": "The Guardian", "uri": "https://www.theguardian.com/film/filmblog/2012/jul/25/my-favourite-hitchcock-rear-window" } ], @@ -683,16 +684,12 @@ "credit": "unknown\r\n", "links": [ { - "text": "Link text ", + "text": "The Guardian", "uri": "https://www.theguardian.com/world/2001/sep/11/worlddispatch" }, { - "text": "Link text ", + "text": "National Security Archive", "uri": "https://nsarchive.wordpress.com/2010/03/05/document-friday-acoustic-kitty/" - }, - { - "text": "Link text ", - "uri": "http://nsarchive.gwu.edu/NSAEBB/NSAEBB54/st27.pdf" } ], "disabled": false, @@ -716,11 +713,11 @@ "credit": "Courtesy: NRO / Public Domain", "links": [ { - "text": "Link text", + "text": "NRO", "uri": "http://www.nro.gov/history/csnr/corona/factsheet.html" }, { - "text": "Link text", + "text": "Wikipedia", "uri": "https://en.wikipedia.org/wiki/Corona_(satellite)#Declassification" } ], @@ -742,10 +739,10 @@ "width": "441", "height": "517" }, - "credit": "public domain / screenshot from document (link below)\r\n", + "credit": "", "links": [ { - "text": "Link text", + "text": "Original Study", "uri": "https://archive.org/details/firstfacialrecognitionresearch" } ], @@ -770,7 +767,7 @@ "credit": "US Army Intelligence & Security Command\r\n", "links": [ { - "text": "Link text", + "text": "Deutsche Welle", "uri": "http://www.dw.com/en/teufelsberg-mirrors-berlins-dramatic-history/a-17074597" } ], @@ -795,7 +792,7 @@ "credit": "unknown\r\n", "links": [ { - "text": "Link text", + "text": "The Guardian", "uri": "https://www.theguardian.com/film/2017/mar/10/antonioni-blow-up-50-years-movie-photographer-murder" } ], @@ -820,19 +817,19 @@ "credit": "First ECHELON station intercepting Intelsat Atlantic and Indian Ocean area satellites: Bude, Cornwal.", "links": [ { - "text": "Link text", + "text": "First Look", "uri": "https://firstlook.org/wp-uploads/sites/1/2015/07/rexusa_2569089a-1024x428.jpg" }, { - "text": "Link text", + "text": "The Intercept", "uri": "https://theintercept.com/2015/08/03/life-unmasking-british-eavesdroppers/" }, { - "text": "Link text", + "text": "EU Parliament", "uri": "http://www.europarl.europa.eu/sides/getDoc.do?type=REPORT&reference=A5-2001-0264&format=XML&language=EN" }, { - "text": "Link text", + "text": "Der Spiegel", "uri": "http://www.spiegel.de/international/world/snowden-documents-show-gchq-targeted-european-and-german-politicians-a-940135-2.html" } ], @@ -857,7 +854,7 @@ "credit": "The Opte Project, Internet Map 2003, (This work is licensed under a Creative Commons Attribution-NonCommercial 4.0 International License) © 2014 by LyonLabs, LLC and Barrett Lyon\r\n", "links": [ { - "text": "Link text", + "text": "Internet Society", "uri": "http://www.internetsociety.org/internet/what-internet/history-internet/brief-history-internet#" } ], @@ -882,11 +879,11 @@ "credit": "CIA\r\n", "links": [ { - "text": "Link text", + "text": "CIA", "uri": "https://www.cia.gov/library/video-center/video-transcripts/insectothopter-the-bug-carrying-bug.html" }, { - "text": "Link text", + "text": "Atlas Obscura", "uri": "http://www.atlasobscura.com/articles/object-of-intrigue-the-cia-s-dragonfly-drone" } ], @@ -911,15 +908,15 @@ "credit": "", "links": [ { - "text": "Link text", + "text": "Original Short", "uri": "https://www.youtube.com/watch?v=ihpU1RE_AhA" }, { - "text": "Link text", + "text": "Wikipedia", "uri": "https://en.wikipedia.org/wiki/THX_1138" }, { - "text": "Link text", + "text": "IMDB", "uri": "http://www.imdb.com/title/tt0066434/" } ], @@ -964,7 +961,7 @@ "credit": "NASA / Public Domain, 1972\r\n", "links": [ { - "text": "Link text", + "text": "Earth Observatory", "uri": "https://earthobservatory.nasa.gov/Features/BlueMarble/BlueMarble_history.php" } ], @@ -2014,7 +2011,7 @@ "medium": "Artwork", "category": "Surveillance", "keywords": "#Arts #Activism #Signal #Surveillance #Location #Counter-Surveillance #Information #Military #Device #Interception\r\n", - "description": "The Deep Sweep is an aerospace probe scanning the otherwise out-of-reach signal space between land and stratosphere, with special interest placed in UAV/drone to satellite communication, operating in super-high-frequency in a range of 10GHz to 12GHz. Taking the form of a high-altitude weather balloon, it carries a small computer and radio frequency equipment to study the vast and often secretive world of signals in our skies. Deep Sweep was developed by the Critical Engineering Working Group as a signal-intelligence platform, to be deployed by the public.\r\n", + "description": "The Deep Sweep is an aerospace probe scanning the otherwise out-of-reach signal space between land and stratosphere, with special interest placed in UAV drone-to-satellite communication, operating in super-high-frequency in a range of 10GHz to 12GHz. Taking the form of a high-altitude weather balloon, it carries radio frequency equipment and a small computer to study the vast and often secretive world of signals in our skies. Deep Sweep was developed by the Critical Engineering Working Group as a signal-intelligence platform, to be deployed by the public.", "image": { "uri": "https://marsupial.s3.amazonaws.com/armory/e769c1a0-3718-11e7-a37a-4579121b15f0.jpg", "caption": "", @@ -2039,7 +2036,7 @@ "medium": "Artwork", "category": "Surveillance", "keywords": "#Surveillance #Interception #Art #Snowden #Activism #Drone #Signal #GCHQ #Israel #Whistleblowing\r\n", - "description": "Anarchist was the codename given to a classified program intercepting Israeli drone feeds and fighter jets. Ordered by the U.K.’s Government Communications Headquarters (GCHQ) and the American National Security Agency (NSA) it was done from an intercepting station on a mountaintop in Cyprus. Snapshots of the live signals were found in the Snowden archive by the investigative journalist and filmmaker Laura Poitras, who was involved in publishing them. She printed the colorful images in bigger scale for them to become abstract artworks with a unique aura, carrying evidence and revelations about drone warfare.\r\n", + "description": "Anarchist was the codename given to a classified program intercepting Israeli drone feeds and fighter jets. Ordered by the UK's Government Communications Headquarters (GCHQ) and the US National Security Agency (NSA), intercepts were conducted from a mountaintop in Cyprus. Snapshots of the live signals were found in the Snowden archive by the investigative journalist and filmmaker Laura Poitras, who was involved in their publication. She printed the colorful images at large scale, creating abstract artworks with a unique aura, carrying evidence and revelations about drone warfare.", "image": { "uri": "https://marsupial.s3.amazonaws.com/armory/9ac43730-3719-11e7-a37a-4579121b15f0.jpg", "caption": "", @@ -2068,7 +2065,7 @@ "medium": "Artwork", "category": "Surveillance", "keywords": "#Google #Location #Counter-Surveillance #Relocation #Wifi #Device\r\n", - "description": "SkyLift is small device designed by the countersurveillance artist Adam Harvey that exploits the longstanding vulnerability in geo-location positioning using WiFi and unique MAC addresses. Companies like Google and Apple that rely on the use of WiFi packets from home routers to return the estimated smartphone users position. Until now, this method has required the use of multiple routers and a complicated, expensive setup. SkyLift reintroduces the concept to a new audience using a low-cost, Arduino-compatible WiFi transceiver to relocate the user to almost any location in the world.\r\n", + "description": "SkyLift is a small device designed by the counter-surveillance artist Adam Harvey that exploits a longstanding vulnerability in geolocation positioning using WiFi and unique MAC addresses. Companies like Google and Apple rely on the use of WiFi packets from home routers to estimate a smartphone user's position. Until now, this method has required the use of multiple routers and a complicated, expensive setup. SkyLift reintroduces the concept to a new audience using a low-cost, Arduino-compatible WiFi transceiver to move the user to almost any location in the world.", "image": { "uri": "https://marsupial.s3.amazonaws.com/armory/e2a6ecf0-3719-11e7-a37a-4579121b15f0.jpg", "caption": "", @@ -2093,7 +2090,7 @@ "medium": "Documentary Film", "category": "Drones", "keywords": "#drones #warfare #PTSD #ethics #testimony #silence #whistleblowing #trigger", - "description": "Sonia Kennebeck’s film gives rare insight into the US drone war program – with special focus on it’s largely criticized usage in Afghanistan – by depicting the life and testimony of three whistleblowers who, plagued by guilt over participating in the killing of faceless people, decide to break the silence around the drone program and their involvement. The film illustrates how drones wreak devastation and shake up the status quo of modern warfare in terms of ethics and strategy. It demonstrates how the nature of drone warfare makes some drone operatives trigger-happy, while others end up dehumanised and traumatized.\r\n \r\n", + "description": "Sonia Kennebeck’s film <i>National Bird</i> gives rare insight into the US drone war program – with special focus on its heavily criticized use in Afghanistan – by depicting the life and testimony of three whistleblowers. Plagued by guilt over their participation in the killing of faceless people, the whistleblowers decided to break the silence around the drone program and their involvement. The film illustrates how drones wreak devastation and disrupt the status quo of modern warfare in terms of ethics and strategy. It demonstrates how the nature of drone warfare makes some drone operatives trigger-happy, while others end up dehumanised and traumatized.", "image": { "uri": "https://marsupial.s3.amazonaws.com/armory/b07d2b80-371a-11e7-a37a-4579121b15f0.jpg", "caption": "", @@ -2122,7 +2119,7 @@ "medium": "Artwork", "category": "Drones", "keywords": "#Drones #Fear #Depression #Opera #Uncanniness #Technology #Grace #Generation #Art", - "description": "Angst (German: “Fear”) is an opera in three acts by the German artist Anne Imhof. Angst II forms the climax and turning point. The work consists of music, text, sculptural elements, actors, animals and controlled drones that fly ominously above the crowd and thus create an overall uncanny atmosphere. Somewhat suspended in time and space, the ‘characters’ of Angst seem kept in a state between boredom and dreaminess. Whether the drones’ function is to surveil the works participants or serve as an aesthetic element is not revealed. \r\n", + "description": "<i>Angst</i> (German: “Fear”) is an opera in three acts by the German artist Anne Imhof. Angst II forms the climax and turning point. The work consists of music, text, sculptural elements, actors, animals and controlled drones that fly ominously above the crowd and thus create an overall uncanny atmosphere. Somewhat suspended in time and space, the ‘characters’ of Angst seem kept in a state between boredom and dreaminess. Whether the drones’ function is to surveil the works' participants or serve as an aesthetic element is not revealed.", "image": { "uri": "https://marsupial.s3.amazonaws.com/armory/1a884680-371c-11e7-a37a-4579121b15f0.jpg", "caption": "", @@ -2164,7 +2161,7 @@ "dateCreated": "Wed, 17 May 2017 08:50:49 GMT", "links": [ { - "text": "Archive", + "text": "Archive.org", "uri": "https://archive.org/details/Issue27CovertActionInformationBulletinIssue27ReligiousRight" } ] @@ -2507,7 +2504,7 @@ { "id": "facial-recognition", "title": "Facial Recognition", - "body": "The Hansel & Gretel exhibition uses a custom facial recognition system that automatically captures visitors' facial biometrics as they move throughout the Armory. At all times, 5 surveillance cameras stream a 1080 pixel image at 10 frames per second (FPS) to a central image processing server located on site. Every frame from every camera is run through a series of computer vision algorithms that detect faces and convert them into biometric face prints. In less than 1 millisecond, using a minimum of 100 x 100 pixels, any face appearing in any surveillance feed is automatically extracted and stored in a local database as a 128-dimension feature vector.\r\n \r\nThese 128-dimension feature vectors represent what makes each face unique relative to other faces. Previous versions of facial recognition technology from the 1990s and early 2000s based recognition on seeing the face in a more human way, as linear combinations of composite photographs or by comparing the geometry between facial landmarks. Current state-of-the-art facial recognition algorithms, including the code used in the Hansel & Gretel system, make use of deep neural networks that automatically determine which combinations of facial features are the most useful for creating enough separation between between thousands of identities. In a controlled testing environment using frontal-pose images, the accuracy exceeds 99%. \r\n \r\nIn practice however, images captured in any surveillance system will typically be less accurate because of the differences between the pose, lighting, expression, optics and fashion accessories worn for the enrollment and capture photos. This effect is slightly minimized in the Hansel & Gretel facial recognition system because visitors are enrolled and matched on the same day. The accuracy of your matched photo will depend mostly on the equivalence of expression and pose between your submitted photo and your captured photos. According to a theory called the Biometric Zoo, match scores are also dependent on the relative similarity or difference of facial features amongst the enrolled population of faces. As with facial recognition technology and biometric recognition used in law enforcement and national security, no match is ever absolutely certain, but only a probabilistic determination based on the available matches in a database.\r\n \r\nIn the US the average person is caught on camera more than 75 times per day. The fact that our identities are captured, analyzed, and stored is a fact of contemporary life that often goes unnoticed, but what are the implications this has on our society?", + "body": "The Hansel & Gretel installation uses a custom facial recognition system that automatically captures visitors' facial biometrics as they move throughout the Armory. At all times, 5 surveillance cameras stream a 1920 x 1080 pixel image at 10 frames per second (FPS) to a central image processing server located on site. Every frame from every camera is run through a series of computer vision algorithms that detect faces and convert them into biometric face prints. In less than 10 milliseconds, using a minimum of 100 x 100 pixels, any face appearing in any surveillance feed is automatically extracted and stored in a local database as a 128-dimension feature vector.\r\n \r\nThese 128-dimension feature vectors represent what makes each face unique relative to other faces. Previous versions of facial recognition technology from the 1990s and early 2000s based recognition on seeing the face in a more human way, as linear combinations of composite photographs or by directly comparing the geometry between facial landmarks. Current state-of-the-art facial recognition algorithms, including the code used in the Hansel & Gretel system, make use of deep neural networks that automatically determine which combinations of facial features are the most useful for creating enough separation between between thousands of identities, analyzing the face is a more non-human way. In a controlled testing environment using frontal-pose images, the accuracy exceeds 99%.\r\n \r\nIn practice however, images captured in any surveillance system will typically be less accurate because of the differences between the pose, lighting, expression, optics and fashion accessories worn in the enrollment and capture photos. This effect is slightly minimized in the Hansel & Gretel facial recognition system because visitors are enrolled and matched on the same day. The accuracy of your matched photo will depend mostly on the equivalence of expression and pose between your submitted photo and your captured photos. According to a theory called the Biometric Zoo, match scores are also dependent on the relative similarity or difference of facial features amongst the enrolled population of faces. As with facial recognition technology and biometric recognition used in law enforcement and national security, no match is ever absolutely certain, but only a probabilistic determination based on the available matches in a database and the quality of your enrollment photo.", "disabled": false, "__index": 2, "dateCreated": "Sat, 20 May 2017 21:50:17 GMT", @@ -2516,7 +2513,7 @@ { "id": "floor-projections", "title": "Floor Projections", - "body": "Every movement in the Drill Hall is tracked and recorded from above by a grid of 56 small computers with infrared (IR) cameras, each attached to a projector suspended on a truss system high above the gently sloping floor. To allow for better tracking in low light conditions we installed an array of floodlights which operate in the near infrared spectrum and are thus invisible to the human eye. Each computer runs a tracking algorithm that compares a preprogrammed image of the floor to the real time camera feed, and subtracts away any redundancy until only the difference features remain. The moving person can thus be isolated, identified, and followed, which triggers a red rectangular outline and grid pattern to appear. \r\n \r\nThe IR image now overlaid with tracking data undergoes a series of visual transformations. The powerful computers are able to make adjustments in cropping, scaling, warping, shifting, rotation, exposure, brightness, and sharpness, all within milliseconds. Only then are the “real time” images sent to the projector. The entirety of the 215 x 145 feet Drill Hall floor is covered by a total projection surface of 12360 x 7850 pixels, with each pixel being approximately ⅕ of an inch. \r\n \r\nThe projections enable visitors to reflect upon the growing web of interconnected devices designed with ever evolving sensing capabilities and make tangible the reality that we leave digital traces almost everywhere.", + "body": "Every movement in the Drill Hall is tracked and recorded from above by a grid of 56 small computers with infrared (IR) cameras, each attached to a projector suspended on a truss system high above the gently sloping floor. To allow for better tracking in low light conditions we installed an array of floodlights which operate in the near infrared spectrum and are thus is invisible to the human eye. Each computer runs a tracking algorithm that compares a preprogrammed image of the floor to the real time camera feed, and subtracts away any redundancy until only the difference features remain. The moving person can thus be isolated, identified, and followed, which triggers a red rectangular outline and grid pattern to appear. \r\n \r\nThe IR image now overlaid with tracking data undergoes a series of visual transformations. The powerful computers are able to make adjustments in cropping, scaling, warping, shifting, rotation, exposure, brightness, and sharpness, all within milliseconds. Only then are the “real time” images sent to the projector. The entirety of the 215 x 145 foot Drill Hall floor is covered by a total projection surface of 12360 x 7850 pixels, with each pixel being approximately ⅕ of an inch.", "disabled": false, "__index": 3, "dateCreated": "Sat, 03 Jun 2017 19:11:30 GMT", |