Bombe Within weeks of arriving at Bletchley Park,  Turing had specified an electromechanical machine called the bombewhich could break Enigma more effectively than the Polish bomba kryptologicznafrom which its name was derived. The bombe, with an enhancement suggested by mathematician Gordon Welchmanbecame one of the primary tools, and the major automated one, used to attack Enigma-enciphered messages. For each possible setting of the rotors which had on the order of states, or states for the four-rotor U-boat variant the bombe performed a chain of logical deductions based on the crib, implemented electromechanically. Most of the possible settings would cause contradictions and be discarded, leaving only a few to be investigated in detail.
RTSP stream Conference Theme The advent and ubiquity of digital media technologies precipitate a profound transformation of the spheres of knowledge and circuits of culture.
Simultaneously, the background operation of digital systems in routines of daily life increasingly obscures the materiality and meaning of technologically induced change.
Computational architectures of algorithmic governance prevail across a vast and differentiated range of institutional settings and organizational practices.
Car assembly plants, warehousing, shipping ports, sensor cities, agriculture, government agencies, university campuses. These are just some of the infrastructural sites overseen by software operations designed to extract value, coordinate practices and manage populations in real-time.
To analytically grasp the emerging transformations requires media and cultural studies to inquire into the epochal changes taking place with the proliferation of digital media technologies. While in many ways the digital turn has long been in process, its cultural features and effects are far from even or comprehensively known.
Research needs to attend to the infrastructural and environmental registrations of the digital. Critical historiographies, for instance, can investigate the world-making capacities of digital cultures, situating the massive diversity of practices within specific technical systems, geocultural dynamics and geopolitical forces.
At the same time the contemporaneity of digital cultures invites experimental methods that draw on digital media technologies as tools, and, more importantly, that engage the intersection between media technologies, cultural practices and institutional settings.
New organizational forms in digital economies, new forms of association and sociality, and new subjectivizations generated from changing human-machine configurations are among the primary manifestations of the digital that challenge disciplinary capacities in terms of method.
The empirics of the digital, in other words, signals a transversality at the level of disciplinarity, methods and knowledge production. This conference brings together research concerned with studying digital cultures and the ways that digital media technologies transform contemporary culture, society and economy.
We also explicitly invite researchers from digital humanities, digital anthropology, digital sociology, gender studies, postcolonial studies, urban studies, architecture, organization studies, environmental studies, geography and computer science to engage in this endeavor to develop a critical humanities and cultural studies alert to the operations, materialities and politics of digital cultures.
Histories Historiographies of Digital Cultures To suggest that we now live in digital cultures, characterized by the ubiquity of digital media technologies and their influence on almost every form of life and experience, is always already an epochal argument, raising fundamental questions regarding their historicity.
At the same time, this implicitness of digital technologies, as well as the breathlessness of many attempts to describe their newness and nowness, often makes it difficult to understand the historical specificity of digital cultures.
Yet as an ongoing and open process neither is termination of the digital predictable nor is its advent once and for all determinable. The dating and genesis of digital cultures are therefore historiographical problems that require careful methodological consideration.
How can we grasp the historicity of digital cultures and what kind of media genealogies can we trace?
If all media technologies rewrite their prehistory, how do digital media technologies prefigure the parameters of the history of digital cultures? And how do they alter the knowledge and practice of digital history? Ecologies Environmental Media, Media Ecologies and the Technosphere With the ubiquity of digital media technologies come media theories that understand them in their infrastructural, environmental and ecological registers.
Terms such as ecology and environment are often used interchangeably to denote networked technological agencies, planetary concerns and intricate entanglements of humans and technology.
While ecological thought has entered media and cultural studies in these ways, and media technologies have entered ecological thought, often a concern for what used to be called nature or the environment is eschewed in visions of technospheric futures. What is at stake in comprehending digital cultures in terms of media ecology?
What kinds of methods are required to study not singular media but digital media technologies which saturate our surrounds? What forms of techno politics are called for when these media are imbued with the computational and sensory capacities of artificial intelligence and data capture?
Economies Platforms, Commons and Organization As corporations extract wealth from productive activities and operations through infrastructural systems, venture capital amasses in Silicon Valley and Shenzhen, fuelling a technological imaginary which leads to an extensive proliferation of platforms of capture and extraction.
While some argue that the corporate organization stands in conflict with network logics, putting its future in jeopardy, the platform offers itself as an organizational logic and vehicle by which capital can sustain itself and extract wealth from networked valorization.
Meanwhile, a panoply of counter-organizations and movements draw on the subversive capacities of digital media technologies to propose alternative political economies, for example around the commons.
Will platform capitalism be the economic base on which digital cultures operate and degenerate? How will the automation of environments and the rise of forms of algorithmic governance transform labour and its mobilities, management and organization?Mathematical morphology (MM) is a theory and technique for the analysis and processing of geometrical structures, based on set theory, lattice theory, topology, and random attheheels.com is most commonly applied to digital images, but it can be employed as well on graphs, surface meshes, solids, and many other spatial structures..
Topological and geometrical continuous-space concepts such as. DIGITAL CULTURES: Knowledge / Culture / Technology.
Leuphana University Lüneburg, September 19–22, I mentioned Scrivener in a recent post. It would appear that this word-processing and file management desktop programme - specifically developed by Literature.
Historiographies of Digital Cultures. To suggest that we now live in digital cultures, characterized by the ubiquity of digital media technologies and their influence on almost every form of life and experience, is always already an epochal argument, raising fundamental questions regarding their historicity.
SiliconMentor encourages the academia and the masters and doctoral students by providing the shared research platform to the universities and individuals interested doing research in VLSI, signal processing, image processing and its their realization on hardware. Digital Holography Microscopy applications: Three Dimensional Object Analysis and Tracking [Cedric Schockaert] on attheheels.com *FREE* shipping on qualifying offers.
This book describes general and robust algorithms that are devoted to automate the analysis process in the 3D space and in time of dynamic objects present in a volume studied by a specific microscope that permits to record images.