Trains and the railways they run on are a great way to move lots of stuff, or lots of people, a long way. Steel wheels on steel rail can shift great loads at good speeds and railways remain a backbone of logistics for this very reason. The only problem is that they require a great deal of initial investment to build and plenty of maintenance to keep them functional over time.
These concerns can make a railway a difficult proposition when it comes to getting large amounts of goods in and out of remote areas. It’s a problem that Australia faces, with settlements far off the beaten track that are nevertheless in need of high-throughput freight connections. And if you can’t go rail, you go road… in a big way.
You may have a 4K television. Perhaps you have even bought an 8K screen, despite the shortage of things worth watching in 8K. A 16K display is, today, a rarity. But even when those eventually become commonplace, yours probably will not cover 14,900 square meters, rise 73 meters into the air, or wrap over your head and behind your peripheral vision.
That is approximately what happens inside Sphere in Las Vegas. The venue’s interior display is quoted as having a resolution of 16K by 16K and an area of 160,000 square feet, or about 3.7 acres. Unlike most enormous movie screens, it is not illuminated by a projector. The entire surface is a direct-view LED display: an immense, curved video wall assembled from tens of thousands of smaller pieces.
After seeing The Wizard of Oz at Sphere, however, the most interesting part was not simply the screen’s size. It was how thoroughly the screen could disguise itself.
Where Did The Theater Go?
Radio City or the Sphere? (It is the Sphere; photo courtesy [DP])Before the presentation began, the auditorium appeared to have a conventional architectural ceiling. Great orange ribs curved over the seating, while ventilation grilles, suspended loudspeakers, lighting fixtures, curtains, and video monitors completed the illusion. It looked like the Radio City Music Hall’s proscenium. Then the show started — and the apparent theater completely disappeared. The speakers, the TVs, even the stage.
The obvious first conclusion was that the LED surface must be optically transparent, allowing the audience to see the real roof behind it until the pixels illuminated. That explanation was attractive because Sphere’s audio system really is installed behind the display, and the surface must allow sound through it.
It was also, apparently, wrong. The only explanation that makes sense is that the ceiling, ribs, grilles, speakers, and monitors were already being displayed by the screen. It was like a holodeck impersonating a physical theater interior. When the Oz material began, the system simply replaced one complete visual environment with another.
That’s what happens when a display fills nearly all of your useful visual field. A normal screen announces itself with a bezel, a wall, or at least a clearly visible edge. Sphere’s display extends upward and around the audience, removing many of those references. Give the image credible perspective, texture, shadows, and familiar architectural details, and the brain accepts the pixels as a room.
The same effect makes the Oz landscapes seem less like scenes displayed in front of the audience and more like places into which the auditorium has been inserted. Of course, there are more special effects. For The Wizard of Oz, there is wind and smoke, along with paper leaves, flower petals, and foam-rubber apples that fall from the sky. All of this makes it even more immersive.
For as long as humans have had writing, there’s been a need to send secret messages. It is easy to think that Enigma machines and their immediate predecessors are old tech, but they are much more recent than ancient systems used by the Greeks and Romans. Even Thomas Jefferson, one of the founding fathers of the United States, was interested in encryption and is often said to have invented the Jefferson Disk machine for encryption. The truth is, the device is probably older than Jefferson, but he certainly thought about using it for secret communications.
Simple but Effective
Thomas Jefferson was, apparently, a fan of secret messages
The idea is simple. We make a series of disks. Each disk has a number on it and, around the edge, all the letters of the alphabet. The placement of each wheel with the same number is the same, but, overall, the arrangement is random. That is, all disks marked #5 might start with XCBYG, but all disks marked with #10 could start with FAYQL. You take one set of disks, and I keep the other set.
When we want to send secret messages, we agree to arrange our disks on an axle in the same order. Jefferson used a 36-disk system, so we might agree to go left to right with the odd numbers first and then the even numbers, or any other setup that we could agree on.
Encryption
Once the wheels are in place, encryption is simple. There’s a bar across the device, and you line up your message using a wheel for each letter: ENEMYCOMESBYSEA, for example. Then you look at any different row, which will now read something crazy like: FSRSSXQCGAEEFOR (plus the random letters on the rest of the disks). That’s the message you send.
Car enthusiasts want to know how quickly they can make a quarter mile. Weightlifters are forever trying to add one more plate to the bar. Internet denizens have their own favorite number to brag about: the result from a speed test.
The ritual is familiar. Close a few browser tabs, click the big “Go” button, and watch the needle climb. Perhaps you pay for gigabit service and see 940 megabits per second, which produces a satisfied nod. Perhaps you see 299 megabits and begin obsessing over network hardware. But before you get too excited either way, try another test. There is a fair chance it will give you a different answer.
That does not necessarily mean one test is lying. “Internet speed” is not a single physical quantity waiting to be measured. A speed test measures the performance of a particular device, over a particular local connection, through a particular ISP route, to a particular server, at a particular time using a particular test method. Change any of those things and the answer can change too. Continue reading “The Need For Speed: Internet Speed Measurement (or DIY?)”→
In the previous installment on UDP broadcasting and service discovery, the basics of both were explored, including an implementation in the form of NyanSD and its protocol. Contained in the comment section was a very good demonstration of why one of the most exciting aspects of software development is the opportunity to share your latest creations with other people. This being the ability to get solid feedback on all the points – including any potential boneheaded omissions – that you really should address, whether intentional or accidental.
The most pertinent point raised was definitely that of broadcast addresses and IPv4 subnets, with the latter topic especially being something that the sysadmins at the office would talk about all the time, but which us software developers were always happy to ignore as something that didn’t concern us. Turns out the joke was on me and everyone else – like our esteemed readers – who thought that they could escape the fascinating world of subnets, as today we’ll take an in-depth look at what subnets are and how they are relevant to the world of UDP network discovery.
I somewhat alluded in the first article to the topic of ‘which broadcast address to use’ as being somewhat of a rough topic to figure out, which is clearly why I just stuck to a blatantly ‘works for me’ /24 subnet that usually will work on networks, until it does not.
Along with the many displays of outrage, gnashing of teeth and other displays of profound grief at the recent news that Sony will no longer manufacture physical game discs come 2028, we have also heard some voices pipe up with a variety of statements, such as that this decision makes game archiving basically impossible. Of course, the truth of the matter is that software archiving in general has become much harder already over the past decades, while game consoles are just late to the archiving-hostile party.
As an example, one merely has to contrast Sony’s PlayStation with e.g. the Valve Steam store and software by juggernauts like Adobe and Autodesk. Here the former moved after the Creative Suite (CS6) series of Photoshop and other tools fully over to the Creative Cloud (CC) subscription model, where DRM and constant rental software renewals are in order. Unlike that disc copy of CS6 Master Collection that will stay good practically forever, there’s nothing really to archive with Adobe’s CC software.
Similarly, with digital game downloads and their constant patches now put inside a heavily encrypted environment that relies on a special launcher, preserving video games has been turned into into a virtual nightmare for many years now.
A few weeks ago we published the first in a new series of articles, Know Your Food. It was born out of the realisation that most people know surprisingly little about what they eat, and to apply a bit of Hackaday curiosity to received opinion on the subject. As we put it then: “To know both how common foodstuffs should be made, as well as how they are made industrially, should be an essential for everyone” We’ll continue in that vein, with a look at organic food.
If you buy your food in a supermarket it’s likely that in the vegetable aisle you’ll be presented with a choice. On one hand you will have the normal vegetable, and on the other and usually for a slightly higher price, the organic version of the same vegetable. What’s going on?
So What Is This Organic Stuff All About?
It is unlikely that a typical organic farm in the 2020s will resemble this John Constable painting. John Constable, Public domain.
Organic production is a system of agriculture that emphasises natural fertilisers, pesticides, and farming methods over synthetic or intensive ones. It has its roots in the first half of the 20th century, and as the decades progressed it has become an important sector of agricultural industry. I grew up steeped in organic agriculture because my grandfather was an early adherent in the years following the war, so I’ve seen it from the sharpest end. There is a lot to commend organic production for and plenty of reasons to embrace it, but with that come some problematic aspects, and even dubious claims. Here I’ll try to unpick some of that.
It’s tempting to believe that all organic production is somehow a return to a 19th century rural idyl, complete with the obligatory chickens in the farmyard. Some organic producers do take a slice of this back-to-the-land approach to their craft, but the reality of organic farming is a very modern approach to managing the ecosystem. Organic farmers are not wary of progress, and neither are they reluctant to use pesticides or other chemicals. Instead they do so according to the principles of organic agriculture, so any techniques they use are designed to be beneficial to the ecosystem, and any chemicals have a natural origin. Continue reading “Know Your Food: Organic Production”→
