Here’s some interesting reading for those who are techno savvy. Even if you don’t consider yourself a computer person, this would still make a pretty interesting read.
The original author is German. This is the translated version:
[wpfilebase tag=file id=2]
English version: Anatomy of a digital pest – Apparently this trojan is allowed to do absolutely anything
400 Percent Increase in Android Malware Found Since Summer 2010
SUNNYVALE, Calif., May 10, 2011 — In a global mobile threat study released today, Juniper Networks (NYSE: JNPR) found that enterprise and consumer mobile devices are exposed to a record number of security threats, including a 400 percent increase in Android malware, as well as highly targeted Wi-Fi attacks. Through close examination of recent malware exploits, the study outlines new areas of concern and delivers clear recommendations on essential security technologies and practices to help consumers, enterprises/SMBs, and government entities guard against mobile device exploits.
With smartphones set to eclipse PCs as the preferred method of both personal and professional computing, cyber criminals have turned their attention to mobile devices. At the same time, the gap between hacker capabilities and an organization’s defenses is widening. These trends underscore the need for further mobile security awareness, as well as more stringent, better integrated mobile security policies and solutions.
“The last 18 months have produced a non-stop barrage of newsworthy threat events, and while most had been aimed at traditional desktop computers, hackers are now setting their sights on mobile devices. Operating system consolidation and the massive and growing installed base of powerful mobile devices is tempting profit-motivated hackers to target these devices,” Jeff Wilson, principle analyst, Security at Infonetics Research. “In a recent survey of large businesses, we found that nearly 40 percent considered smartphones the device type posing the largest security threat now. Businesses need security tools that provide comprehensive protection: from the core of the network to the diverse range of endpoints that all IT shops are now forced to manage and secure.”
The report, “Malicious Mobile Threats Report 2010/2011” was compiled by the Juniper Networks Global Threat Center (GTC) research facility, a unique organization dedicated to conducting around-the-clock security, vulnerability and malware research tailored specifically to mobile device platforms and technologies. The GTC examines increasingly sophisticated attacks from 2010 and 2011, such as, Myournet/Droid Dream, Tap Snake and Geinimi as well as the pirating of the “Walk and Text” application, new threat vectors for mobile cybercrime, and the potential for exploitation and misuse of mobile devices and data.
While browsing the TechRepublic I found a very interesting article regarding 3D technology.
The article in question makes some great arguments as to why 3D TV/Cinema/etc is actually a waste of time. The article in question can be found here.
However, todays post is not about that, its about a link that I found while reading the comments of the above mentioned article and wanted to share it here:
I received a letter that ends, as far as I am concerned, the discussion about 3D. It doesn’t work with our brains and it never will.
The notion that we are asked to pay a premium to witness an inferior and inherently brain-confusing image is outrageous. The case is closed.
This letter is from Walter Murch, seen at left, the most respected film editor and sound designer in the modern cinema. As a editor, he must be intimately expert with how an image interacts with the audience’s eyes. He won an Academy Award in 1979 for his work on “Apocalypse Now,” whose sound was a crucial aspect of its effect.
Wikipedia writes: “Murch is widely acknowledged as the person who coined the term Sound Designer, and along with colleagues developed the current standard film sound format, the 5.1 channel array, helping to elevate the art and impact of film sound to a new level. “Apocalypse Now” was the first multi-channel film to be mixed using a computerized mixing board.” He won two more Oscars for the editing and sound mixing of “The English Patient.”
“He is perhaps the only film editor in history,” the Wikipedia entry observes, “to have received Academy nominations for films edited on four different systems:
• “Julia” (1977) using upright Moviola
• “Apocalypse Now” (1979), “Ghost” (1990), and “The Godfather, Part III” (1990) using KEM flatbed
• “The English Patient” (1996) using Avid.
• “Cold Mountain” (2003) using Final Cut Pro on an off-the shelf PowerMac G4.
Now read what Walter Murch says about 3D:
I read your review of “Green Hornet” and though I haven’t seen the film, I agree with your comments about 3D.
The 3D image is dark, as you mentioned (about a camera stop darker) and small. Somehow the glasses “gather in” the image — even on a huge Imax screen — and make it seem half the scope of the same image when looked at without the glasses.
I edited one 3D film back in the 1980’s — “Captain Eo” — and also noticed that horizontal movement will strobe much sooner in 3D than it does in 2D. This was true then, and it is still true now. It has something to do with the amount of brain power dedicated to studying the edges of things. The more conscious we are of edges, the earlier strobing kicks in.
The biggest problem with 3D, though, is the “convergence/focus” issue. A couple of the other issues — darkness and “smallness” — are at least theoretically solvable. But the deeper problem is that the audience must focus their eyes at the plane of the screen — say it is 80 feet away. This is constant no matter what.
But their eyes must converge at perhaps 10 feet away, then 60 feet, then 120 feet, and so on, depending on what the illusion is. So 3D films require us to focus at one distance and converge at another. And 600 million years of evolution has never presented this problem before. All living things with eyes have always focussed and converged at the same point.
If we look at the salt shaker on the table, close to us, we focus at six feet and our eyeballs converge (tilt in) at six feet. Imagine the base of a triangle between your eyes and the apex of the triangle resting on the thing you are looking at. But then look out the window and you focus at sixty feet and converge also at sixty feet. That imaginary triangle has now “opened up” so that your lines of sight are almost — almost — parallel to each other.
We can do this. 3D films would not work if we couldn’t. But it is like tapping your head and rubbing your stomach at the same time, difficult. So the “CPU” of our perceptual brain has to work extra hard, which is why after 20 minutes or so many people get headaches. They are doing something that 600 million years of evolution never prepared them for. This is a deep problem, which no amount of technical tweaking can fix. Nothing will fix it short of producing true “holographic” images.
Consequently, the editing of 3D films cannot be as rapid as for 2D films, because of this shifting of convergence: it takes a number of milliseconds for the brain/eye to “get” what the space of each shot is and adjust.
And lastly, the question of immersion. 3D films remind the audience that they are in a certain “perspective” relationship to the image. It is almost a Brechtian trick. Whereas if the film story has really gripped an audience they are “in” the picture in a kind of dreamlike “spaceless” space. So a good story will give you more dimensionality than you can ever cope with.
So: dark, small, stroby, headache inducing, alienating. And expensive. The question is: how long will it take people to realize and get fed up?
All best wishes,
Source: Roger Ebert’s Journal