New feature of this site (I can't speak for others): here's a LINK that takes you straight to Comments.
Admittedly the comments are all my own on this and recent postings, possibly because Blogger Blogspot, for reasons best known to itself, does not see fit to provide a sidebar link to Comments, at least not as a default. Folk have to scroll down through a posting, which while tedious is tolerable if the posting is short. But mine are now deliberately long, for reasons stated previously.
Hey, I've even been able to add a Shortcut to Comments to the sidebar. Where there's a will, there's a way.
Update: Sunday August 31:
A critique of this posting has appeared on Dan Porter's shroudstory site. He still seems aggrieved at my continuing references to ENEA's Dr.Paolo Di Lazzaro as a "Mickey Mouse scientist", despite my recent line-by-line critique of a guest-posting which at Porter's instigation, PDL delivered against me PERSONALLY on shroudstory. That recent response of mine (scroll down to the blue font) should surely have convinced anyone that if anything my language was moderate and restrained, given the liberties that PDL has taken with physics and chemistry in his attempts to dismiss thermal imprinting (aka scorch hypothesis) and prmpt us all " to think more about philosophy and theology". (Groan: what's become of the country that gave us Galileo?)
(His theology, needless to say, with its obsession and belief in the authenticity of the Shroud of Turin).
I have penned a hasty response (since I'm setting off my travels again later today) and attached it to the end of this posting (more blue font, use your laptop's search facility for "Blogmeister" to get taken straight there). While I'm away, with intermittent access to the hotel's wifi, anything further I have to say will be here on this posting, over-long though it may be already. I will not be participating in discussion on Porter's site until I get back, no matter what the provocation (his trolls far surpassing in their insults my use of the Walt Disney descriptor, like being told I select results to "distort", or that my writings are "drivel").
IMPORTANT: The text and graphics here are my property, the end-product of a great deal of research and reflection, regardless of whether my conclusions finally prove right or wrong. By all means paraphrase the text, and give links to the graphics. But kindly DON'T COPY AND PASTE - unless you are a genuine Shroud researcher with constructive ideas of your own, or willing to invest a little time and thought, as distinct from churning out a never-ending stream of vacuous musings, designed purely to entertain and titillate your client base.
The Shroud represents the tip of an iceberg in our modern internet-connected society - the systematic deployment of PSEUDO-SCIENCE to push through an agenda, whether that be commercial, religious, doctrinal, political or ideological, i.e the thin-end of some kind of control-freak wedge.
As a defensive measure against the cut-and-paste merchants, those who pirate others' copy, simply to whet the appetite of their faithful clientele, then I will say this.
Yes, we know your clients are dependent on and grateful for their daily fix of ridicule against those who, like myself, oppose the pseudo-science of the pro-authenticity tendency. But I'm no longer prepared to tolerate your raiding my postings, often within hours of hitting the send button, simply to see eviscerated, hollowed out, spin-doctored versions appear on your site that attempt to portray me as some kind of hopeless bumbling amateur intruding into your closed-off little world of shroudology. You allow your clients to refer to my research as bent, biased, drivel etc etc, yet spring to their defence whenever I blow the whistle on their systematic trolling and character attacks.
I shall now make it my business to make life as difficult for the scavengers of other people's content. I've previously adopted the strategy of posting in serial instalments, sometimes over several days. I'll now take that a step further and pitch my postings to genuine fellow researchers, using a minimum of explanation, relying on their intelligence and open-mindedness to grasp the way my thoughts are going.
I shall start today's new pirate/troll unfriendly MO with a series of pictures, with minimalist captions. In fact, I'm in no hurry to add any further content just yet..
I repeat, just in case you failed to get the message first time. Kindly don't copy/paste my pictures, my text, my property unless you are a bona fide fellow researcher.
Friday 29 Aug
Here's a picture that I've dredged up from my image archives. Note the two kinds of template, top left and bottom right, both metal, but differing in 3D character if deployed as templates for leaving a thermal imprint on fabric (linen, cotton etc). One is largely "flat"and rectilinear, apart from that curving edge. The other is rounded, a bas relief in fact.
Note btw the strategy that was adopted right from the start - not to rely on a single imprint, but to do serial imprints, each one draining thermal energy out of the template, until the there was no point in continuing further, the template having reached a particular temperature at which it could no longer scorch fabric (while still being able to give a hiss and steam when water was run over it under a tap.
To be continued (as and when the spirit moves this patient, systematic, one-step-at-a-time but nevertheless determined blogger).
Here's a link to a Mickey Mouse scientist (speaking "as a scientist bla bla") who couldn't be bothered to do serial imprints, who relied upon just one sustained pressing of heated (probably overheated) template against linen to get an excessively deep scorch, and who then concluded that ALL scorches would leave imprints on the opposite side of the fabic. Yup, MICKEY MOUSE SCIENCE, one of the worst examples I have seen in my entire research career, sent as an email to Dan Porter's shroudstory.com site (at his instigation) directed at me and the 'scorch hypothesis' specifically.
More to come (please be patient, my restricted but non-agenda driven, non-Mickey Mouse-scientist populated client base).
Here's an iconic picture, which should need no introduction:
If you don't know what it represents, please don't blame me, someone who has spent years trying to explain. Just accept that it is important.
Think pseudo-positive Secondo Pia image, a reversal of light and dark on the 'as-is' Shroud face, a mind-blowing appearance of a "photograph", not seen until 1898. It's got to be a photograph of the crucified Jesus, miraculously preserved , right, albeit as a non-photogenic negative, intended as a present to 20th century man, right? Right? Do I hear any voices of dissension? No? Time up, let's quickly move on.
But it's not quite perfect is it? That sharp demarcation between image and non-image, light v dark, not just one side of the face, but TWO, and symmetrical about a vertical midline, says the cut-off image is real, but hardly photogenic.
Cue the entire "banding" story. It's all due to differences between one batch of yarn and another, those 1st century linen manufacturers having failed to get the bleaching perform in a reproducible fashion. Quality control was still a few centuries away you see, that "cut-off" being just an accident of bleaching variability, despite that remarkable 'bilateral symmetry' about the midline. That's a green light, OK, to get busy with modern photo-editing, to do away with those pale strips making the face look too narrow, too mask-lke. Yup, lets fiddle around with this or that to get the face to look "right", as it would if there had been no pesky defects in 1st century bleaching technology. Just intone "banding variation" enough times, and then go to town on the infilling of those otherwise unsightly cut-offs.
21:30 In the post immediately preceding thsi one, I showed what happens when the 'cut-off' Shroud face is entered into ImageJ for 3D enhancement. It seems my observations have been questioned and/or misunderstood in some quarters, despite mysubsequently finding they square with what previously has been reported by pro-authenticity image analysts.
More about that later. As I say, let's take on step at a time. Let's remind ourselves what happens when those scorch imprints above are entered into a 3D-enhancement program (Image J). We'll start with standard settings (natural colour, minimal smoothing, just sufficient to avoid 'spikiness', and just enough uplift in the z value (3D-producing control) to achieve an image that neither nover- nor under-exaggerates the 3d-ness of of the original template.(This is where we modellers, with our 'drivel', score over those who spend weeks tweaking the 3D images. We can compare what's on screen with the template. The sindologists who have no time for models have never laid eyes on the man whose image they say is imprinted, either miraculously or by natural processes.Their knob-twiddling and slide-control sliding is not normalised against any reference system. Mine is.
Above: 3D rendering of the scorch imprint below in ImageJ (standard original colour settings).
To those who claim that a model scorch imprint can never match to 3D properties of the TS image, my response to such pseudo-science is to say - prove it if you can (but you can't for the reason already cited - you've never seen the original
In fact there's a huge amount of misinformation and mythologizing about the 3D properties of the TS. We are told that "no painting" shows 3D enhancibility. Oh yes it does, as I showed not so long about, merely by entering images into ImageJ that had no 3D history:
A 3D enhancement program reads image brightness (or darkness) as height on a relief map - the higher the image density, the higher the relief and vice versa.
There's one term that ought to be summarily uprooted from the literature, namely that the TS image has "encoded" 3D information. No it doesn't anymore than those flags above have encoded information.It's simply a pattern of light and dark on fabric, one that may and indeed probably was derived from a 3D subject, but there was no encoding by imprinting - merely an analogue process of capturing the topological relief - the higher the relief, the greater the density of the image. It's no more encoded than the scorch mark left by the sole of an iron held too long or too hard against a pillow case.The proof comes from photography, where one simply captures differences between light and dark, maybe in colour too, but using a camera - not an encoding computer in sight. The computers come later, in offering options as to how that captured information can be displayed to best advantage. Repeat: the camera itself is not a computer, even if it's the modern digital type that incorporates ancillary software to assist with focusing, filtration etc etc.The use of terms like "encoded" is a slippery slope where the TS is concerned, one that quickly disposes of the line between science and science fiction.
I've only a few hours left before heading off into the wild blue yonder (the Caucasus), Icelandic volcanoes permitting, so will simply add pictures here that tell their own story, or should do, provided one is not wedded to a pro-authenticity agenda that assumes either (a) miraculous outside assistance in image formation, defying the laws of physics and chemistry or (b) a series of near miraculous processes operating over years and decades, maybe involving some initial brief contact between a corpse and linen, that gradually matures like cheese in a dark cave.
I say one should start with the obvious - thermal imprinting off a metal template - and too be too quick to dismiss it for lacking this or that incidental feature of the TS image, like say lack of uv fluorescence (which some have done, without knowing or caring about the nature of the chemical species that may or may not be present to confer fluorescence. Quick screening processes HAVE to have a solid scientific foundation if they are to a reliable aid in decision making.
That was obtained using ImageJ in 'Thermal LUT' mode. (LUT apparently stands for Look Up Table, so seems a somewhat superfluous tag to me, but I stand to be corrected).
Whenever I post a picture in Thermal mode, the aficionados (notably OK in Poland and Hugh Farey) can be relied upon to ask what level of 'smoothing' one has used, cautioning against excessive smoothing. Yes, it's important to get that optimized, which is why I've added that picture immediately above. It's been taken with the smoothing slide moved far enough towards its zero setting to get that spiky image. I then raise it one percentage point at a time until the spikiness just disappears. That would seem to my untutored mind where IT is concerned to represent the point at which the software switches from from digital (binary) display to a more user-friendly pseudo- or at any rate virtual analogue representation.
To me, the interesting, hopefully scientifically-meaningful control as I've said before in the one labelled "min" in the lower right hand corner. I'll be using this posting to report some new validation(?) findings where that min control has been systematically varied when applied to the TS image alongside a 2D relief diagram, the kind used in atlases, which has no 3D history. (There's a recurring error in shroudology that consists of confusing a map with the territory it tries to portray; I for one have no intention of falling into that particular rap).
First, lets show 2D images of the TS face, first from Shroud Scope (added contrast) with my added yellow lines to indicate the sharp cut-offs, and then the corresponding 3D-renderings in ImageJ in Thermal LUT mode at three levels of "min" control advancement. As I say, we'll worry about the nature of of that "min" re-processing shortly. let's not lose sight of the objective, which is to see if the cut-off is a property of the underlying linen that alters its ability to respond to the image-imprinting process OR whether it's a property of the subject or representation thereof (template etc) that would result in a cut-off, regardless of the yarn-to-yarn variation in the weave of the fabric, allegedly the cause of "banding".
Compare the 2D and 3D images closely, especially at the outer extremities of the left and right side cheeks. (Click to enlarge images). Notice anything? I did, and said as much, and have since discovered by googling that I'm not the first to have noticed the effect that 3D imaging has on that peculiar cut-off. Petrus Soons has reported it too (insert link), not so long ago, in fact (2010).
Dr.Soons's words (my bolding):
“The following photograph shows the difference once we applied the technique that Barrie indicated. On the left is a photograph of material we used to produce the first Master hologram and it is clear that there are very dark imageless areas in the banding. The photos 2 and 4 show the face with the corrections. Also another method was used in the conversion of 2D to 3D and that resulted also in much more detail. Photo 3 is the gray-scale information of the photos 2 and 4. The face is now much more “natural” and detailed.”
Can anyone explain how the image* on Colin Berry’s blog can begin to convince us that banding is not really all that real. Maybe you can understand what Colin is saying. Something about “bilateral symmetry.” If anything, it helps to convince me that there really is banding there. You really need to see it in its full size in Colin’s blog space so CLICK HERE.
Having thus used my posting and my graphics to provide a "new posting", with just enough words to set me up as an Aunt Sally for his client base (trolls included, who are allowed free rein to impugn my research credentials and character) he then diverts the topic onto the photographic jiggery-pokery, sorry subjective, non-validated photoediting (out) of Godfather-in-chief:
Barrie Schwortz did some of the earliest technical work to show one optical illusion effect of the banding. (Use Google translation after obtaining the linked-to page in order to see it in English). It is well worth reading.
The left image shows vertical banding on the outside portion of each cheek that extends upward and downward well above and below the face, particularly so on the right side. The middle image shows the area Barrie chose to add +20 points (Photoshop calibration) of RGB luminance. The effect is immediately obvious in the right picture.
Good, isn't it, the way that one's latest postings can be instantly flagged, only to be instantly queried, immediately sidelined, then used to give a puff to someone who is a photographer (I don't doubt a good one) but with no scientific credentials that I'm aware of, who simple uses one device ("trick") or another to "correct" for an alleged image fault. Yes, a near-iconic feature of the TS face - it's severe, narrow, 'rectangular-look' is clawerly seen as problematical in Shroudie Land, something to be corrected or "fixed". And what better way to do it than seize on a tendentious authenticity-friendly hypothesis, namely banding as a result of 1st century inability to bleach flax yarn uniformly without batch-to-batch variation. Thanks then to Hugh Farey for providing another explanation, a new paradigm as someone else splendidly put it. Science thrives on its paradigm changes. Agenda-driven pseudoscience does not.
There's a word for what shroudstory.com is doing, systematically, month in, month out, year in, year out. It's on the tip of my tongue.
We'll leave the interpretation of the humanising 3D-fleshing-out effect till later. First I want to insert a word as to why I never bought into the "banding explains all" mantra from the word go, and became the target for no end of ridicule for having done so. (I might try dredging some of it up later to show what happens to us Doubting Thomases who have the temerity to question Shroudie Land's received wisdom.
There were 3 main grounds for rejecting the banding hypothesis:
1.The symmetry of those cut-offs, appearing on both sides of the face at approximately the same distance from the vertical axis, what I dubbed "bilateral symmetry" would have been somewhat fortuitous if each cut-off, and each pale zone between cheek and hair, were the result of yarn differences. Sure, accidents and other events that a priori seem improbable do happen, but one's suspicions should be immediately aroused when those who rush to impose their models show no readiness to comment on the 'mirror image' look of those cut-offs, suggestive of something other than a chance event.
2. If the linearity of those cut-offs were due entirely to banding, due to some threads being more receptive to image-imprinting than others. then one would expect the blocking effect, if not complete, at least able to prevent major features of a face from displaying. But that was not the case, which was why I made the yellow line shorter on the right than the left. The prominent cheek bone on the viewer's right HAS been able to image onto the pale zone. (There's a hint of it having happened to the opposite side too). The crucial no-go area for image reception is NOT unbreachable, provided the subject's physiognomy offers something that interrupts an otherwise linear edge, that something being a prominent cheekbone.
3. The clincher for me is that distinctive feature of the TS image, one that was rarely commented upon until this blogger came along, namely the transverse 'crease' where chin meets neck.There are some, naming no names, who try to dismiss it as merely a crease that was acquired in folding or rolling after acquisition of the image. Well, that simply does not stand up to the facts, namely that the character of that 'crease' is indistinguishable for the rest of the body image, at least where colour is concerned. It's NOT a shadow,like so many other transverse markings are concerned , the latter being the result of oblique lighting. It has a fine structure that is a twin-track at first approximation, i.e. dark-light-dark, and one of the tracks is darker than the other. I've done a number of postings in the past on what I now describe as a 'baked-in crease', implying that it's a permanent feature that is NOT a temporary crease that one could hope to iron out. That baked-in crease is an INTEGRAL part of the TS image, and as such can be used for hypothesis-testing or for model evaluation (which amounts to the same thing). So what's that baked-in crease got to off re the banding hypothesis? A great deal, because it is imprinted right across the chin/neck region, indifferent to the two pale 'no-go' areas. Why should a crease, somehow formed and baked-in at the instant of image capture, be able to leave an imprint on a particular type of yarn, unreceptive to main body image? It's at best an anomaly, but when combined with the two previous objections, it says that the banding hypothesis simply cannot be sustained. It fails to account for all the evidence, and indeed makes no attempt to do so (my previous objections having been brushed aside).
So, if it's not banding that is responsible for the non-image zone (Petrus's terminology).i.e. the cut-off effect, which I see is what Hugh Farey too now maintains, based on a close-look at weave characteristics, the herringbone spines especially (good work, that man) then what is?
As I said in the preceding post, if there's nothing intrinsically wrong with the linen, preventing it accepting an image at a particular location, then it has to be something to do with the properties of the subject, or part thereof, along the same portion of imprinting.
So the next step is to take another close look at the 2D image and those 3D-enhancements, and ask oneself the question: what could leave a 2D imprint with a sharp cut-off at both cheeks, giving an unnatural look, yet appear a lot more human and natural when that same 2D image was 3D-enhanced by reading image density as height of relief?
My answer, for what it's worth (and I don't deny that a lot more supporting evidence will be needed to nail it conclusively): the imprint was made from a mask-like bas-relief OR from a fully in-the-round 3D subject or effigy thereof ("statue") that was imprinted from in such a way as to capture uppermost relief only, thereby avoiding wrap-around effect and/or lateral distortion, i.e. to yield a quasi (pseudo?) essentially bas relief end-result.
Before moving on to explore the new horizons of the post-banding world, this might be a good moment to mention another use I've made of the Thermal mode in ImageJ (thanks again OK for the tip). I mentioned that 'baked-in' crease as a diagnostic aid, and said how it seemed an integral part of the TS image in terms of colour (original colour that is). But there was one unsatisfactory aspect, namely it's reluctance to show a convincing response to 3D imaging in standard settings. there will be some who might ask why it should, if it's simply a crease, and not an imprint off a 3D template. But I have to remain consistent. If claiming as I do that response to 3D depends purely on the distribution of light and dark in a 2D image, regardless of history (3D OR 2D) then one expects that crease to respond.
Well, I was relieved yesterday to find that the colour-coding feature of the Thermal mode, which can be amplified using the "min" control, does allow one to see a 3D response. It's not dramatic, in fact it's at the limit of visibility, but is nevertheless there.
Can you see what I can see? (viewing obliquely from a 'south-easterly' direction).
Here's the 2D Shroud Scope image from which it was obtained.
I should have taken a third snapshot of the crease before or after the Thermal mode, to show how it was difficult to visualize in standard original colour settings. It's too late now, but I will come back later with a new comparison where everything is matched except for Thermal v Standard mode.
Late addition: no sooner said that done
So, why the emphasis in this and the previous posting on that Thermal mode. What does it tell us that the Standard mode does not. Is it really the Thermal aspect that is the novelty, or is it a belated recognition that the "min" control should have been harnessed sooner as am image- research tool, which may have been overlooked earlier through lacking the colour-coding of relief that now makes it seem meaningful. Past oversights apart, is that min control doing something that is scientifically-meaningful and defensible. I do not like twiddling knobs unless I understand what is happening inside the electronic black box, maybe not at a detailed IT level, bit at least in broad brush terms ("one is accentuating this or that feature of an image, amyeb at the expense of something else, maybe with risk of distortions of other artefacts that can be tolerated if one can systematically track them through doing a series of small changes). The way to investigate ImageJ, using my axiom that it's merely reading image intensity as height, with no need to assume a 3D history (indeed a major error to assume so) is to create a 2D diagram with graded image intensity, with no 3D history, to check that it responds as expected in ImageJ's standard settings, and then to compare the behaviour of the TS image with that reference model alongside. I reported that exercise here some months ago, and will use the same 2D model in the next series of pictures.
Here's the starting point for the 'ramp up the min value' exercise, Shroud Scope TS image on left, and my colour-coded model on the right (not that the first thing that Thermal does it dismiss one's own colour scheme and replace it with its own numerically-scaled colour coding of image height (z value) above ????.. Oops. I nearly said base plane, but if you read the scale, it's the ceiling that is being used as the reference plane. Why is that? It's because the default mode in ImageJ reads image density as depth beneath the surface, not height above, and I have corrected for that using the Invert option near the top right hand corner, which ImageJ responds to by reversing the markings on the vertical z scale. Put another way, Image J recognizes that the input image is a negative, not positive. I could have inverted the image first - an option under Edit in ImageJ, but chose not to, wishing to stick with the as-as image to minimize the risk of unforseen difficulties, me being a rookie image analyst.
OK, let's start racking up. Clcik on images to enlarge (when you may then be able to see the steps in the "min" value setting).
And now for a big jump, to see what happens at the top end of the scale where the TS image becomes useless.
As one can see, ramping up the min value has a dramatic effect on the TS image, and while there are obvious changes in the strictly 2D image too, they are rather subtle, implying no great change in algorithm that governs matrix transformation and final image appearance. That gives on confidence that it is legitimate to use the min setting freely, if or when it appears to bring out, dare one say 'unmask' extra detail that might otherwise be hidden. I'm finding it hard right now to select the terms that best describe what that min value control has done, although "amplifying", possible "stretching" or "elongating" are possible candidates. Maybe there's someone reading this who can make sense of ImageJ's help files, and explain for the benefit of us greenhorns what is happening. Who knows, we might then progress up the ImageJ colour scale become yellowhorns or even redhorns.
Afterthought: I'm realizing I should have created a new 2D diagram with a narrower range of tones that match more closely those of the Shroud Scope Durante image, especially I used the latter with no extra contrast - a break from my previous practice. My model is lacking in sensitivity relative to the TS image.
I'm tempted right now to deliver a lecture on the difference between scientific and non- scientific image-processing, and extend it to cover scientific photoediting and non-scientific photo-editing. No doubt I'd be told to get of my "high horse|", to which my answer would be that I've already spent far too much off a professional high horse and an now experiencing the downside. The scientific approach is two-fold - what you see above where there's a systematic variation to see what happens, aided with a simple model for comparison, but essentially hypothesis-free, to see what happens and report the results without imposing any model. There's the unscientific approach, which is to select particualr settings, failing to control them systematically, depriving one of a wider perspective. Then there's the totally unscientific approach, indeed pseudo-scientific approach, which is to fiddle around with settings , judging which results fit best with one's preconceived notions about "banding" as an explanation for image-cut off, and effectively to doctor the TS image in a way that can be used not only to impress the suggestible or gullible, but to distract genuine scientific enquiry into the most puzzling iconic features of the TS image.
Pseudo-science stinks. It stinks to high heaven. Somebody has to say it.
Afterthought: that posting to which I take great except, using me simply as a coathanger for someone else's garment, also has a totally inappropriate title:
"Banding. Is it real". Banding we know is an obsession in shroudology. But my posting did not attempt to question the reality of banding. It simply points out that an image appears in the cut-off zones when 3D-rendered. It hints at a possible explanation - namely that the lack of 2D imaging is something to do with the properties of a 3D template, whether bas relief or something more life-like. Beyond that I have nothing more to say (as yet), but am pleased to see that Petrus Soons had earlier observed the same effect. No doubt he interprets of differently if his explanation is reliant on banding. I say that banding is looking more an more like agenda-driven pseudoscience, especially as it's touted as fact based on the assumption that the TS cloth is a product of 1st century linen technology.I t's the job of the objective scientist to seek out these cosy little underlying assumptions that masquerade as established fact.
For an extension of pseudo-science try googling "shroud quad mosaic". Look out for the bit where you are told that the different colours 'obviously' or even 'apparently' represent different molecular species. Beware of photographers posing as scientists. Challenge them to produce evidence that their zones of different colour represent differences at the chemical level, as distinct from knob-twiddling artefacts.
Then read Hugh Farey on the subject. Yer gotta larf, han't yer?
Returning to an earlier point, i.e. choosing the best word for what's been happening re this site and wider blogosphere these last 32 months. There were those lectures we had on different trophic (feeding) relationships. There was predation. Nope, that's not the right word. Predation is sudden kill, often done quickly and efficiently by predators. Was it symbiosis? Nope, that where two organisms cooperate to get mutual benefit. Think lichen - a fusion of algae and fungus. The algae photosynthesizes, supplying sugar and other nutrients to the fungus. The fungus attaches to the stone, establishing a firm grip, absorbing minerals, some of which are passed to the algal cells. Nope, not symbiois in any shape or form. However, I seem to recall another lifestyle, one where one organism feeds off another unwilling victim on a long term basis, gaining benefit, offering nothing in return, and in fact stunting and weakening the other. I can't for the life of me recall what that set up was called, but think it ended in -ism, and maybe started with a p. It certainly wasn't professionalism. What I'm talking about is entirely unprofessional in blogging terms - just look at that recent offering for a glaring example, but there are scores of others, all based on the same one-way drain-the-lifeblood trophic model.
Halleluja. There's not ony a wiki entry on LookUp Tables, but a subsection devoted to LUTs in image processing.
Here's just a couple of selected paragraph to provide a flavour. (Even I can make sense of them, well, in places).
In data analysis applications, such as image processing, a lookup table (LUT) is used to transform the input data into a more desirable output format. For example, a grayscale picture of the planet Saturn will be transformed into a color image to emphasize the differences in its rings.
A classic example of reducing run-time computations using lookup tables is to obtain the result of a trigonometry calculation, such as the sine of a value. Calculating trigonometric functions can substantially slow a computing application.
In image processing, lookup tables are often called LUTs and give an output value for each of a range of index values. One common LUT, called the colormap or palette, is used to determine the colors and intensity values with which a particular image will be displayed. In computed tomography, "windowing" refers to a related concept for determining how to display the intensity of measured radiation..
Oh, and here's a link to Hugh Farey's thesis, the one that drives a coach-and-horses through the banding hypothesis.
I was pleased to see that my own input received a mention, even if I'm just one of a "number of people" who have commented on the "reflective symmetry about the midline". Now why didn't I think of that - reflective symmetry, that is instead of my clunky "bilateral symmetry"? I came close, mind you, referring once as I recall to "mirror images".
So where are we at? What does the 3D result in Thermal mode have anything new to say, if anything, about the nature of a putative template (I leave it to others to fathom out the consequences in terms of the banding narrative). What do the parallel image transformations with the metal templates have to say, if anything, about the reasons for a 2D image with strong linear character losing that severe cut-off look in 3D mode?
I shall deliberate on those questions some more befo0re committing thoughts to print. Even they, they will be hedged around with so many qualifications, ifs and buts to make them less porterable, correction, portable.
Have just spotted this comment from Thibault Heimburger. Spot the computer-assisted image re-processing masquerading as science (I've used bolding to provide some help).
Update: Monday pm:
Plane caught. Now at destination with a tolerably good wifi connection. But editing or adding to an already long posting can quickly overload bandwidth allowance on hotels' wifi.
One is made painfully aware of that fact when one's attempts at updating, ending as often as not with a time-out message.
There are things I still want to say on this posting, for the benefit of those who follow my blog, without starting a new one and seeing it quickly godfatherized into vague and meaningless pap.
So while I'm travelling, and reliant upon hotels' wifi, I'll try switching to my own comments section. talking to myself, at least initially, and hopefully avoid overloading the hotels' preset wifi allowance.
See you on my comments, if you're still interested where my thoughts are going, aided by the recent valuable input from Hugh Farey that largely dovetails with my own evolving 'hunchology'.
Saturday 6 September
Here's a piccy taken just a few hours ago in the Caucasus mountains of north Georgia.
And here's one I took two days ago looking out over the impressive capital, Tbilisi, from a moving cable car.
Tomorrow we head back, via Kiev and Amsterdam.
Monday 8th September
Arrived back yesterday fuming, thanks to a second encounter (two too many) with the ghastly Schiphol airport terminal in Amsterdam (designed by a megalomaniac, signposted by a moron). Have resolved never to use it ever again. Thank goodness for the Museum quarter (Museumplein) a 5 euro, 20 minute bus ride from Skip (Hell) Hole (beats the extortionate 45 euro taxi any day) great for people watching, even if most are sporting those sunglasses with a most amazing range of garishly reflective coatings.
I shall now be taking a break while I research the subject of traditional Georgian winemaking (8-10,000 year old technology depending on who you believe). It will focus on what you see in the next two photos (my own) taken a few days ago on our personal guided tour of the Kakheti wine region in SE Georgia (with one super driver of sturdy SUV, both of which one needs on crazy anarchic Georgian highways and one incredibly articulate English-speaking guide).
It's just one of those kvevri, (Georgian: ქვევრი) i.e. subterranean earthenware pots use for prolonged fermentation, that are now enjoying something of a renaissance, even if based in some instances on some questionably- romanticised New Age 'organic' mantras. Each of these impressive receptacles can typically hold 2000 litres. That's a whopping 2 cubic metres).
(The one in my picture one is not subterranean, but buried into the floor of the wine cellar; UK Elf-and Safety would not have allowed visitors to stand so close to the unplugged hole).
Here are some de-commissioned ones on display outside the winery we visited, with a piccy of our splendid tour guide.
(We used her and the driver for a second trip up north to see the High Caucasus)
But what's the science behind them? Splendid raconteur though she was, our university-educated guide was not really clued up as to the pros and cons of this ancient pre-Pasteurian way of doing things versus your modern stainless steel plant or those dubious oak barrels, new ones especially, that swamp grape tannins with those from wood (Bordeaux region winemakers beware: I have you in my crosshairs, the result of having toured your facilities in 2013).
So I shall spend the next few days scouring the internet for information on kvevri-contained fermentation and maturation. If all goes well it shall the subject of my next posting (am now taking a break from the shroudie blogosphere, considering it to be a complete waste of time and effort, being for the most part an unholy alliance between agenda-pushers and internet trolls). Am off to a quite promising start, given that those kvevri have their own wikipedia entry.