Iris recognition relies upon the fact that every individuals retina has a unique structure. The iris landscape is composed of a corona, crypts, filaments, freckles, pits radial furrows and striatations. Iris scanning is considered a particularly accurate identification technology because the characteristics of the iris do not change during a persons lifetime, and because there are several hundred variables in an iris which can be measured. In addition, iris scanning is fast: it does not take longer than one or two seconds.
These are characteristics which have made iris scanning an attractive technology for high-security applications such as prison surveillance. Iris technology is also used for online identification where it can substitute identification by password. As in other biometric technologies, the use of iris scanning for the protection of privacy is a two-edged sword. The prevention of identity theft applies horizontally but not vertically, i.e. in so far as the data retrieval that accompanies identification and the data body which is created in the process has nothing to do with identity theft.
TEXTBLOCK 1/4 // URL: http://world-information.org/wio/infostructure/100437611729/100438658334
Global networks require global technical standards ensuring the compatibility of systems. Being able to define such standards makes a corporation extremely powerful. And it requires the suspension of competitive practices. Competition is relegated to the symbolic realm. Diversity and pluralism become the victims of the globalisation of baroque sameness.
The ICT market is dominated by incomplete competition aimed at short-term market domination. In a very short time, new ideas can turn into best-selling technologies. Innovation cycles are extremely short. But today's state-of-the-art products are embryonic trash.
- According to the Computer and Communications Industry Association,
- The world's 13 biggest internet providers are all American.
TEXTBLOCK 2/4 // URL: http://world-information.org/wio/infostructure/100437611709/100438658963
Besides ordinary religious manipulation-tools the Egyptians were masters of using architecture for propaganda. In Egypt, most of all, architecture was used as a media to demonstrated power, whereas the Greek and Romans used other types of art, like statues, for political propaganda.
The pyramids, palaces, tombs became tools for power demonstrations. Paintings and carvings (like on obelisks) proved the might of the rulers.
All those signs of power were done to make people compare their ruling dynasty to gods and keep them politically silent, because religion was used for justifying mortal power. Marble, gold, jewelry and artists were the tools for those maneuvers. Whereas questions for the truth were not even asked or listened to.
Finally it was the masses who were used for propaganda, when they were not only forced to work as slaves on those signs of power but also were abused for those power demonstrations, when they had to accompany the dead king into his tomb - dying of hunger, thirst, lack of oxygen and in darkness. The more religious disinformation the more luxury. The more luxury the better. The more luxury the more power.
TEXTBLOCK 3/4 // URL: http://world-information.org/wio/infostructure/100437611661/100438658370
Since the invention of appropriate means and technologies, communication no longer requires face-to-face meetings.
From writing and reading to using computers, expanding and exhausting one's possibilities to communicate relies more and more on the application of skills we have to learn. With the increasing importance of communication technologies, learning to apply them properly becomes a kind of rite of passage.
A Small World
From the very beginning - the first Sumerian pictographs on clay tablets - to today's state of the art technologies - broadband communication via
Since the invention of the electrical telegraph, but especially with today's growing digital communication networks, every location on earth seems to be close, however distant it may be, and also time no longer remains a significant dimension.
Threatened Cultural Memory
More and more information is transmitted and produced faster and faster, but the shelf life of information becomes more and more fragile. For more than 4500 years Sumerian pictographs written on clay tablets remained intact, but newspapers and books, printed some decades ago, crumble into pieces; film reels, video tapes and cassettes corrode. Digitalization of information is not a cure; on the contrary it even intensifies the danger of destroying cultural heritage. Data increasingly requires specific software and hardware, but to regularly convert all available digitized information is an unexecutable task.
Compared to the longevity of pictographs on clay tablets, digitized information is produced for instant one-time use. The increasing production and processing of information causes a problem hitherto unknown: the loss of our cultural memory.
For further information see
For another history of communication systems see
TEXTBLOCK 4/4 // URL: http://world-information.org/wio/infostructure/100437611796/100438659807
the word "cipher" comes from the Hebrew word "saphar", meaning "to number". Ciphers are mere substitutions. Each letter of the alphabet gets substituted; maybe by one letter or two or more.
an example:
PLAINTEXT a b c d e f g h i j k l m n o p q r s t u v w x y z
CIPHERTEXT D E F G H I J K L M N O P Q R S T U V W X Y Z A B C
The transformation of writings from scrolls to codices, in basic the hardcover book as we know it today, is an essential event in European history. Quoting accurately by page number, browsing through pages and skipping chapters, all impossible while reading scrolls, become possible.
In the computer age we are witnesses to a kind of revival of the scrolls as we scroll upwards and downwards a document we just see a portion of. Maybe the introduction of hypertext is the beginning of a similar change as the replacement of scrolls by codices.
Virtual Private Networks provide secured connections to a corporate site over a public network as the Internet. Data transmitted through secure connections are encrypted and therefore have to be encrypted before they can be read.
These networks are called virtual because connections are provided only when you connect to a corporate site; they do not rely on dedicated lines and support mobile use.
Critical Art Ensemble is a collective of five artists of various specializations dedicated to exploring the intersections between art, technology, radical politics, and critical theory. CAE have published a number of books and carried out innovative art projects containing insightful and ironic theoretical contributions to media art. Projects include Addictionmania, Useless Technology, The Therapeutic State, Diseases of Consciousness, Machineworld, As Above So Below, and
http://www.critical-art.net