The Research on Edged Detecting in CNC Engraving Technology Based on Reverse Engineering

2013 ◽  
Vol 655-657 ◽  
pp. 1237-1241
Author(s):  
Chuan Qi Wang ◽  
Jian Zhang ◽  
Wei Rong Wang ◽  
Xue Jing Gu

Currently, the ancient calligraphy and painting are widely used in decoration screen; however, the processing technic is normally based on manual manipulation. Normally, this kind of processing is not efficient, and with highly cost. In addition, it could not maintain the original artistic style in maximum. the paper proposes to process the sculpture of ancient calligraphy according to its photo, by adopting the CNC technology based on reverse engineering method, which enables to mostly keep the original artistic style, and to create the CNC code automatically with the assistant of image processing to achieve intelligent machining.

2021 ◽  
Vol 1098 (6) ◽  
pp. 062108
Author(s):  
A P Budijono ◽  
S S Syah ◽  
W D Kurniawan ◽  
B N Habib

2011 ◽  
Author(s):  
G. S. Djordjevic ◽  
C. A. Sporea ◽  
D. N. Vulcanov ◽  
Madalin Bunoiu ◽  
Iosif Malaescu

2014 ◽  
Vol 556-562 ◽  
pp. 5526-5530
Author(s):  
Hai Yan Liu ◽  
Yue Zhao ◽  
Rui Huang

Discovering the vulnerabilities in network protocols is the key for network attacks and defenses. Basing on the analysis of some currently used vulnerability discovering methods, a method combining reverse engineering and fuzzy testing is put forward for vulnerability discovering of network protocols, where reverse engineering method is first used to analyze the details of the communication protocol, then fuzzy testing is used to test the target software. This combination can promote the efficiency of the fuzzy testing. By using this method to test a real network application, several vulnerabilities are discovered, which verifies the validity of this method.


Author(s):  
Suk Kyoung Choi ◽  
Steve DiPaola ◽  
Hannu Töyrylä

Recent developments in neural network image processing motivate the question, how these technologies might better serve visual artists. Research goals to date have largely focused on either pastiche interpretations of what is framed as artistic “style” or seek to divulge heretofore unimaginable dimensions of algorithmic “latent space,” but have failed to address the process an artist might actually pursue, when engaged in the reflective act of developing an image from imagination and lived experience. The tools, in other words, are constituted in research demonstrations rather than as tools of creative expression. In this article, the authors explore the phenomenology of the creative environment afforded by artificially intelligent image transformation and generation, drawn from autoethnographic reviews of the authors’ individual approaches to artificial intelligence (AI) art. They offer a post-phenomenology of “neural media” such that visual artists may begin to work with AI technologies in ways that support naturalistic processes of thinking about and interacting with computationally mediated interactive creation.


Author(s):  
Suk Kyoung Choi ◽  
Steve DiPaola ◽  
Hannu Töyrylä

Recent developments in neural network image processing motivate the question, how these technologies might better serve visual artists. Research goals to date have largely focused on either pastiche interpretations of what is framed as artistic “style” or seek to divulge heretofore unimaginable dimensions of algorithmic “latent space,” but have failed to address the process an artist might actually pursue, when engaged in the reflective act of developing an image from imagination and lived experience. The tools, in other words, are constituted in research demonstrations rather than as tools of creative expression. In this article, the authors explore the phenomenology of the creative environment afforded by artificially intelligent image transformation and generation, drawn from autoethnographic reviews of the authors’ individual approaches to artificial intelligence (AI) art. They offer a post-phenomenology of “neural media” such that visual artists may begin to work with AI technologies in ways that support naturalistic processes of thinking about and interacting with computationally mediated interactive creation.


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