text:
\section{Introduction}
The term `air-gap' in network security refers to a policy where computers, networks, or devices are not exposed to the public Internet. This isolation level is achieved by physically isolating the critical systems from the external world networks, especially the Internet. The air-gap policy is widely used in military and defense systems, critical infrastructure, governmental agencies, finance organizations, and other industries \cite{AirGappe12:online}. The air-gap isolation is maintained by enforcing strict policies in the organization. These policies include forbidding external devices such as Wi-Fi and Bluetooth adapters in secure environments. In order to protect the air-gapped network, intrusion detection and prevention systems may be used to eliminate any intentional or accidental security breaches. Traditionally, air-gap isolation was used inside a controlled networking environment called a SCIF (Sensitive Compartmented Information Facility) \cite{Implemen10:online}. A known example of an air-gapped network is the Joint Worldwide Intelligence Communications System, a classified network belonging to the United States Defense Intelligence Agency.

\subsection{Air-gap Breaches}
In the past decade, it has been shown that even air-gapped networks are not immune to breaches. As noted by ESET research, in the first half of 2020 alone, four previously unknown malicious frameworks targeting air-gapped networks were found \cite{dorais2021jumping}. Adversaries could use complex attack vectors to hack air-gapped networks, such as supply chain attacks and malicious insiders. Attackers can penetrate an air-gapped network using these methods while bypassing defense measures, including firewalls, antivirus programs, intrusion detection, and prevention systems. For example, a classified network of the United States military was compromised by a computer worm named Agent.Btz \cite{AgentBTZ65:online} when a foreign intelligence agency supplied infected thumb drives to the target military base. The malicious thumb drive was put into a USB port of a laptop computer that was attached to United States Central Command. Stuxnet, ProjectSauron, and other APTs are examples of an air-gap breach that has also been reported in the past \cite{dorais2021jumping,guri2021power}.

\subsection{Leaking Information from Air-gapped Facilities}
With malicious code running in the air-gapped network, the attacker may want to retrieve sensitive information from the compromised network. For example, an attacker may wish to leak text files, encryption keys, and keylogging data. While the infection of air-gapped systems has been shown feasible, the exfiltration of data from off-line, disconnected systems is a much more challenging task. In order to leak the information despite the lack of Internet connectivity, the attack may resort to special communication techniques called air-gapped covert channels. Classic air-gap covert channels use various types of emanation and radiation from the target systems. Exploiting electromagnetic radiation (EMR) has been the most studied covert channel for twenty years. In this method, malware exploits the electromagnetic emission from various hardware components such as communication cables, processing units, and other hardware peripherals for data exfiltration. In recent years, sound waves, magnetic fields, and heat emissions have also been proposed as covert channels.
At the optical domain, leaking information via the keyboard LEDs, hard drive LEDs, and screen power brightness \cite{guri2019brightness} was also proposed. In these methods, binary data is encoded over the activities of the LEDs and recorded by remote cameras. Most of the methods are not considered entirely covert and can be detected by users who notice irregular LED blinking patterns.

\subsection{Our Contribution}
In this paper, we propose a new optical covert channel for the exfiltration of information from air-gapped systems. The attack is relevant to many devices in the modern IT environments which are shipped with integrated Ethernet cards, including:

\begin{enumerate}
	\item Personal workstations (PC), laptops, and servers
	\item Networked Attached Storage (NAS)
	\item Internet of Things (IoT) devices
	\item Printers and scanners
	\item TVs and LCD screens
	\item Embedded systems and controllers
	\item Security and surveillance cameras
\end{enumerate}

We demonstrate how attackers can control the status network interface LEDs and encode data over it in a stealth way. We show that a local or remote video receiver with a line-of-sight with the device can record the LED activity and send it to the attacker for decoding. We discuss the related work in Section \ref{sec:related}, present the adversarial attack model in Section \ref{sec:adv}, and examine the modulation techniques and different type of receivers in Section \ref{sec:trans}. We evaluate the proposed covert channel in Section \ref{sec:eval}, and present countermeasures in Section \ref{sec:cnt}.

\section{Related Work}
\label{sec:related}
In computer security, a covert channel is an attack that enables transferring information between two entities (e.g., computers) that are not allowed to communicate. Over the years, many network protocols have been studied in the context of covert communication, including IP, TCP and UDP, HTTP, SMTP, DNS, and others \cite{mazurczyk2016information}. It is also possible to encode information in packet timing, and image data \cite{wendzel2014hidden}. Unlike the traditional covert channels, air-gap covert channels focus on data leakage from offline computers, where there is no Internet connectivity. Air-gap covert channels are categorized into electromagnetic, acoustic, thermal, and optical channels.

Electromagnetic covert channels involve the usage of electromagnetic (or magnetic) emissions generated by the target device to carry information. Kuhn presented an attack that transmits data from a video cable via radio frequencies \cite{kuhn1998soft}. Guri et al. introduced AirHopper \cite{guri2014airhopper} and Air-Fi \cite{guri2020air} attacks aimed bridging the air-gap between computers and a nearby smartphones by exploiting signals at various frequency bands. Other types of magnetic and electric covert channels have been discussed in recent years \cite{burton2021private}. Bauer et al. discussed the exploitation of anti-EMI features of processors for covert communication \cite{bauer2016information}. Camurati presented a covert channel that affects mixed-signal chips, where electromagnetic leakage from digital logic is modulated with the radio carrier \cite{camurati2018screaming}.
Another type of air-gap covert channel relies on the acoustic medium for transmission. Researchers introduced a method called acoustical mesh networks, which enables the transmission of data between computers via high-frequency acoustic sound \cite{Hanspach2013}. Guri et al. presented Fansmitter \cite{guri2020fansmitter} and PowerSupply \cite{guri2021power}, methods enabling exfiltration of data via sound waves, even when the computers are not equipped with speakers or audio hardware.
Takymchuk et al. presented a temperature based covert channel for FPGA systems \cite{iakymchuk2011temperature}. Other types of attacks control the device heat emissions to maintain a so-called thermal covert channel \cite{guri2015bitwhisper}.

\subsection{Optical}
Leaking data from air-gap via the optical medium has also been proposed over the years. Twenty years ago, Loughry discussed the threat of information leakage via optical emanations via network devices and keyboard LEDs \cite{loughry2002information}. Loughry also discussed the optical injection attacks using LED status indicators \cite{loughry2019oops} and explores the threat of optical tempest in general \cite{loughry2018optical}. More recently, Guri presented the attack model involving information leakage through signals sent from the USB keyboard \cite{guri2019ctrl} and hard disk drives (HDD) LEDs \cite{Guri2017}. Lopes presented a method for leaking data using infrared LEDs shipped on storage devices \cite{lopes2017platform}. Note that their approach requires the attacker to deploy the compromised hardware in the organization. Nassi et al. showed how an attacker could exploit the light sensitivity of a scanner and use external light sources to deliver commands to malware in the network \cite{nassi2018xerox}. VisiSploit is another type of optical covert channel in which data is leaked through an image concealed on an LCD screen \cite{guri2019optical}. With this method, the invisible QR image that is shown on the computer screen is obtained by a remote camera and is then decoded using image processing. Weis discussed Aa QR-Code based optical covert channel in an air-gapped infrastructure \cite{weise2022qr}. Some works proposed to project invisible images on a modified LCD screen for data exfiltration. Such methods are less practical in a real attack model since they require hardware modification of the screen hardware.

This study uses the network devices Ethernet LEDs for data leakage, a threat that has not been studied before, theoretically or technically. We examine the opportunities and limitations of this technique on different types of transmission techniques and examine different types of cameras in the attack model.

\begin{figure*}
	\centering
	\includegraphics[width=\linewidth]{ila2.png}
	\caption{Adversarial attack model. An APT collects sensitive information and encodes on over NIC LEDs control. The data could be recorded by different types of cameras and transmitted to the attacker via the Internet.}
	\label{fig:attack}
\end{figure*}

\section{Adversarial Attack Model}
\label{sec:adv}
The term advanced persistent threat (APT) refers to an attack campaign in which an adversary maintains an illicit presence on a target network in order to access highly sensitive data \cite{virvilis2013big}. The attack model of ETHERLED is bifurcated and contains transmitter and receiver components. At the initial phase of the attack, the adversary must execute malicious code within the targeted system to enable control of the NIC LEDs. The target might be an isolated or highly secure computer or other networked devices such as embedded systems, printers, cameras, and any device with a wired network interface.
The infection of a device can be achieved via supply chain attacks, social engineering techniques, or the use of hardware with installed software or firmware. Hijacking secured and even air-gapped facilities is a type of attack that has been demonstrated in recent years. In 2020, researchers in a security firm found an Advanced Persistent Threat (APT) dubbed USBCulprit
seems to be designed to breach air-gapped networks \cite{guri2021usbculprit}. Other air-gapped targeting APTs include Agent.Btz \cite{AgentBTZ65:online}, Stuxnet \cite{kushner2013real}, Tick and Ramsay \cite{NewRamsa19:online} attacks.

\subsection{Data Exfiltration}
At the second phase of the attack, the malicious code collects data from the compromised network. The data can be textual (e.g., user names, passwords, key-loggings) or binary (e.g., encryption keys, biometric information). After collecting the information, the malware starts the exfiltration phase. In our case, the attack uses the optical covert channel for the data exfiltration. The malicious code uses the network card's status LEDs to encode the textual or binary information in stealth and covert ways, such as optical data modulations and Morse codes.

\subsection{Data Reception}
The attacker receives the optical signals via cameras with a line of sight with the compromised device NIC LEDs. Several types of equipment can be used in this attack model. The attack may attack video surveillance, closed-circuit TV, or IP camera positioned in a location with a line of sight with the transmitting computer. An attacker may also use a hidden camera that has a line of sight to the transmitting device. In March 2021, a group of hackers compromised large group security cameras via a Silicon Valley startup. Due to the CheckPoint security report from 2021, over 150,000 IP cameras inside public organizations such as hospitals, police departments, and schools were compromised by hackers \cite{HackersG3:online}.
Another potential receiver is a drone with a high-resolution camera positioned, so it has a line of sight with the target device. Attackers can also use a malicious insider carrying a recording device (e.g., smartphone) that can position themself to have a line of sight with the transmitting device. These video cameras record the device's NIC LEDs. Then the attacker can then decode the signals and retrieve the encoded information. The list of potential receivers and the corresponding attack vectors is presented in Table \ref{tab:receivers}.

\begin{table}[]
	\caption{The list of potential receivers and the corresponding attack vectors}
	\label{tab:receivers}
	\begin{tabular}{@{}ll@{}}
		\toprule
		Receiver                     & Attack vector                         \\ \midrule
		Surveillance/security camera & Remote attack; exploitation            \\
		Hidden camera                & Supply chain attack; malicious insider \\
		Drone camera                 & Outsider attack                       \\
		Recording camera; smartphone & Malicious insider/visitor             \\ \bottomrule
	\end{tabular}
\end{table}

Figure \ref{fig:attack} shows the adversarial attack model. An APT collect sensitive information and encode on over NIC LEDs control. The data is recorded by different types of cameras and transmitted to the attacker via the Internet.

\section{Data Transmission and Reception}
\label{sec:trans}
This section describes the data transmission and discusses signal generation, modulation, and information encoding. Note that the topic of LED-based communication has been widely studied in the context of optical communication channels. The relevant literature discusses topics such as the type of optical receivers, effective distance, and environmental conditions in the general case \cite{jovicic2013visible}. This paper limits the discussion to NIC LEDs, their characteristics, and their relevancy to the attack model.

\subsection{Signal Generation}
Network adapters are usually implemented as extension cards or hosted (integrated) in the PC motherboards and device system-on-chip. Common Ethernet port has two LEDs: the link status LED and the activity LED. The link status LED is a two-color LED, typically green and amber, while the activity LED is a one-color LED, usually green. Note that the behavior of the LEDs and their colors may be different from system to system. Typically the status LED color indicates the current link speed, e.g., amber for 1GB, green for 100Mb, and off for 10Mb connection. The activity LED blinks if there is a network activity in this port and is turned off if no link is established. Table \ref{tab:leds} Summarized typical configuration and coloring scheme of two NIC LEDs.

\begin{table}[]
	\caption {The NIC LEDs used for the covert channel}
	\label {tab:leds}
	\begin{tabular}{@{}lllll@{}}
		\toprule
		LED      & Colors (optional) & Steady  & Blinking & Description                      \\ \midrule
		Link     & Green/Amber/Blue  & Enabled & Enabled  & Link status \& speed\\
		Activity & Green/Yellow/Red  & Enabled & Enabled  & Port activity         \\ \bottomrule
	\end{tabular}
\end{table}

There are three main methods that malware can control the NIC LEDs (Figure \ref{fig:arch}).

\begin{figure}
	\centering
	\includegraphics[width=0.9\linewidth]{three.png}

	\caption{The three LEDs control methods.}
	\label{fig:arch}
\end{figure}

\subsubsection{Driver/firmware control}

\begin{figure}[]
	\caption{Example of the embedded Ethernet LEDs control via GPIOs}
	\label{fig:code1}
	\frame{\includegraphics[width=1\linewidth]{emb.png}}

\end{figure}

In this method, the LED controlling code runs as a kernel driver or within the NIC firmware. Changing the LED state/color requires direct access to low-level registers or special non-volatile memory (NVM) addresses. This method enables the highest degree of control over the LEDs but is very hardware-specific and mostly undocumented. For example, the guide in \cite{Questtod45:online} discusses how to control the Ethernet LEDs in Intel NUC PC D34010WY. It can be done from a kernel driver (e.g., the \texttt{e1000\_led\_off\_pchlan} function) or by writing to specific addresses in flash memory (word 0x18), which holds LEDs configuration. For embedded controllers, the control on the NIC is typically performed via internal BUS or USB interfaces. For example, the sample code in \cite{lan951xl77:online} programs the corresponding LED register (LED\_GPIO\_CFG) for LAN951X Ethernet controllers via USB commands (Fig. \ref{fig:code1}).

\subsubsection{Link status control}
In this method, only the status LED can be controlled. The malicious code can intentionally change the link speed, which in turn causes the network adapter to change the status LED. For example, setting the link speed to 10Mb, 100Mb and 1Gb will set the status LED to off, green, and amber, respectively. Selecting the link speed can be done by interacting with the NIC driver. For example, the \texttt{ethtool} command-line tool in Linux enables to change of the link speed of the Ethernet controller \cite{ethtool848:online}. The same is possible in the Windows OS via the \texttt{netsh} command \cite{NetshCom27:online}. Note that setting the link speed requires root/admin privileges in both the Linux and Windows OSs. Technically, the link speed is determined through the \textit{autonegotiation} procedure. In this procedure, which occurs in the physical layer, the connected devices share their capabilities regarding supported parameters such as transmission rate, half/full duplex, etc. The link speed of the network card (NIC) can be determined from the computer's OS.

\subsubsection{User LEDs control}
In this method, the user directly turns the status LEDs on and off by enabling and disabling the Ethernet interface using API or tools such as the \texttt{ethtool} or \texttt{eth}. The user directly turns the status LEDs on and off by enabling and disabling the Ethernet interface using API or tools such as the \texttt{ethtool} or \texttt{eth}. Another technique to blink the status LED is using the 'test' or 'identify' functionality, enabling the operator to identify the adapter by visual indication. These operations can be triggered programmatically or via low-level tools such as \texttt{ethtool}.

Table \ref{tab:tech} presents the three LED control techniques and their corresponding capabilities for the covert channel.

\begin{table}[]
	\caption {LED control techniques and t capabilities}
	\label {tab:tech}
	\begin{tabular}{@{}llll@{}}
		\toprule
		Technique               & LEDs control  & Color control & Blink control \\ \midrule
		Driver/firmware control & Link/Activity & Yes           & Yes           \\
		Link status control     & Link          & No            & Yes           \\
		User LEDs control       & Link/Activity & Yes           & Yes (limited) \\ \bottomrule
	\end{tabular}
\end{table}

\subsection{Data Modulation}
Using the signal generation techniques described above, we implemented three different types of data modulation; (1) on-off keying (OOK), (2) blink frequency, and (3) color modulation.

\subsubsection{On-Off keying}
On-Off keying is an basic form of the more general amplitude-shift keying (ASK) modulation. The lack of a signal for a certain time duration encodes a  zero ('0'), while its presence for a time duration encodes a one ('1'). In our case, LED is turned off for duration of T$_{0}$ encodes '0' and turned on for a duration T$_{1}$ encodes '1.' Note that in the simple case T$_{0}$ = T$_{1}$. In its simple implementation, this scheme uses a single LED to modulate data.

\subsubsection{Blinks frequency}
Frequency-shift keying (FSK) is a modulation scheme in which digital information is modulated through frequency changes in a carrier signal. In binary frequency-shift keying (B-FSK), only two frequencies are used. In our case, LED blinks in a frequency of F$_{0}$ encodes '0' LED blinks in a frequency of F$_{1}$ encodes '1'. We make a separation between two sequential bits by setting the LED in the off state for time interval F$_{d}$. This scheme uses a single LED to modulate data in its basic form.

\subsubsection{Color modulation}
In the color modulation scheme, different LED colors are used to modulate the information. This can be seen as a form of frequency modulation at the carrier level since different colors have a different wavelength from the optical perspective. In our case, the link LED blinks encodes '0', and the activity LED blinks encodes '1'. Another version of this modulation uses the same LED with different colors, e.g., by alternating the status LED color between green and amber. We make a separation between two sequential bits by setting the LED in the off state for time interval T$_{d}$. In this form, the scheme uses two LEDs to modulate data. Figure \ref{fig:il2} shows the transmission of the sequence \texttt{00101101} (0x2d) using color modulation, as recorded by a video camera in the room.

\subsection{Data Frames}
We transmit the data in defined frames depicted in Figure \ref{fig:frame}. Each frame begins with a sequence \texttt{`1010'} followed by a payload of 64 bits. Note that the encoding of `0' and `1' depends on the modulation used (e.g., single color or two colors). The frame ends with a parity bit for error detection.

  \begin{figure}
  		\centering
  		\includegraphics[width=0.9\linewidth]{il4.png}

  		\caption{Transmission of the sequence \texttt{00101101} (representing the 0x2d byte) using color modulation.}
  		\label{fig:il2}
  	\end{figure}

\begin{figure}[!h]
	\centering
	\includegraphics[width=0.8\linewidth]{frame.png}

	\caption{A data frame with a single LED (top) and two LEDs (bottom) modulations.}
	\label{fig:frame}
\end{figure}

\subsection{Morse Codes Encoding}
We also implemented a Morse Codes transmitter to transmit textual information. Morse code is an encoding scheme that allows sending messages via sequences of short and long signals, represented as dots and dashes, respectively. Since the Morse code requires control over a single LED, it enables the simple encoding of textual information via the network status LED. The Morse codes consist of short signals called dots, and long signals called dash. A dot is an elementary time unit, and a dash is three times as long as a dot. The separation between dots and dash within a character is a one-time unit. The separation between characters is three time-units, and between letters is seven-time units. In the case of NIC LEDs, the encoding is done on a single color LED, usually the green color. The time units may vary depending on the network cards. We used a dot time duration of 100 ms in our experiments and a dash time duration of 300 ms. For driver/firmware control, we used a dot time duration of 10 ms and a dash time duration of 30 ms. The Morse codes encoding parameters with the status LED is listed in Tables \ref{tab:morse2},\ref{tab:morse2a}.

\begin{table}[h]
	\centering
	\caption{Morse Codes Encoding with the status LED}
	\label{tab:morse2}
	\begin{tabular}{@{}lll@{}}
		\toprule
		Symbol                     & Status  & Duration       \\ \midrule
		Dot                        & LED on  & 100 ms         \\
		Dash                       & LED on  & 300 ms         \\
		Spaces (short/medium/long) & LED off & 100/300/700 ms \\ \bottomrule
	\end{tabular}
\end{table}

\begin{table}[h]
	\centering
	\caption{Morse Codes Encoding with the status LED (driver/firmware)}
	\label{tab:morse2a}
	\begin{tabular}{@{}lll@{}}
		\toprule
		Symbol                     & Status  & Duration       \\ \midrule
		Dot                        & LED on  & 10 ms         \\
		Dash                       & LED on  & 30 ms         \\
		Spaces (short/medium/long) & LED off & 10/30/70 ms \\ \bottomrule
	\end{tabular}
\end{table}

\section{Evaluation}
\label{sec:eval}
In this section, we evaluate the optical covert channel. Our evaluation focuses on the optical characteristics of NIC LEDs and the transmission rate. Our experiments adapt the approach commonly used in visible light communication (VLC), which assumes a line of sight between the light source and the camera. Note that other work focused on retrieving singles where the camera has no line-of-sight with the transmitting source \cite{jovicic2013visible}. We implemented a prototype of the described modulation schemes and Morse code transmitter on different PCs and laptops running Ubuntu OS in Python scripting language. We also used the command-line utilities such as the \texttt{ethtool} and \texttt{netsh}.

\subsection{Camera Receivers}
After retrieving the recorded video, the attacker has to perform the following video processing tasks; (1) detection of the location of each transmitting LED, (2) frame by frame processing to identify the LED status per frame, and (3) binary data is decoded based on the encoding scheme.

The main factor in determining the bit rate for video cameras is the number of frames per second. Our experiments identified three frames per bit as the optimal setting to decode the LED transmission successfully. In the context of the attack model, it means that even devices with low frame rates, such as security cameras, can be used for data recording. Table \ref{tab:distance} shows the effective distances with different types of receivers. Our evaluated video cameras include a high-end surveillance camera, entry-level DSLR camera, extreme high-resolution camera, HD webcam, smartphone camera, and telescope camera. As can be seen, the surveillance cameras and smartphones can reach lengths of 0 - 30 meters, while extreme cameras can reach up to 50 meters, depending on the resolution. Telescope and special focus lenses can extend the range to a few hundred meters \cite{jovicic2013visible}.

\begin{table}[]
	\caption {The effective distance with different receivers}
	\label {tab:distance}
	\begin{tabular}{@{}lll@{}}
		\toprule
		Receiver                    & Type                           & Distance \\ \midrule
		High-end surveillance camera & SNCEB600 Network 720p/30fps  & 30 m     \\
		Entry-level DSLR camera     & Nikon D7100 1920x1080 (video)  & 20 m     \\
		Extreme camera              & GoPro                          & 50 m     \\
		Webcam (HD)                 & Microsoft LifeCam              & 10 m     \\
		Smartphone camera           & Samsung Galaxy                 & 30 m     \\
		Focus lenses / telescope    & Various                        & 100+ m    \\ \bottomrule
	\end{tabular}
\end{table}

\begin{table*}[]
	\caption {The effective bitrates with different modulations}
	\label {tab:bitrate}
	\begin{tabular}{@{}llll@{}}
		\toprule
		Technique               & Modulations /                & Max bit rate & Relevant information                                                                                \\ \midrule
		Driver/firmware control & OOK, Blink-frequency, colors & 100 bit/sec  & Text files, Username/passwords, encryption keys (e.g, RSA 4096), PIN codes                     \\
		Link status control     & OOK, Blink-frequency         & 1 bit/sec    & Username/passwords, credentials, encryption keys (e.g, AES 256), PIN codes                     \\
		User LEDs control       & OOK, Blink-frequency, colors & 2 bit/sec    & Keylogging, username/passwords, credentials, encryption keys (e.g, AES 256)  \\ \bottomrule
	\end{tabular}
\end{table*}

\subsection{Bit Rates}
Table \ref{tab:bitrate} shows the bit rates when various LED control techniques and modulations are used. For the user LED control, the effective bitrate is between 1 bit/sec with link status control to 2 bit/sec. The most relevant information to leak using this bit rate is credentials, username and password, encryptions keys (e.g., RSA 4096), and key-loggings. With the low-level driver/firmware control, we reached bitrates of 100 bit/sec, enabling the exfiltration of data such as text files. It is important to note that the devices with Ethernet cards are usually stationary and positioned in the same place. Maintaining a covert channel for an extended period is feasible since the line-of-sight with the target device is stable.

\subsubsection{Morse codes}
Morse code speed is specified in words per minute (WPM). For the Morse codes bandwidth evaluation, the word PARIS is used as standard of the typical word in English plain text. The WPM is calculated by the formula

\begin{equation}
	Speed (WPM) = 60 / (50 * Dotlength (sec))
\end{equation}

In our case, with a Dot length of 0.3 sec, the Speed (WPM) = 4 (four words per second). With a Dot length of 0.03 sec (driver/firmware control), the Speed (WPM) = 40 words per second.

\subsection{Data Transmission}
Tables \ref{tab:data},\ref{tab:data2} present the time it takes to leak various types of information. As can be seen, a 100 bits password can be exfiltrated in 1 sec - 1.5 minutes, depending on the modulation used. Depending on the modulation used, a bit Bitcoin private key can be exfiltrated in approximately 2.5 sec - 4.2 minutes. Depending on the modulation used, the RSA encryption key of 4096 bits can be exfiltrated in 42 sec - 60 minutes. For textual keylogging, each keystroke can be leaked in almost real-time, and it's primarily relevant for fast modulations. 1KB of text (8000 bits) can be leaked with the driver/firmware control in 1.4 - 2.7 min.
\begin{table}[]
	\caption{time it takes to leak various types of information}
	\label{tab:data}
	\begin{tabular}{@{}llcc@{}}
		\toprule
		Information         & Size      & \multicolumn{1}{l}{Single color} & \multicolumn{1}{l}{Two colors} \\ \midrule
		Passwords           & 100 bits  & 1.5 min                                      & 0.7 min                                \\
		Bitcoin private key & 256 bits  & 4.2 min                                      & 2.1 min                                \\
		PIN codes           & 64 bits   & 1 min                                        & 0.5 min                                \\
		RSA encryption keys & 4096 bits & $\sim$30 min                                 & $\sim$60 min                           \\
		Keylogging          & 5 bit/key & N/A                                          & 2 sec / key                            \\ \bottomrule
	\end{tabular}

\end{table}

\begin{table}[]
	\caption{time it takes to leak various types of information (driver/firmware)}
	\label{tab:data2}
	\begin{tabular}{@{}llcc@{}}
		\toprule
		Information         & Size      & \multicolumn{1}{l}{Single color} & \multicolumn{1}{l}{Two colors} \\ \midrule
		Passwords           & 100 bits  & 2 sec                                       & 1 sec                                \\
		Bitcoin private key & 256 bits  & 5 sec                                      & 2.5 sec                                \\
		PIN codes           & 64 bits   & 1.2 sec                                        & 0.5 sec                                \\
		RSA encryption keys & 4096 bits & 1.4 min                                 & 42 sec                           \\
		Text files          & 1KB &  $\sim$2.7 min                                          & $\sim$ 1.4 min                          \\ \bottomrule
	\end{tabular}
\end{table}

\section{Countermeasures}
\label{sec:cnt}
TEMPEST attack, taken from the National Security Agency (NSA) jargon, loosely refers to the threat of data leakage from systems and devices through leaked emanations, including electromagnetic, acoustic, and optical. The defensive countermeasures for optical TEMPEST include the restriction of cameras and video recorders in areas with line-of-sight with the sensitive devices. However, many types of equipment, such as surveillance cameras, may be installed to monitor the sensitive areas, so they can not be banned entirely. It is important to note that the receiving camera is not necessarily a stationary one but might be a transitional, such as a camera carried on a spying drone.
Nassi et al. introduced a method that can detect whether a specific spot (e.g., a room) is being video streamed by a drone camera \cite{nassi2019drones}. They maintained a periodic optical stimulus, which was reflected as a watermark in the wireless traffic. Particular types of opaque windows might be used to prevent the threat of remote cameras, drones, and optical leakage. However, this type of countermeasure doesn't protect against insider attacks or cameras within the building.

Another physical countermeasure against the ETHERLED attack is to cover the status LEDs with black tape to block the optical emanation physically. It is also possible to disconnect the LEDs power input at the hardware level. The two above solutions are less practical since they affect the usability of the status LEDs, which are necessary in many cases. At the software level, it is possible to reprogram the NIC EEPROM settings to fixate the LEDs' colors and blinking frequency, preventing the modulation and encoding scheme described in this paper. A jamming approach adds noise to the modulated signals by invoking random LEDs indications. The status signals generated by the malicious code will get mixed up with random noise. Similar to the previous solutions, this type of software intervention degrades the usability of the status LEDs. Another possible countermeasure is to detect covert signaling patterns, encoding, and modulations. These solutions can be implemented internally in the OS or externally from another device. Kernel-level drivers monitor the command sent to the NICs and detect suspicious patterns in the internal solution, such as repetitive speed changes or direct LEDs commands. Note that any type of OS-level solution can be bypassed by advanced code in the kernel. Since modern Smart NICs (sNICs) are fully programmable, it is possible to offload the covert channel detection and prevention to the sNIC \cite{feng2020smartnic,liu2019offloading}. However, note that the attack presented in this paper is relevant to any type of NIC. Previous work presented different approaches for the detection of covert channels. Carrara presented a survey and taxonomy of detection and measurement of various covert channels  \cite{carrara2016survey}. Cabaj et al. discussed using a data-mining approach to detect network covert channel \cite{carrara2016survey}. Another type of detection and prevention countermeasures can be deployed in network devices. A traffic inspection is executed in this solution's local router or switch. The component detects and blocks suspicious activities such as frequent changes in the interface speed or abnormal traffic patterns. Note that this type of solution is considered trusted but requires cooperation from the network device manufacturers. An external solution includes a camera that monitors a specific device or even the entire room and detects anomalies in optical activities such as LED communication. A practical implementation of external monitoring would be complex because network device LEDs routinely blink due to regular traffic activity. Consequentially, this kind of detection solution would likely have high rates of false positives. Table \ref{tab:cnt} summarizes the countermeasures to the ETHERLED attack.

\begin{table}[]
	\caption{Defensive and preventive countermeasures}
	\label{tab:cnt}
	\begin{tabular}{@{}ll@{}}
		\toprule
		Countermeasure                & Weaknesses                               \\ \midrule
		Camera zone restriction               & Cost and space                           \\
		OS monitoring/blocking        & Can be evaded; false positives           \\
		Smart NIC monitoring/blocking & Not applicable in all cases              \\
		Signal jamming                & Malicious insiders; supply-chain attacks \\
		Optical watermarking          & Specific to wireless cameras             \\
		Optical monitoring            & Cost; deployment; false positives        \\
		Network device detection      & Deployment; OEM involvement                         \\ \bottomrule
	\end{tabular}
\end{table}

\section{Conclusion}
This paper showed how an attacker could exfiltrate information from a wide range of highly secured, air-gapped devices such as PCs, printers, network cameras, IoT devices, and embedded controllers. These devices have an integrated network interface controller (NIC), including status and activity indicator LEDs. We showed that malware installed on the device could programmatically control the status LED by blinking or alternating its colors. We presented different levels of slow and fast control on the status LEDs via link-layer and firmware level commands. Textual and binary information such as passwords and encryption keys can be encoded and modulated over these signals. An attacker with a line-of-sight to the status LEDs can intercept and decode these signals. e.g., via remote drone or local surveillance camera. We also examined different types of cameras receivers, such as smartphone and security cameras. We discussed various data encoding and modulation schemes and proposed defensive countermeasures for this attack.

\balance
\bibliographystyle{plain}

redpajama_set_name: RedPajamaArXiv


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The 2013 edition of ComiCONN dubbed The Fantastic 4th returned to The Marriot in Trumbull,CT and did not disappoint. More vendors, more guests, more activities, more fans and more fun was to be found this year.
Comic Book icons such as Jerry Ordway, Joe Staton, Tom Palmer, Ron Garney and Mark Bagley were meeting with fans. The other comic book men were there as well with Mike Zapcic and Ming Chen from AMC's Comic Book Men in attendance. Mike and Ming were the guest judges for the costume contests and it was obvious they were having a great time with it. Rob "The Riddler" Pivarnik was the MC for the trivia and costume contests. Rob was quick witted and definitely added a huge dose of fun to the events.
Famed voice actor Larry Kenney (voice of Lion-O) and actor John Wesley Shipp (The Flash) made fans feel welcome as they signed autographs and posed for pictures with them.
LUGO CT (Lego Users Group of Connecticut) had some awesome Lego dioramas on display.
There were even more cosplayers this year than ever before. The Hero Army and 501st Conn Squad were back with their incredible costumes.
ComiCONN made The Fantastic 4th live up to it's name. After talking to the fans in attendance, we are all anxiously awaiting the 2014 ComiCONN.


text:
Google Is Alive In Egypt While Internet Dies
by INFIDEL on January 31, 2011
It's scary to think that not even the riots in Egypt can keep Google quiet. Get a load of this article from The Jakarta Post:
The last of Egypt's main Internet service providers, the Noor Group, has gone dark.
The Noor Group had remained online even after Egypt's four main Internet providers – Link Egypt, Vodafone/Raya, Telecom Egypt and Etisalat Misr – abruptly stopped shuttling Internet traffic into and out of the country Friday morning.
At about 11 p.m. local time Monday, the Noor Group became unreachable, said James Cowie, chief technology officer of Renesys, a securityfirm based in Manchester, New Hampshire. Renesys monitors massive directories of "routes," or set paths that define how Web traffic moves from one place to another. The Noor Group's routes have disappeared, he said.
Cowie said engineers at the Noor Group and other service providers could quickly shut down the Internet by logging on to certain computers and changing a configuration file. The original Internet blackout on Friday took just 20 minutes to fully go into effect, he said.
Cell phone service was restored in Egypt starting Saturday but text messaging services have been disrupted as protests continue.
Google Inc., meanwhile, said that over the weekend it had developed a new service that will allow people in Egypt to post Twitter messages without an Internet connection. The so-called speak-to-tweet service was developed by engineers from Google, Twitter and SayNow, a company Google acquired last week.
With the service, which is already live, people in Egypt can post tweets by dialing an international telephone number and leaving a voicemail message. The message is then sent out as a tweet with the hashtag (hash)egypt.
"We hope that this will go some way to helping people in Egypt stay connected at this very difficult time," Google said in a blog posting Monday.
Over 360 killed, 5,500 hurt in Egypt protests
Israel Wants To Ban The Muslim Brotherhood As A Political Party
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Next post: Google Staffer Wael Ghonim Missing In Egypt

redpajama_set_name: RedPajamaCommonCrawl


text:
Tag Archives: Bell Model 222
25 October 1994: The "Dog Ship"
October 25, 2019 AviationAllison 250-C40B, Bell Helicopter Textron Canada, Bell Model 222, Bell Model 222B, Bell Model 222UT, Bell Model 230, Bell Model 430, BHTC, C-GBLL, Dog Ship, First Flight, N2759D, Prototype, Rolls-Royce Series IV M250 C40B, s/n 43901, s/n 47006Bryan Swopes
The prototype Bell Model 430, C-GBLL, in flight, circa 1994. (Bell Helicopter TEXTRON)
A "dog ship" is an aircraft retained by a manufacturer for engineering development testing.
25 October 1994: At Bell Helicopter Textron's plant at Mirabel, Quebec, Canada, the prototype Bell Model 430, registered C-GBLL, made its first flight.
The Bell Model 430 ("Four-Thirty") is a twin-engine intermediate-weight helicopter, operated by one or two pilots, and which can be configured to carry from 6 to 11 passengers. It has advanced avionics. The standard helicopter is equipped with skid landing gear, and retractable tricycle gear is optional. The 430 was the first helicopter to be certified for instrument flight with a single pilot, without a stability augmentation system. The aircraft is also certified for Category A operations, meaning that if one engine were to fail during takeoff, the helicopter could continue to fly with the remaining engine.
Bell 430 instrument panel with some optional equipment. (Bell Helicopter TEXTRON)
The 430 was developed from the preceding Model 230 (and the 230 from the 222). It was lengthened 1 foot, 6 inches (0.457 meters) and uses a four-bladed semi-rigid main rotor. Instead of a mechanical rotor head of trunnions, bearings and hinges, the 430 has a "soft-in-plane" fiberglass rotor yoke that is flexible enough to allow the blades to flap, feather and lead/lag.
The Bell 430 is 50 feet, 0.6 inches (15.248 meters) long, with rotors turning. The fuselage is 44 feet, 1 inch (13.437 meters) long. Overall height 12 feet, 1.6 inches (3.697 meters). The span of the stub wings is 11 feet, 6.0 inches (3.454 meters). The fixed horizontal stabilizer has a spa of 11 feet, 5.9 inches (3.453 meters) and a -9° angle of incidence. The vertical fin is canted slightly to the right to unload the tail rotor during high speed flight.
The main rotor mast is tilted 5° forward and 1.15° to the left. The forward tilt helps to keep the passenger cabin level during forward flight, while the left tilt counteracts the translating tendency caused by tail rotor thrust while in a hover.
Bell 430 prototype at Mirabel, Quebec, Canada, December 1995. (Vertiflite)
The main rotor is 42 feet, 0 inches (12.802 meters) in diameter and rotates counter-clockwise as seen from above. (The advancing blade is on the right.) The rotor turns at 348 r.p.m., resulting in a blade tip speed of 765 feet per second (233 meters per second). The blades are of composite construction. They use an asymmetrical airfoil and have a chord of 1 foot, 2.2 inches (0.361 meters). The blades are pre-coned 2° 30′.
The tail rotor is mounted on the left side of the tail boom, with the rotor disc offset 1 foot, 9.5 inches (0.572 meters) to the left of the aircraft centerline. Seen from the helicopter's left, the tail rotor turns clockwise (the advancing blade is below the axis of rotation). The tail rotor is 6 feet, 10.5 inches (2.098 meters) in diameter, with a chord of 10.0 inches (0.254 meters). The blades are constructed of a stainless steel spar, with a bonded stainless steel skin over an aluminum honeycomb. The tail rotor turns 1,881 r.p.m.
Three-view drawing of the Bell Model 430 with retractable tricycle landing gear. (Bell Helicopter TEXTRON)
In standard configuration, the wheel-equipped Model 430 has an empty weight of 5,364 pounds. Its maximum gross weight is 9,300 pounds (4,218 kilograms).
The 430 is powered by two Rolls-Royce Series IV M250 C40B FADEC turboshaft engines. (The engine was previously known as the Allison 250-C40B. Rolls-Royce acquired Allison in 1995). The engine has full digital electronic controls. The 250-C40B uses a single-stage centrifugal compressor, reverse-flow combustion chamber, and a 4-stage axial-flow turbine section (2-stage gas producer turbine, N1, and 2-stage power turbine, N2.) At 100% N1, the gas producer rotates at 51,000 r.p.m. and the power turbine turns 30,908 r.p.m. The output drive speed is 9,598 r.p.m.
The engines have a Maximum Continuous Power rating of 695 shaft horsepower, and 808 s.h.p. for takeoff (5-minute limit). If an engine fails, the remaining engine can be operated at 940 s.h.p. for 30 seconds; 880 s.h.p for 2 minutes; and 835 s.h.p. for 30 minutes.
At Sea Level, the Bell Model 430 has a cruise speed of 133 knots (153 miles per hour/246 kilometers per hour), and maximum cruise of 147 knots (169 miles per hour/272 kilometers per hour). VNE is 150 knots (173 miles per hour/278 kilometers per hour). The helicopter's service ceiling is 20,000 feet (6,096 meters). At its maximum gross weight, the 430 can hover in ground effect (HIGE) at 10,400 feet (3,170 meters) and out of ground effect (HOGE) at 6,200 feet (1,890 meters).
The fuel capacity of the 430 is 187.5 U.S. gallons (708 liters). This gives the helicopter a range of 286 nautical miles (329 statute miles/530 kilometers). A 48 gallon (182 liter) auxiliary fuel tank can be installed in the baggage compartment. With skid landing gear, the fuel capacity is increased to 247 gallons (935 liters), increasing the range to 353 nautical miles (406 statute miles/654 kilometers).
The Bell Model 430 received its Transport Canada certification on 23 February 1996, with the first production aircraft delivered the following month. Production continued for 12 years. The final 430 was delivered in May 2008.
This helicopter is an early production Bell Model 222, sometimes unofficially called a "222A". (Wikipedia)
C-GBLL was originally built as the sixth Model 222, serial number 47006, and registered by the Federal Aviation Administration as N2759D. The aircraft was used as the prototype of the Bell 222B, which upgraded the engines from the original 618-shaft horsepower Lycoming LTS-101-650C3 turboshaft engines to 680 s.h.p. LTS-101-750Cs. The diameter of the main rotor was increased from 40 feet to 42 feet.
In 1983, N2759D was next used as the prototype for the Model 222UT, which replaced the retractable tricycle landing gear with fixed skids constructed of tubular aluminum. This simplified the helicopter, decreased its empty weight and allowed for an increased fuel capacity. N2759D was transferred to Bell Helicopter Textron Canada at Mirabel. Its U.S. registration cancelled by the FAA on 17 October 1990, and it was re-registered C-GBLL by Transport Canada.
The skid-equipped Bell Model 222UT is often used as an emergency medical transport helicopter. This aircraft, operated by Mercy Air Service Inc., is standing by at Mohave Airport (MHV) in the high desert of southern California. (Unattributed)
Early problems with the Lycoming LTS-101 adversely affected sales of the Bell 222. Bell designed a new variant equipped with Allison 250-C30G engines. This helicopter was designated the Model 230. The first prototype, C-GEXP, with skid gear, made its first flight on 12 August 1991, followed by the second prototype—C-GBLL—on 3 October 1991.
Bell 230 prototype C-GBLL, minus main rotor and mast, and tail rotor, circa 1993. Compare the exhaust stacks to those of the 222UT in the image above. (Fiveprime)
The 430 prototype was given a new serial number, s/n 43901.
Bell 430 prototype C-GBLL, stripped, circa 2012. (Photograph © Pierre Gillard. Used with permission)
Bell 430 C-BCHD (s/n 43902) was the second prototype of the Model 430. This helicopter, previously registered C-GEXP, was built as a Bell 222UT, s/n 47503, before being converted to the first Model 230 prototype in 1991. (© Pierre Gillard Used with permission)
August 13, 2019 AviationBell Helicopter Company, Bell Model 222, c/n 47001, Donald Lee Bloom, First Flight, Helicopter, Louis William Hartwig, Lycoming LTS101-650C-3, N9988K, Prototype, Test Flight, Test PilotBryan Swopes
The prototype Bell 222 hovering in ground effect during its first flight, 13 August 1976. (Bell Helicopter TEXTRON)
13 August 1976: At the Bell Helicopter facility at Arlington, Texas, the prototype Model 222 twin-engine helicopter, registration N9988K, made its first flight. During the 42-minute flight, test pilots Donald Lee Bloom and Louis William Hartwig flew the aircraft through a series of hovering maneuvers and transitions to forward flight. A Bell spokesperson described it as, "One of the most successful prototype flights we've ever had."
The prototype Bell 222 in flight with landing gear retracted, 13 August 1976. (Bell Helicopter TEXTRON)
The Model 222 ("Two Twenty-Two") was Bell Helicopter's first completely new helicopter since the Model 206 JetRanger series. Classified as a light twin, the aircraft was originally powered by two Lycoming LTS101-650C-3 turboshaft engines. The two-blade main rotor was similar in design to that used on the AH-1 Cobra attack helicopters. The first four prototypes were built with a T-tail configuration, but problems discovered early in the test program resulted in a change to the arrangement used in the production version.
Bell Model 222 prototype, N9988K, in flight. Note T-tail configuration. (Bell Helicopter TEXTRON)
The Bell 222 is used as an executive transport, a utility transport and an aeromedical helicopter. It can carry a maximum of ten persons, and is operated with either one or two pilots. The 222 is certified for Instrument Flight Rules. The standard aircraft has retractable tricycle landing gear but the Model 222UT replaces that with a lighter weight skid gear.
The Bell Model 222 is 47 feet, 6.16 inches (14.482 meters) long with rotors turning. The helicopter has a maximum height of 14 feet, 7.25 inches (4.451 meters) with the forward main rotor blade against its droop stop. The height from ground level to the top of the vertical fin is 11 feet, 0.56 inches (3.367 meters). The helicopter's maximum width is 11 feet, 4.0 inches (3.454 meters). The empty weight is 4,555 pounds (2,066 kilograms), and the maximum gross weight is 7,848 pounds (3,560 kilograms).
The fifth prototype Bell 222, N222BX (c/n 47005), in the 40′ × 80′ (12.2 × 24.4 meters) wind tunnel at the NASA Ames Research Center, Moffett Field, California. The man at the lower left corner of the image shows scale. (NASA)
The 222's main rotor mast is tilted 5° forward and 1° 15′ to the left. This contributes to a higher forward air speed and counteracts the helicopter's translating tendency in a hover.
The two-bladed, underslung, semi-rigid main rotor system rotates counter-clockwise as seen from above (the advancing blade is on the right.)and turns 324 r.p.m at 100% NR. The main rotor has a diameter of 39 feet, 9.0 inches (12.116 meters). The blades have a chord of 2 feet, 4.6 inches (7.264 meters) and are pre-coned 3° 30′. The two-bladed tail rotor is positioned on the left side of the tail boom and turns clockwise as seen from the helicopter's left (the advancing blade is below the axis of rotation). The tail rotor's diameter is 6 feet, 6.0 inches (1.981 meters). The blades' chord is 10.0 inches (0.254 meters).
The Bell 222 was originally powered by two Lycoming LTS101-650C-3 engines. The LTS101 is a compact, light weight, turboshaft engine. The 2-stage compressor section has 1 axial-flow stage and 1 centrifugal-flow stage. The turbine section has 1 high-pressure gas generator stage and 1 low-pressure free power stage. The LTS101-650C-3 was has a maximum continuous power rating of 598 shaft horsepower (446 kilowatts at 49,159 r.p.m. (N1) at Sea Level, and 630 shaft horsepower (470 kilowatts) at 49,638 r.p.m. for takeoff (5-minute limit). The output shaft (N2) turns 9,545 r.p.m. With one engine inoperative (OEI), the -650C-3 is rated at 650 shaft horsepower (485 kilowatts) at 50,169 r.p.m. (30-minute limit), and a maximum 675 shaft horsepower at 50,548 r.p.m. N1/9,784 r.p.m. N2 (2½-minute limit). The LTS101-650C-3 is 1 foot, 10.6 inches (0.574 meters) in diameter, 2 feet,7.3 inches (0.795 meters) long, and has a dry weight of 241 pounds (109 kilograms).
The Bell 222 has a maximum speed of 130 knots. Its hover ceiling is approximately 9,000 feet (2,743 meters). The service ceiling is 12,800 feet (3,901 meters). The maximum range is 324 nautical miles (373 statute miles/600 kilometers).
During early production, problems were experienced with the LTS101 engines, which were also used on the Sikorsky S-76 and the Aérospatiale AS-350D A-Star. This seriously hurt the reputation and sales of all three helicopters. Bell Helicopter's parent corporation, Textron, bought the Lycoming factory and modernized it in order to improve the engine. (The engine is now owned by Honeywell Aerospace.) Operators began to replace the two Lycoming engines with a pair of Allison 250-C30 turboshafts, and eventually Bell Helicopter modified the aircraft, marketing it as the Model 230. A four-bladed variant with a longer cabin is called the Model 430.
After the test program was completed, the first prototype, N9988K, was used as a static prop on the popular television series, "Airwolf."
Bell 222 N34NR, an aeromedical helicopter operated by Air Angels, Inc., Bolingbrooke, Illinois. (Photograph courtesy of Chris Hargreaves)
Donald Lee Bloom
Donald Lee Bloom was born in Tulsa, Oklahoma, 23 April 1932. He was the son of Fred Miles Bloom, a telegraph operator for the Standard Oil Company, and Georgia Randolph Bloom.
Don Bloom attended the University of Houston as a Naval Reserve Officers Training Corps (NROTC) midshipman. He graduated in 1955. Bloom was commissioned as a second lieutenant, United States Marine Corps, 15 September 1955. He was assigned to pilot training at NAS Pensacola, Florida.
Lieutenant Bloom was promoted to the rank of first lieutenant, 15 March 1957. He married Miss Anne Marie Carruthers in Los Angeles, California, 5 September 1958. They would have four children, Susan, Stacy, Robert and Todd.
Lieutenant Bloom was released from active duty in 1960, and joined the Kaman Aircraft Corporation as a test pilot. In 1961, began his 29-year career as an experimental test pilot with the Bell Helicopter Company.
The first production Bell OH-58A-BF Kiowa, 68-16687. Don Bloom flight-tested this type in his investigation of Loss of Tail Rotor Effectiveness. (U.S. Army)
In 1984 the Society of Experimental Test Pilots gave its Iven C. Kincheloe Award to Don Bloom for his experimental research into the Loss of Tail Rotor Effectiveness (LTE).
After flying as a test pilot on 187 projects, Don Bloom retired from the Bell Helicopter Corporation in 1990 as Senior Experimental Test Pilot. He then worked for the Federal Aviation Administration Southwest Region as its Designated Engineering Representative Flight Test Pilot, testing aircraft for government certification. During his aviation career, Bloom flew over 14,000 hours in 102 different aircraft.
In 2011, the Federal Aviation Administration presented its Wright Brothers Master Pilot Award to Don Bloom.
Donald Lee Bloom died 18 July 2017 at Grapevine, Texas. He was buried at the Dallas-Fort Worth National Cemetery, Dallas, Texas.
Don Bloom was a project development test pilot for the Bell AH-1G Cobra. (U.S. Army)
Louis William Hartwig was born at Sherman, Iowa, 26 July 1922. He was the son of Lawrence C. Harwig and Alta May Gaughey Hartwig. He attended Bowie High Schoo in Bowie, Texas.
Lou Hartwig enlisted in the United States Army 8 September 1942. (s/n 17119277) He was assigned to the 304th and 902nd Field Artillery Battalions, 77th Infantry Division.
Lou Hartwig married Miss Katherine Elizabeth Healzer, a school teacher, at Rustburg, Virginia, 19 February 1944. They would have a son, Ronald.
Piper L-4 Grasshopper. (Harry S. Truman Library & Museum)
Hartwig was deployed to the Pacific theater of operations, 24 March 1944. He flew a Piper L-4 Grasshopper as an artillery spotter at Guam and Okinawa. He was discharged from his enlistment 18 June 1944, and commissioned a second lieutenant, 19 June 1944 (s/n O-1821011). Lieutenant Hartwig returned to the United States on 21 November 1945. He was released from active duty 24 January 1946.
Lou Hartwig was one of the early students of the Bell Aircraft Corporation's helicopter flight school at Niagara Falls Airport, New York. The school was for experienced pilots only, and required 10–15 days to complete. Each student received a minimum 22½ flight hours in a Bell Model 47. The cost of the course was $600. Hartwig was then employed as an agriculture "crop dusting" pilot in California.
While spraying insecticide in a field near Sacramento, California, Hartwig was overcome by the poisonous chemicals and lost consciousness. The helicopter struck power lines and crashed. Hartwig was thrown from the cockpit. Crash investigators described the accident as "unsurvivable." He spent the next 11 months in hospital.
Lou Hartwig was a test pilot for the U.S. Navy's HSL-1 ASW helicopter. (Bell Aircraft Corporation)
The Bell Helicopter Company hired Hartwig as a test pilot on 15 February 1955. One of his first projects was flight testing the Model 61, the only tandem rotor helicopter ever produced by Bell. It was used as an anti-submarine warfare helicopter by the U.S. Navy, designated HSL-1.
On 31 January 1961, Hartwig set a Fédération Aéronautique Internationale (FAI) World Record for Speed Over a Closed Circuit of 100 Kilometers Without Payload, when he flew a Bell Model 47J Ranger at an average speed of 168.36 kilometer per hour (104.61 miles per hour).¹
On 2 February 1961, Lou Hartwig flew a Bell Model 47G, N967B, to set three more FAI world records: Distance in a Closed Circuit Without Landing, 1,016.20 kilometers (631.44 miles); ² Speed Over a Closed Circuit of 500 Kilometers Without Payload, averaging 119.07 kilometers per hour (73.99 miles per hour); ³ and Speed Over a Closed Circuit of 1,000 Kilometers, 118.06 kilometers per hour (73.36 miles per hour.⁴ The Model 47G had been modified with an additional fuel tank from the earlier Model 47D-1, and curved landing skids from the Model 47J.
The Bell 533, 56-6723, in one of its many configurations. It was flown with two- and four-bladed main rotors, with and without wings, and with and without turbojet engines. (Bell Helicopter Corporation)
Lou Hartwig worked on the U.S. Army's High Performance Helicopter project. A pre-production YH-40 Iroquois, serial number 56-6723, was modified into a winged and compound helicopter configuration, designated Model 533. Hartwig flew the helicopter to a speed of 274.6 knots (316.00 statute miles per hour/508.56 kilometers per hour). In 1971, the Vertical Flight Society gave its Frederick L. Feinberg Award to Hartwig.
Mrs. Hartwig died 10 February 1989, in San Diego, California. Lou Hartwig married his second wife, Joanne Dunning, in 1990.
Louis William Hartwig died 12 April 2016, at the age of 93 years. He was buried at the Dearborn Memorial Park, Poway, California.
¹ FAI Record File Number 986
² FAI Record File Number 983
³ FAI Record File Number 989
⁴ FAI Record File Number 990


text:
On Whose Shoulders We Build
gobscure is provoked 2 madness by the brutality ov wealth
provoked 2 madness by the brutality ov wealth picturesbybish
Audio version of this article - press play directly below left
end ov the nineties we were working across the north-east in community arts. we didnt wear a tie, were poorly paid but we made things happen. self-taught, coming from disability, bisexuality, homelessness & more, our creativity wznt valued tho we were allowed to help others in gaining voice. power-plays from within as much as without made it clear we were to offer ourselves as 'community ally' & not discuss our disabilities for e.g. this would allow status quos to continue & individuals rather than collectives to keep hold ov narrow territories.
were hit by a car chased by the police & without help / support ('services', arts, legal etc) couldnt continue working. life happens. gatekeepers in services then work hard to keep yu out, retraumatising. arts largely copy the same power-structure as 'services' (an average artistic director is close to psychiatrist or ward-manager, think about it), try asking them for a voice they then re-retraumatise. lanyard-spreaders ov these worlds unite. restart in west yorkshire having to also contend with librarians (?is a shudder ov librarians their collective noun). held at gunpoint outside our towerblock, without help / support we become homeless (again), sectioned (again), end in a homeless hostel a long way away trying to return to be housed in the north-east & also be heard creatively.
austeritycrutch provoked21 picturesbybish
housing contains the word sing provoked21 picturesbybish
we were fortunate to meet cardboard citizens (homeless / ex-homeless theatre) & Augusto Boal & learn about 'spect-actors' & 'cop-in-the-head', how our brain boils down the essence ov theatre ov the oppressed - a technique ov reframing narratives, regaining voice, rewriting futures. we made it back to the north-east, just where Vici-Wreford-Sinnot did her best supporting us & others collectively help make change via arcadea, & much more recently at Arc Stockton. in recent times others have also helped - including Greyscale Theatre, sound&music, the NewBridge Project, Alma Zevi Venice, Graeae, Third Angel, Slung Low, Museum of Homelessness, Futures Venture radical independent arts fund. Vici wrote the successful application for provoked to tour safely, the first time solo work ov ours has received arts council funding. (2 theatre companys included our writing in their ace-funded work). despite being in the clinically extremely vulnerable category we managed to safely & ethically tour & contribute to local foodbanks, homeless, refugee, trans / queer & other projects along the way. we've also created a body ov work on the shared DNA ov homelessness & disability called 'housing contains the word sing' with & for Museum ov Homelessness & Disability Arts Online (were associate artists with both). provoked ... show was made possible by Third Angel, Slung Low, Museum of Homelessness, & our brilliant access support worker Lindsay. CPT seed commission & Arc Stockton residency also supported the work while the 'set' & e.p. ov sound-art was exhibited thanks to Dolly Sens Art ov Protest in Bedlam; zines & original artworks have also been distributed; & our bilingual (BSL & spoken-english) film cant start revolutions sitting on yr arse has now been viewed over a thousand times.
it took 20year to be supported to safely / ethically tour 'provoked 2 madness by the brutality ov wealth' about some ov those homeless experiences while collectivising & placing it in a historical context & offering 'spect-actors' (active audiences) ways to reframe narratives, regain voice, rewrite futures. cardboard citz said the shows title wz the best ever. its a phrase from Engels conditions ov the working class we read in a homeless hostel after a 'support worker' said 'what dya need books for yr homeless?' Engels was writing about the Seaham miners during the 1840's co Durham miners strike. our show provoked is about revenge. revenge by 13year ov reading, graduating from the open university, 2016. its also about our current council flat subsiding on the Heaton colliery mining disaster ov 1815 where 75 men & boys died underground because the local mine owner cut corners. its also about artist Hieronymous Bosch who painted those visions & torments having watched his home town burn as a child & whose art gave us meaning as a teen when thatcher was provoking us to madness. Bosch's hometown is where most red tape was manufactured binding legal documents to say oi, this matters. red tape saves lives. this show reframes narratives, tells good news stories, invites more 'oppositional defiance disorder' (its in that psychiatric bible, the diagnostic & sadistic manual). housings not difficult, its a human right.
set provoked21 picturesbybish
'a moving, powerful, eloquent show.' Slung Low Leeds
'what a beautiful energy yu brought.' Colchester arts centre
'majestic.' MGC Futures
'insightful & imaginative ... lots ov food for thought as always.' Mandala Theatre
'beautiful & important & yr words about small islands will stay with me.' Unfolding Theatre
''dizzying & hypnotic, cutting edge social commentary, part creative resistance & part performance. ... spellbinding'' Museum ov Homelessness
https://disabilityarts.online/magazine/opinion/gobscure-reframes-personal-stories-to-create-a-bigger-picture-in-their-latest-show/ DAO review
were so proud ov provoked & those who support us, angry that systems have kept us out until our life is this limited.
there will be a launch ov 4 miniature films from the world ov provoked shot by brettinthecity at slung low leeds, supported by third angel, spring 2022.
https://gobscure.wixsite.com/provoked
what next? again supported by Third Angel & MGC futures, were working on heart-felt - a new solo show about hearts & heartlessness. alongside our two heart-attacks as 'side-effects' ov enforced antipsychotic medication, expect politicians (not much heart), doctor who (two hearts), octopi (three hearts, they produce their own ink, & yu cant burn their libraries - theres evolution!) & edible loveheart poetry. love&rage
kicking the bucket provoked21 picturesbybish
Black Robin - Witness to a 'Golden Age'
As a photographer and filmmaker recording events meant that I was a witness to and, for a time, in the Disability Arts Movement at what felt like a more cohesive time than we have today. As someone fairly new to disability arts in the 2000s I felt like disabled artists began to be taken seriously on mainstream stages.
Years of fight had gone into this of course, it didn't just happen. It was work and perseverance of people like Geof Armstrong, Tom Shakespeare, Paula Greenwell and Lindsay Carter, among many other artists and activists, which would continue to be carried forward even to today. It wasn't that there was a sudden understanding in the mainstream arts sector I don't think, as that battle still continues. The early pioneers created both space and a visibility that could no longer be ignored. Important voices were being heard. Making themselves heard.
I worked at Arcadea but also I had begun documenting the work of disabled artists both here and in my home country of Ireland so that the work would not be forgotten. There are archives about Disability Arts – the brilliant Allan Sutherland's Chronology of Disability and the NDACA Archive – providing excellent records of the national picture. Having the materials specific to the North East, which I believe has it's own history, role and voice in the movement, it felt important to find a way to share that. We are indebted to the artists on whose shoulders we build and make progress.
The 200os have been described as a 'golden age' in Disability Arts – the cohesion, the body of work produced, the raised platforms and a sense national connection through the regional disability arts agencies, and a pocket of funding over a number of years ensuring that disabled artists were supported.
A couple of stand out memories for me are The Mimosa Festival which brought together a huge array of disabled artists from all over the country, and showcased disabled artists based in the North East. It lasted for a month across September in 2006. It felt busy, productive, relevant and it felt like something really important was happening. It felt like we made inroads into venues, which might previously not have programmed disabled artists. There was a very eclectic programme across a wide variety of artforms including film, dance, comedy, photography, conceptual art, live art, painting, sculpture, poetry, theatre, and music. There were a mix of scales of work shared – from the Divine Disabled Divas and theatre at the Sage, to more intimate interventions like the transformation of the early Star and Shadow space, where we made it our own in a way no-one had before or has since. It was unique. As Lindsay Carter said at the time – 'the space has the spirit of the people who fill it', which can be taken literally in the case of the Star and Shadow, but also of the Golden Age of Disability Arts. It was filled with action, art and hope.
An exciting part of my work was 21: The Last Avant Garde which celebrated the 21st anniversary of self-organised disability arts in the North East by presenting 21 portraits of disabled artists who had worked in the North East. There was a photographic portrait each of 21 artists, who also supplied a written statement and an object of significance described by them and shared on a small shelf next to their portrait. I felt proud to be able to capture this group of artists and an opportunity to promote their work, so there was a ripple effect from the exhibition. It marked their contribution to the arts. No-one from outside our community was doing that – gathering the work or capturing the contribution. It also felt like a moment of solidarity and showed that publicly. It needs to be seen – that we feel like a community and that we feel excluded and judged differently to other artists. The exhibition was held at Waygood Gallery and also did a mini-tour to different locations and was used in schools to share information about disability generally and also the work disabled people do. This could have been on a much bigger scale and had a much bigger impact. The launch event stays in my mind because of how much of a celebration it felt – we had food, live music, all the disabled artists were there, friends, family, and people from the arts. The artists felt celebrated.
It was a time that disabled artists felt connected and included, despite the struggle for equality. Since that time the face of disability arts has changed in many ways. In the North East, having spoken to many disabled artists over the last 18 months, people have felt disconnected and fragmented for almost a decade, but there is a feeling of a resurgence of the necessity of disability awareness, of disabled peoples' place in the cultural landscape. There is amazing talent out there and disabled people are finding each other through different groups like Little Cog and Disconsortia, creating connections and new platforms. With a commitment from organisations like ARC Stockton to include disability art in their programme there is a definite ripple effect as we see more organisations realising that they need to do something. They probably need to upskill and gain knowledge and learning from disabled people but the arts landscape definitely has the potential to be more inclusive of the work of disabled people.
Karen Sheader - Home Truths PLUS NEW SONG!
This piece is written almost entirely from memory, so any factual errors relating to the Disabled People's Direct Action Network campaigns and procedures are mine. I was unable to find any coverage of this demo at all, so have tried not to include details of any individuals who were present as I can't verify the facts. The piece contains strong language and the song No Place Like Home is a powerful depicting of conditions from the imagined perspective of one of the people who died as a result of the shameful practices and lack of care provided at Cawston Park Hospital, which some people may find upsetting.
Newcastle City Centre, Gray's Monument, 2001
'Our homes, not nursing homes! Our homes, not nursing homes…'
Over and over, the words shouted by the voices of angry people split the air, some in wheelchairs, some with guide dogs, some signing the words, some wearing black T-shirts with 'Piss on Pity' flashing across their bodies in shrieking pink. Occasionally a lone voice would holler 'Free our People! And the chant would change.
'Free our People! Free our People!'
It was thrilling to see the gathering of disabled people at Gray's Monument in Newcastle, many clutching white crosses which were being handed out by Direct Action Network (DAN) officials and whose number represented the number of people living in nursing and care homes in Newcastle and Gateshead. A shaven-headed beauty with a Mohican and a studded dog collar told us to hold on to the cross as we would be planting them in the ground later to acknowledge and pay respect to those disabled people who were living in these homes without their consent or agreement.
With my former partner Neill, who was my accompanist, and poet,actor and performer Lisa Dennis, we stood in front of the imposing tower of the Monument and began to play,
'I woke up this morning with a bad pain in my head
In came a care assistant, to drag me out of bed
They tell me it's for my own good,
that I must go for training
I've been training twenty-seven years,
besides, it's fucking raining"
The Fugertivs No-hope ATC (Joyful Noise)
Continuing with 'The Bus Driver', then Melissa, I remember feeling elated and choked when the crowd joined in when we chanted,
'We want rights, not charity, we want rights, we want rights, not charity! Rights, rights rights not charity, cos charity keeps me where you think I should be!'
The Fugertivs Rights Not Charity
(Joyful Noise)
We finished to an enormous round of cheering, and, still holding our crosses, were invited to the head of the line behind an enormous DAN banner bearing the Free Our People campaign colours. Neill began playing as we walked, and the crowd, led by Lisa, who wrote the song, began,
Oh-oh-ay-oh
Let's riot on the buses!
Let's riot on the trains!
Let's riot in the taxis!
And on the planes!
The Fugertivs feat. Lisa Dennis, Let's Riot (Joyful Noise)
The crowd behind us took up the chant and again I was overwhelmed at the feeling of belonging. Following orders from the DAN officials, we moved to the middle of the road, and settled down to annoy the Saturday afternoon drivers, all the while shouting 'Free our people!' as leaflets were handed out and some people gave us nods of encouragement, while others just made their displeasure known!
Lean on your big horn, you fat bastard
Curse me across the road,
The blind school never taught me
How to use the green cross code!
Karen Sheader Band, Planet of the Blind (Planet of the Blind)
When we had made our presence felt sufficiently, we moved off towards the gardens by Eldon Square. Silently, people placed their crosses in the earth in rows which reminded me of the cemeteries of Flanders. I can't recall exactly how many there were, but certainly the number was in the hundreds, symbolizing hundreds of fettered lives, open to abuse, ignorance, ill-treatment and sheer boredom, unable to live, love, indulge their own dreams and desires. We stood silently for a couple of minutes. Then somebody broke the silence and the sombre mood.
'Play the Bollocks song!'
I wondered for a moment if it was disrespectful to sing something so irreverent, but the crowd were having none of it!
So we struck up again, in the cold sunshine which was beginning to fade, with the crowd joining in delightedly at the end as scandalised shoppers gave us a wide berth:
'You reckon that you're our champion
Defender of all poor crips
Well I just can't believe the crap that I've heard
That comes pouring out of your lips
You like to keep us where you think we belong
With sentiment and prejudice
Well I hope that some tosspot talks shite about you
Next time you go out on the piss!
Bollocks to you, and Bollocks to you, and Bollocks to you
And Bollocks to you….
The Fugertivs, Bar-room Bollocks, (Joyful Noise)
The chorus went on and on, disabled people venting their frustration and anger in a shared musical protest. Then this happened.
The people in chairs, people with dogs, and sticks, and those with their PAs and family members and friends, and those who shared our identity without visible impairment, and our non-disabled allies, gathered round us.
'Long live The Fugertivs! Long live The Fugertivs!
It was a moment I could have stayed in forever. Thanking everyone after the impromptu performance, one guy in a wheelchair beckoned me over and showed me 'Bollocks to you' tattooed on his neck! What an honour!
Writing this from a distance of more than 20 years it seems almost unbelievable that all this happened.
And sadly, for the residents of Winterbourne View,(closed in 2010) Whorlton Hall (closed in 2019) and just this year, 2021, Cawston Park, it might just as well not have happened.
Upon seeing the events at Cawston Park, Norfolk, being exposed on the BBC Six O'clock News I cried to think that after all this time these horrific places still make colossal amounts of money whilst torturing and killing their 'guests" or 'victims'
I wrote this song, No Place Like Home shared in the video below, in response to the report I read in Learning Disability Today, which you can find here (please refer to the content awareness statement at the beginning of this article)
https://www.learningdisabilitytoday.co.uk/report-urges-government-to-act-after-three-people-with-learning-disabilities-died-at-a-private-hospital
The lyrics are below the video, which is just underneath this text.
I can't say it very well, but in my eyes you can tell - I'm terrified!
I talk with my hands, and they say they understand me but they lied
They claim that they've heard, but they don't understand a word
They crash in through my door and they pin me to the floor
They put a needle in my arm and they tell me it will make me calm inside
Before I used to love to sing, my very favourite thing was karaoke
And every time I got the chance I loved to dance, even the Hokey cokey
Now they hardly use my name, and every day is just the same
We sit around and watch tv, but nothing that I want to see
There's nothing else to do, and sometimes I don't make the loo and they prod and poke me.
Who's going to get me out of here?
Maybe it's my Mum
I ask her please, take me back home
Every single time that she can come
She doesn't know what goes on here
Cos they all act like everything's so good
If she knew what it's really like
She'd come to take me home, I know she would
I'm not doing all that well and I wish that I could tell them how I'm feeling
No matter how I try, I'm always left to lie and stare up at the ceiling
My chest begins to heave, and I struggle hard to breathe
Stuck here by myself with nobody here to help
Today I messed my bed, and then they slapped me round the head, said stop your squealing
Who's going to get me out of here
Cos I feel really bad.
I ask them with my eyes, please listen,
I just want to see my dad!
They tell him that I'm ok, I'm doing fine,
I'm just under the weather
Now all I wanna do is close my eyes
And drift away to sleep forever.
Who is going to get them out of there
Cos it sounds a lot like hell
Who is going to open up and speak
For the ones who just can't tell?
Who is going to open up the doors
And lead them out into the day?
Cos if we all do nothing, then in hell is where they're gonna stay.
Karen Sheader Band No Place Like Home
Aidan Moesby - On The Shoulders of Those Who Have Gone Before
My eyes are resting on the middle distance. I am trying to go back in my memory about the wheres and whens and the who and the why. This is not where I should have been, or thought I'd be more precisely. But I do know how I got here. I got here with the good fortune of meeting some amazing people along the way, who took the time to listen, to see me, to explain, to answer the naïve questions, to hold my hand, to pick me up, to point me on my way and wait for me when I had need to repeat or deepen the learning.
I got here through the patience, tolerance, kindness, generosity, care and love of so many people. I got here despite the myriad of rejections (which still come), despite being difficult to be around at times, despite of the naysayers and despite of the endemic, pernicious, ableist systematic barriers of the cultural landscape. I say I got here like I am done, I'm not, there is still far to go and the road ahead is long and not without its struggles, I am resting. Pausing. Reflecting. Thinking of the where I've been and where I may be going.
When in 2005 I met Vici Wreford-Sinnott at Arcadea, I didn't even know what disability arts was let alone identify as disabled or an artist. It was the beginning of my recovery as an individual and it gave me meaning again. The first steps were shaky and uncertain. I wish I remembered meeting Vici for the first time and able to recount some amazing story worthy of a raconteur, but sadly I don't remember any of those times that I can't piece together through notes and photos. But I know meeting Vici was pivotal. I showed in the Mimosa Festival in 2006, gained some semblance of a disabled community in the north east. I showed some work at the Mushroom Works and spoke to Jeff Armstrong. I didn't know it but we would be in each-others orbits for the not enough years which were left to come.
I was lucky to be selected for a development residency at Waygood/Harkers. I had a massive studio and I filled it with 'stuff' and played and made. After 6 months I had an exhibition and had to clear up and leave. It gave me a glimpse of a possible future and I am forever grateful for that. This lead to working with the Art House in Wakefield in one of its' many incarnations and I worked with Anne Cunningham which lead to my working with Kerry Harker, who I still work with today. Back in 2011 Colin Hambrook from Disability Arts Online was a saviour at a doomed event in New Zealand which fostered an ongoing personal and professional relationship. Within all this I met Alisdair Cameron, head of Launchpad, now ReCoCo. Whilst not involved in disability arts directly he is the glue which held many of my projects together and remains a great advocate of the arts and mental health. We worked together on the Mind the Gap exhibition at Discovery and delivered training for TWAM. Most long term was with Tess Denman Cleaver on a theatre project with the early intervention in psychosis team for 4 years.
As things come full circle and people weave in and out of each others lives I re met Vici initially through ARC Stockton, and no modern recounting of Disability Arts would be complete without Vici but also Annabel Turpin who has done so much for the sector but who has also supported me so much in recent years. Important to mention is also the impact which Disability Arts Online is having in the region now working with artists to develop practice.
There is still so much left to achieve to become an equal accessible world. It has moved on and changed a lot for the better since the early 2000's. The conversations are more nuanced, we can talk of Access Riders, Crip Time, Neurodiversity and not just about the physical quick wins of ramps. But still, so far to go. I won't be going on alone. I walk with those who have helped me here and I will meet more along the way. None of us get by without the help of others, I hope I offer mine where I can. I am grateful to all those who have and continue to give so generously in so many ways to support me in what I do.
More from Aidan here at his websiter: https://aidanmoesby.co.uk
This article is from our Writings page where you can find other writings by disabled artists
Welcome to On Whose Shoulders We Build which is the website for the North East Disability Arts Living Archive. This archive is a tribute to all those who have, and still do, contribute to the rich culture of disability arts in the North East of England. This is stage one of the archive and is largely drawn from the recorded works of Black Robin in consultation with disabled artists from the region. The archive will reflect many of the people, groups and key events both past and present. Disability Arts remains a vibrant arts scene, with individual artists and groups creating amazing change today.
The archive will develop over time and we will continue to add people and events. It's not fully representative of everything as that information just isn't held anywhere yet and so this is a beginning. No-one and no group is deliberately left out and you can get in touch if there is anything you would like to suggest is added.
About On Whose Shoulders
There is so much history of disability arts activity in the North East but much of it remains hidden. Black Robin has an extensive collection of filmed and photographed work by disabled artists and didn't think it should go dusty on the shelf, and wanted to pay tribute to all those who have made a difference to the lives of disabled people through the arts in our region. He has begun to archive it and share an initial narrative of the community's history, along with key figures from the movement. From a dynamic community of creative people it's essential that we preserve the heritage and also promote the disabled artists and activists creating amazing change today.
What is Disability Arts?
Disability Art is art in any artform made by disabled people about the experience of disability. The Disability Arts Movement in the UK developed alongside and out of the Disability Rights Movement in the 1970s and 80s. The Movement has changed and evolved over the last five decades, moving from individual artists and small groups to a set of regional disability arts fora and a National Disability Arts Forum, all of whom were independent of each other but forged several alliances, hosting regional and national events, support for disabled artists and campaigning for equality in art and culture, through to a changed world today. The Disability Arts Movement was affected by gradual changes in funding for the regional fora in the 2000s, with only DADA in Liverpool, DASH (Disability Arts Shropshire) and Shape London remaining. The debate around what kind of work comes under the disability arts umbrella has shifted considerably since then. These days there are lots of references to disabled-led art, in which all the lead creatives are disabled people, and where the subject matter is largely about disability as a social phenomenon but not exclusively. Not all art made by disabled people is about disability, but many of the same access barriers are there for all disabled artists. The campaign for equality is still very much needed to create equality of opportunity but also equal and relevant representation of disability identity and culture in the arts.
If you have anything to add to the archive you can contact Black Robin at info.owswb@gamil.com
Copyright remains with all of the artists - no useage of any part of this website without written permission from Black Robin.
All images have alt text descriptions
Contact Black Robin - info.owswb@gmail.com


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Above: ViSenze cofounder and chief technology officer Guangda Li.
Much of the AI attention has been focused on deep learning, which entails training artificial neural networks on lots of data and then getting them to make inferences about new data. And in the past five years, more and more deep learning startups have cropped up.
This year, chipmaker Intel bought Nervana, which was making hardware and software for deep learning, and enterprise software company Salesforce bought MetaMind, which made deep learning software that could quickly process lots of images and text. Both Nervana and MetaMind appeared on my list of five deep learning startups to follow in 2015. Meanwhile, the startups on my 2016 list are all chugging along.
Bay Labs is among the startups applying deep learning to medical imaging. Its engineering-heavy team includes Johan Mathe, who previously worked on Google's Project Loon. Yann LeCun, director of Facebook's artificial intelligence research group, has invested in the startup, along with Khosla Ventures.
Graphcore has developed an intelligent processing unit (IPU) PCIe accelerator that neural networks can use for training and making inferences. The startup has also built software for working with its infrastructure using the existing MXNet and TensorFlow deep learning frameworks. Investors include Bosch Venture Capital, Foundation Capital, and Samsung Catalyst Fund.
Founded in 2012, ViSenze performed better than several groups in certain parts of the 2016 ImageNet image recognition competition. Funded by Rakuten Ventures, ViSenze is a spinoff of NExT, a research center established by National University of Singapore and Tsinghua University of China. Its software can perform object recognition and tagging for images and videos and provide visually similar content.


text:
Q: naming a member of a struct with a string array in a Project of mine i need to call a member/property (dont know the right term) of a struct by a string which is inside an array.
The fat part in the line with the comment //???? is the Problem users[i].members[j] is nonsense and i know that but i just cant figure out what would be right there.
Thanks for your help in advance :D
struct person {         // Eigenschaften des Eintrags
    string name;        //nachname
    string vorname;     //vorname
    string telefon;     // telfonnummer
};
const int numbr_struct_att = 3;
const string members[numbr_struct_att] = { "name","vorname","telefon" };

cout << setw(5) << left << "Index" << setw(20) << left << "Name" << setw(20) << left << "Vorname" << setw(20) << left << "Telefon" << endl;                           // Header
        for (int i = 0; i <= usernum; i++) {
            cout << setw(5) << left << i+1;
            for (int j = 0; j < numbr_struct_att; j++) {
                cout << setw(20) << left << users[i].members[j] // ?????
            }
            cout << endl;
        }

A: Create a map of strings to member pointers.
#include <map>
#include <string>
#include <iostream>
struct person {         // Eigenschaften des Eintrags
    std::string name;        //nachname
    std::string vorname;     //vorname
    std::string telefon;     // telfonnummer
};

// map names of variables to person member pointers to strings
std::map<std::string, std::string person::*> somemap{
     { "name", &person::name },
     { "vorname", &person::vorname },
};

// then just get the member pointers and call it on a instance of a person:
int main() {
    person myperson{"my name"};
    std::string I_choose_you = "name";
    std::string persons_name = myperson.*somemap.find(I_choose_you)->second;
    std::cout << persons_name << "\n";
}

Godbolt link

redpajama_set_name: RedPajamaStackExchange