Who are the most exciting novelists from the British Isles currently working? In a spirit of mischief, the TLS asked 200 notable names in the publishing industry (editors, agents, publishers and writers) to nominate those at the top of their literary game. The critic Alex Clark and TLS fiction editor Toby Lichtig join us in the studio to pick through the results

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The political philosopher John Gray discusses the failures of liberalism; as the TLS publishes its 6,000th issue, Ruth Scurr delves into the back issues to explore how the paper has changed, and how it reflects literary culture more broadly; the TLS's poetry editor Alan Jenkins reads two of his favourite poems from the past century: D. J. Enright 's "The Laughing Hyena, by Hokusai" and "In Your Mind" by Carol Ann Duffy

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Literary prizes come in more shapes and sizes than ever before: we have prizes that echo the Man Booker, and prizes that set out not to be the Man Booker; we have prizes for first novels, second novels, crime novels that don’t feature violence against women, and, more satirically, a prize for “bad sex in fiction”. Why do we need so many? Do we need them at all? And how do prizes work not only for writers but for those people who do all the reading (and sometimes arguing): the judges? The TLS's Michael Caines chairs a lively discussion between Toby Lichtig, the fiction editor of the TLS, and Alex Clark, a critic and regular prize judge/chair. This live event was a collaboration with BookMachine. 

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Science reporter Jennie Erin Smith joins us to discuss our desire, or evolutionary compulsion, to delve into the minds of other animals, from cows and penguins to the dismally misunderstood hyena; the TLS's George Berridge shares new insights into the work of Cormac McCarthy and the various (failed) attempts at adapting his novels; much has been said about how literary blogs killed off 'proper', print criticism. Jennifer Howard explains why the picture is far more complicated, and positive, than that

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Miranda Seymour reveals the peculiar circumstances surrounding the marriage of Lord Byron's daughter and his super-fan, William King; just how seriously should we be taking the Virtual Reality revolution? Tom Rachman cautiously probes the frontier of what is possible; Death Row attorney Clive Stafford Smith shares the story of Billy Neal Moore, a tale of murder, hope and Mother Theresa; and finally, before the winner of the Republic of Consciousness Prize for small presses is revealed, the TLS's Fiction editor Toby Lichtig meets Neil Griffiths, the prize's founder, to find out more

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Dale Salwak, the editor of a new collection of essays, tells us why he wanted to probe this most complicated of relationships, while Judy Carver, the daughter of William Golding – he of Lord of the Flies – sheds light on her father’s difficult relationship with his mother; Charlotte Shane introduces us to Marjorie Hillis, who, in the 1930s, taught American women how to "live alone and like it"; finally, TLS editor Catharine Morris considers the difficult genesis of Latvian literature

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David Baddiel – comedian and, as per his Twitter profile, Jew – joins us to discuss whether Jewishness is inherently funny; as Italians prepare to elect their next prime minister (an unenviable choice between undesirables and impossibles), Tim Parks – author, translator, and resident of Italy – talks us through the excessively complicated mess that is Italy

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Just how odd was Isaac Newton? Quite, it turns out, because as well as being one of history’s greatest mathematicians, he was also an alchemist and a millenarian, happily wallowing in conspiracy theories – Oliver Moody joins us to tell us more; did the Cold War ever end? Not as straightforward a question as you might think – the historian David Motadel considers a controversial new book; and finally, Thea Lenarduzzi discusses Greta Gerwig and her Oscar-nominated film Lady Bird  

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This special episode – a live recording of an event at Hay Festival, in Cartagena, Colombia, earlier this year – features a discussion with two novelists: Fiona Mozley, whose Booker-shortlisted novel Elmet caused a stir last year, and Lisa McInerney, an Irish writer described by the TLS as “busily combining the traditions of hardcore Irish crime writing with fast-talking foul-mouthed wit and gentle good humour”.

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G'MIC 2.2

New features and filters!

The IMAGE team of the GREYC laboratory (UMR CNRS 6072, Caen, France) is pleased to announce the release of a new 2.2 version of G’MIC, its open-source, generic, and extensible framework for image processing. As we already did in the past, we take this opportunity to look at the latest notable features added since the previous major release (2.0, last June).

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• The G’MIC project
• Twitter feed
• The G’MIC Online Web Service

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Note 1: click on a picture to view a larger version. Note 2: This is a translation of an original article, in French, published on Linuxfr.

1. Context and recent evolutions

G’MIC is a free and open-source software developed since August 2008 (distributed under the CeCILL license), by folks in the IMAGE team at the GREYC, a French public research laboratory located in Caen and supervised by three institutions: the CNRS, the University of Caen, and the ENSICAEN engineering school. This team is made up of researchers and lecturers specialized in the fields of algorithms and mathematics for image processing. As one of the main developer of G’MIC, I wanted to sum up the work we’ve made on this software during these last months.

G’MIC is multi-platform (GNU/Linux, MacOS, Windows …) and provides many ways of manipulating generic image data, i.e. still images or image sequences acquired as hyperspectral 2D or 3D floating-point arrays (including usual color images). More than 950 different image processing functions are already available in the G’MIC framework, this number being expandable through the use of the G’MIC scripting capabilities.

Since the last major version release there have been two important events in the project life:

1.1. Port of the G’MIC-Qt plugin to Krita

When we released version 2.0 of G’MIC a few months ago, we were happy to announce a complete rewrite (in Qt) of the plugin code for GIMP. An extra step has been taken, since this plugin has been extended to fit into the open-source digital painting software Krita. This has been made possible thanks to the development work of Boudewijn Rempt (maintainer of Krita) and Sébastien Fourey (developer of the plugin). The G’MIC-Qt plugin is now available for Krita versions 3.3+ and, although it does not yet implement all the I/O functionality of its GIMP counterpart, the feedback we’ve had so far is rather positive. This new port replaces the old G’MIC plugin for Krita which has not been maintained for some time. The good news for Krita users (and developers) is that they now have an up-to-date plugin whose code is common with the one running in GIMP and for which we will be able to ensure the maintenance and further developments. Note this port required the writing of a source file host_krita.cpp (in C++) implementing the communication between the host software and the plugin, and it is reasonable to think that a similar effort would allow other programs to get their own version of the G’MIC plugin (and the 500 image filters that come with it!).

1.2. CeCILL-C, a more permissive license

Another major event concerns the new license of use : The CeCILL-C license (that is in the spirit of the LGPL) is now available for some components of the G’MIC framework. This license is more permissive than the previously proposed CeCILL license (which is GPL-compatible) and is more suitable for the distribution of software libraries. This license extension (now double licensing) applies precisely to the core files of G’MIC, i.e. its C++ library libgmic. Thus, the integration of the libgmic features (therefore, all G’MIC image filters) is now allowed in software that are not themselves licensed under GPL/CeCILL (including closed source products). The source code of the G’MIC-Qt plugin, meanwhile, remains distributed under the single CeCILL license (GPL-like).

2. Fruitful collaboration with David Revoy

If you’ve followed us for a while, you may have noticed that we very often refer to the work of illustrator David Revoy for his multiple contributions to G’MIC: mascot design, ideas of filters, articles or video tutorials, tests of all kinds, etc. More generally, David is a major contributor to the world of free digital art, as much with the comic Pepper & Carrot he produces (distributed under free license CC -BY), as with his suggestions and ongoing bug reports for the open-source software he uses. Therefore, it seems quite natural to devote a special section to him in this article, summarizing the different ideas, contributions and experiments he has brought to G’MIC just recently. A big thank you, David for your availability, the sharing of your ideas, and for all your work in general!

2.1. Improving the lineart colorization filter

Let’s first mention the progress made on the Black & White / Colorize lineart (smart-coloring) filter that had appeared at the time of the 2.0 G’MIC release. This filter is basically a lineart colorization assistant which was developed in collaboration with David. It tries to automatically generate a colorization layer for a given lineart, from the analysis of the contours and the geometry of that lineart. Following David‘s suggestions, we were able to add a new colorization mode, named “Autoclean“. The idea is to try to automatically “clean” a coloring layer (made roughly by the user) provided in addition to the lineart layer, using the same geometric analysis as for the previous colorization modes. The use of this new mode is illustrated below, where a given lineart (left) has been colorized approximately by the user. From the two layers line art + color layer, our “Autoclean“ algorithm generates an image (right), where the colors do not overflow the lineart contours (even for “virtual” contours that are not closed). The result is not always perfect, but nevertheless reduces the time spent in the tedious process of colorization.

Note that this filter is also equipped with a new hatch detection module, which makes it possible to avoid generating too many small areas when using the previously available random colorization mode, particularly when the input lineart contains a large number of hatches (see figure below).

2.2. Color equalizer in HSI, HSL and HSV spaces

More recently, David suggested the idea of a filter to separately vary the hue and saturation of colors having certain levels of luminosity. The underlying idea is to give the artist the ability to draw or paint digitally using only grayscale, then colorize his masterpiece afterwards by re-assigning specific colors to the different gray values of the image. The obtained result has of course a limited color range, but the overall color mood is already in place. The artist only has to retouch the colors locally rather than having to colorize the entire painting by hand. The figure below illustrates the use of this new filter Colors/Equalize HSI/HSL/HSV available in the G’MIC plugin : each category of values can be finely adjusted, resulting in preliminary colorizations of black and white paintings.

Note that the effect is equivalent to applying a color gradient to the different gray values of the image. This is something that could already be done quite easily in GIMP. But the main interest here is we can ensure that the pixel brightness remains unchanged during the color transformation, which is not an obvious property to preserve when using a gradient map. What is nice about this filter is that it can apply to color photographs as well. You can change the hue and saturation of colors with a certain brightness, with an effect that can sometimes be surprising, like with the landscape photography shown below.

2.3. Angular deformations

Another one of the David‘s ideas concerned the development of a random local deformation filter, having the ability to generate angular deformations. From an algorithmic point of view, it seemed relatively simple to achieve. Note that once the implementation has been done (in concise style: 12 lines!) and pushed into the official filter updates, David just had to press the “Update Filters“ button of his G’MIC-Qt plug-in, and the new effect Deformations/Crease was there immediately for testing. This is one of the practical side of developing new filters using the G’MIC script language!

However, I must admit I didn’t really have an idea on what this could be useful for in practice. But the good thing about cooperating with David is that HE knows exactly what he’s going to do with it! For instance, to give a crispy look to the edges of his comics, or for improving the render of his alien death ray.

3. Filters, filters, filters…

David Revoy is not the only user of G’MIC: we sometimes count up to 900 daily downloads from the main project website. So it happens, of course, that other enthusiastic users inspire us new effects, especially during those lovely discussions that take place on our forum, kindly made available by the PIXLS.US community.

3.1. Bring out the details without creating “halos”

Many photographers will tell you that it is not always easy to enhance the details in digital photographs without creating naughty artifacts that often have to be masked manually afterwards. Conventional contrast enhancement algorithms are most often based on increasing the local variance of pixel lightness, or on the equalization of their local histograms. Unfortunately, these operations are generally done by considering neighborhoods with a fixed size and geometry, where each pixel of a neighborhood is always considered with the same weight in the statistical calculations related to these algorithms. It is simpler and faster, but from a qualitative point of view it is not an excellent idea: we often get “halos” around contours that were already very contrasted in the image. This classic phenomenon is illustrated below with the application of the Unsharp mask filter (the one present by default in GIMP) on a part of a landscape image. This generates an undesirable “halo” effect at the frontier between the mountain and the sky (this is particularly visible in full resolution images).

The challenge of the detail enhancement algorithms is to be able to analyze the geometry of the local image structures in a more fine way, to take into account geometry-adaptive local weights for each pixel of a given neighborhood. To make it simple, we want to create anisotropic versions of the usual enhancement methods, orienting them by the edges detected in the images. Following this logic, we have added two new G’MIC filters recently, namely Details/Magic details and Details/Equalize local histograms, which try to better take the geometric content of the image into account for local detail enhancement (e.g. using the bilateral filter).

Thus, the application of the new G’MIC local histogram equalization on the landscape image shown before gives something slightly different : a more contrasted result both in geometric details and colors, and reduced halos.

3.2. Different types of image deformations

New filters to apply geometric deformations on images are added to G’MIC on a regular basis, and this new major version 2.2 offers therefore a bunch of new deformation filters. So let’s start with Deformations/Spherize, a filter which allows to locally distort an image to give the impression that it is projected on a 3D sphere or ellipsoid. This is the perfect filter to turn your obnoxious office colleague into a Mr. Potato Head!

On the other hand, the filter Deformations/Square to circle implements the direct and inverse transformations from a square domain (or rectangle) to a disk (as mathematically described on this page), which makes it possible to generate this type of deformations.

The effect Degradations/Streak replaces an image area masked by the user (filled with a constant color) with one or more copies of a neighboring area. It works mainly as the GIMP clone tool but prevents the user to fill the entire mask manually.

3.3. Artistic Abstractions

You might say that image deformations are nice, but sometimes you want to transform an image in a more radical way. Let’s introduce now the new effects that turn an image into a more abstract version (simplification and re-rendering). These filters have in common the analysis of the local image geometry, followed by a step of image synthesis.

For example, G’MIC filter Contours/Super-pixels locally gathers the image pixels with the same color to form a partitioned image, like a puzzle, with geometric shapes that stick to the contours. This partition is obtained using the SLIC method (Simple Linear Iterative Clustering), a classic image partitioning algorithm, which has the advantage of being relatively fast to compute.

The filter Artistic/Linify tries to redraw an input image by superimposing semi-transparent colored lines on an initially white canvas, as shown in the figure below. This effect is the re-implementation of the smart algorithm initially proposed on the site http://linify.me (initially implemented in JavaScript).

The effect Artistic/Quadtree variations first decomposes an image as a quadtree, then re-synthesize it by drawing oriented and plain ellipses on a canvas, one ellipse for each quadtree leaf. This renders a rather interesting “painting” effect. It is likely that with more complex shapes, even more attractive renderings could be synthesized. Surely an idea to keep in mind for the next filters update :)

3.4. “Are there any more?”

And now that you have processed so many beautiful pictures, why not arrange them in the form of a superb photo montage? This is precisely the role of the filter Arrays & tiles/Drawn montage, which allows to create a juxtaposition of photographs very quickly, for any kind of shapes. The idea is to provide the filter with a colored template in addition to the serie of photographs (Fig.3.10a), and then to associate each photograph with a different color of the template (Fig.3.10b). Next, the arrangement is done automatically by G’MIC, by resizing the images so that they appear best framed within the shapes defined in the given montage template (Fig.3.10c). We made a video tutorial illustrating the use of this specific filter.

But let’s go back to more essential questions: have you ever needed to draw gears? No?! It’s quite normal, that’s not something we do everyday! But just in case, the new G’MIC filter Rendering/Gear will be glad to help, with different settings to adjust gear size, colors and number of teeth. Perfectly useless, so totally indispensable!

Need a satin texture right now? No?! Too bad, the filter Patterns / Satin could have been of a great help!

And finally, to end up with the series of these “effects that are useless until we need them”, note the apparition of the new filter Degradations/JPEG artifacts which simulates the appearance of JPEG compression artifacts due to the quantization of the DCT coefficients encoding 8×8 image blocks (yes, you will get almost the same result saving your image as a JPEG file with the desired quality).

4. Other notable improvements

This review of these new available G’MIC filters should not overshadow the various improvements that have been made “under the hood” and that are equally important, even if they are less visible in practice for the user.

4.1. A better G’MIC-Qt plugin interface

A big effort of cleaning and restructuring the G’MIC-Qt plugin code has been realized, with a lot of little inconsistencies fixed in the GUI. Let’s also mention in bulk order some new interesting features that have appeared in the plugin:

• The ability to set a timeout) when trying to preview some computationnaly intensive filters.
• A better management of the input-output parameters for each filter (with persistence, better menu location, and a reset button).
• Maximizing the size of the preview area is now easier. Editing its zoom level manually is now possible, as well as chosing the language of the interface (regardless of the language used for the system), etc.

All these little things gathered together globally improves the user experience.

4.2. Improvements in the G’MIC core

Even less visible, but just as important, many improvements have appeared in the G’MIC computational core and its associated G’MIC script language interpreter. You have to know that all of the available filters are actually written in the form of scripts in the G’MIC language, and each small improvement brought to the interpreter may have a beneficial consequence for all filters at once. Without going too much into the technical details of these internal improvements, we can highlight those points:

• The notable improvement in the syntax of the language itself, which goes along with better performances for the analysis of the language syntax (therefore for the script executions), all this with a smaller memory footprint.

• The G’MIC built-in mathematical expression evaluator is also experiencing various optimizations and new features, to consider even more possibilities for performing non-trivial operations at the pixel level.

• A better support of raw video input/outputs (.yuv format) with support for4:2:2 and 4:4:4 formats, in addition to4:2:0 which was the only mode supported before.

• Finally, two new animations have been added to the G’MIC demos menu (which is displayed e.g. when invoking gmic without arguments from the command-line):

  • First, a 3D starfield animation:

  

  • Second, a playable 3D version of the Tower of Hanoi:

  

• Finally, let us mention the introduction of the command tensors3d dedicated to the 3D representation of second order tensor fields. In practice, it does not only serve to make you want to eat Smarties^®! It can be used for example to visualize certain regions of MRI volumes of diffusion tensors:

  

4.3. New design for G’MIC Online

To finish this tour, let us also mention the complete redesign of G’MIC Online during the year 2017, done by Christophe Couronne and Véronique Robert from the development departement of the GREYC laboratory. G’MIC Online is a web service allowing you to apply a subset of G’MIC filters on your images, directly inside a web browser. These web pages now have a responsive design, which makes them more enjoyable than before on mobile devices (smartphones and tablets). Shown below is a screenshot of this service running in Chrome/Android, on a 10’’ tablet.

5. Conclusion and perspectives

The overview of this new version 2.2 of G’MIC is now over. One possible conclusion could be: “There are plenty of perspectives!“.

G’MIC is a free project that can be considered as mature: the first lines of code were composed almost ten years ago, and today we have a good idea of the possibilities (and limits) of the beast. We hope to see more and more interest from FOSS users and developers, for example for integrating the G’MIC-Qt generic plugin in various software focused on image or video processing.

The possibility of using the G’MIC core under a more permissive CeCILL-C license can also be a source of interesting collaborations in the future (some companies have already approached us about this). While waiting for potential collaborations, we will do our best to continue developping G’MIC and feed it with new filters and effects, according to the suggestions of our enthusiastic users. A big thanks to them for their help and constant encouragement (the motivation to write code or articles, past 11pm, would not be the same without them!).

“Long live open-source image processing and artistic creation!”

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The "ape bumfodder" of one man (Philip Larkin) is another man's treasure – Susan Irvine makes the case for the relevance of Old English literature in the modern world (and leaves us with a beautiful reading of "The Husband's Message", a poem told from the perspective of a wooden staff...); the Whiggish idea of constant societal improvement has, as its most high-profile advocate, Steven Pinker, whose 'The Better Angels of our Nature' caused a stir in 2011. Now he's back with 'Enlightenment Now', another data-heavy work of optimism – David Wootton weighs up the evidence

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Stig Abell and Thea Lenarduzzi are joined in the studio by political commentator Zoe Williams to discuss the future of Corbynism, Brexit, Lexit, and British politics more broadly; and, to mark the 100th anniversary of British women’s suffrage, Emelyne Godfrey sheds light on the mosaic of approaches that led, eventually, to something worth celebrating in all its complexity

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TLS editor Michael Caines meets Gregory Norminton, the author of a collection of aphorisms, two translations of classic French books for children, two collections of short stories and four novels – including, most recently, The Devil’s Highway – that range across history, from the medieval period up to that far more horrific time known as the early 1990s

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Stig Abell and Thea Lenarduzzi are joined by Kathryn Hughes, to discuss whether and where Charlotte Brontë meets Jane Eyre; Katharine Craik looks back on Shakespeare's mysterious, and 'weirdly memorable', sonnets; Kate Brown on the social-media-fuelled Ukrainian uprising of 2013, the David-and-Goliath battle that followed, and the view from 2018

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With Stig Abell and Lucy Dallas. We are joined by Maren Meinhardt to discuss the unrequited love, and painful experiments on frogs, of Prussian polymath Alexander von Humboldt; Ruth Scurr assesses the literary legacy of Julian Barnes; and Joyce Chaplin reveals the seething malevolence beneath American "niceness".

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Stig Abell and Thea Lenarduzzi are joined in the studio by Daisy Dunn to discuss the history of the written word (yes, all of it), from the Chinese invention of paper in 100 BC to the advent of a new BuzzFeed-y style guide; What was Stalin's real purpose? Lewis Siegelbaum considers Stalin's middle years in light of a new instalment of Stephen Kotkin’s epic biography.

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