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5 billion smartphones shipped annually has been at the heart of the battle for global market share over the past decade, with Apple, bolstered by its huge R&D budget, often leading.”According to parts manufacturers Viavi Solutions Inc, Finisar Corp and Ams AG, bottlenecks on key parts will mean mass adoption of 3D sensing will not happen until next year, disappointing earlier expectations.Lumentum, which declined to comment, is ramping up additional manufacturing capacity for VCSELs and edge-emitting lasers for the first half of fiscal 2019, according to the company’s earnings call. Finisar too expects to expand in 2019. It will also be helped by the purchase this week of another optical components producer Oclaro Inc.“Each customer has their own adoption timeline and rollout plan, which we can’t discuss, but we expect the market opportunity for VCSEL technology to increase substantially in 2019,” he says.“As part of a combined external and internal VCSEL supply chain where an external volume production supply chain is available to us, we are currently building internal VCSEL production capacity in Singapore,” Moritz Gmeiner, head of investor relations for AMS, told Reuters. “I think that is something where you don’t want to get left behind.“I expect this capacity to be available for mass production next year.In particular, Android producers are struggling to source vertical-cavity-surface-emitting lasers, or VCSELs, a core part of Apple’s Face ID hardware.“We may have a potential introduction of a second handset maker into 3D sensing at the end of this calendar year.“It is going to take them a lot of time, the Android-based customers, to secure capacity throughout the whole supply chain,” said Bill Ong, senior director of investor relations from Viavi, seen as the only major supplier of optical filters needed for the 3D sensing modules.FIREPOWERApple’s effort to get ahead with the technology is the latest evidence of an aggressive approach by the Cupertino-based company to making the most of the technological advances its financial firepower can deliver.

Tech research house Gartner predicts that by 2021, 40 percent of smartphones will be equipped with 3D cameras, which can also be used for so-called augmented reality, China Universal Cylindrical Grinding Machine Company or AR, in which digital objects cling tightly to images of the real world.When the iPhone 5S launched with a fingerprint-sensing home button in September 2013, for example, it took its biggest rival Samsung until just April of the next year to deliver its own in the Galaxy S5, with others following soon after.Most Android phones will have to wait until 2019 to duplicate the 3D sensing feature behind Apple’s Face ID security, three major parts producers have told Reuters, handicapping Samsung and others on a technology that is set to be worth billions in revenue over the next few years. “When it comes to new technologies like this and implementing them to new phones, it’s one of the ways that Apple can really be aggressive, differentiate and take advantage of the position they have in the market.”Several sector analysts say their channel checks show Apple was initially sourcing VCSELs chiefly from California-based Lumentum and that bottlenecks in production there last year also spurred the 0 million deal with Finisar.“This kind of functionality is going to be very important for AR,” said Gartner analyst Jon Erensen.The development of new features for the estimated 1. In 2019 you clearly will see at least two or more Android-based phones,” he added. Another is Apple’s discussions with major cobalt producers to nail down supplies for lithium-ion rechargeable batteries that power its mobile phones.“Apple is always very focused on its supply chain,” says Gartner’s Erensen.

The 3D sensing technology is expected to enhance the next generation of phones, enabling accurate facial recognition as well as secure biometrics for payments, gesture sensing, and immersive shopping and gaming experiences.”. Some Android phones with 3D sensing capabilities have hit the market in small numbers, such as the Asus ZenFone AR released last year, but those models didn’t use the sensors for facial recognition like the iPhone X does.All of that, however, still leaves the major Android producers searching for their own supplies of VCSELs. Another producer, Austria-based Ams, also expects to have VCSEL chips widely available next year and says it has won a large deal with one phone maker.The iPhone maker’s 0 million deal in December to secure supplies from VCSEL-maker Finisar was one such move. Craig Thompson, vice president of new markets at Finisar, says interest in the technology is universal across the sector. (But) the volumes would be very low.Ong declined to name the company that might launch an Android phone with 3D face recognition this year but said that Viavi was in talks with all the major smartphone makers to supply the filters. Apple, Huawei and Xiaomi all declined to comment, as did Samsung, whose current phones use a standard camera for facial recognition. That means that China’s Huawei, Xiaomi and others could be a total of almost two years behind Apple, which launched Face ID with its iPhone X anniversary phone last September

But Vedantji’s son, Munna Bhaiyya (Pawan Tiwari), who is China cylindrical grinder factory canvassing and hoping to get a ticket from a party that firmly believes “rajneeti karam ki nahin, dharma ki honi chahiye”, disapproves.Nakkash’s sights and sounds are what we hardly hear or see these days on our screens — qawwali, nikkah, a modern woman in a burqa, men in skull caps without the looming spectre of terrorism. But Vedanji assures them that Allah Rakha is given gold by him to melt, beat into a thin sheet and then bring back to the temple to decorate the walls.All we did was take a pledge.In this setting, Nakkash tells the story of two friends — both Muslims — a temple priest and his son, and how aligned and similarly-inclined hardliners are, no matter what their faith. Because it’s a good thing when movies tell us that our job is not done just by standing proudly and humming along when Jan Gan Man is played on the screen.Imagine Imran Khan or Donald Trump’s Cabinet littered with imams and priests? Does that image strike you as odd? Does it ring a warning bell? If it does, look around you and, well, ponder.The story is fairly simple and straightforward too, but in these times when the obvious often gets downed in loud, rhetorical grandstanding, it serves as a cautionary tale — of an India that was, and an India that is fast turning into a nation where the space for anyone other than the Hindu is receding at a scary, alarming pace.Vedantji’s morning sun and Ganga salutation are performed to the rendition of the Gayatri Mantra in Urdu, composed and sent to him by a Muslim friend in Delhi.

Every day Allah Rakha changes from his usual attire — kurta and a lungi that s******ts above his ankles — to a pant and shirt and puts a red mark on his forehead before venturing into the temple.Allah Rakha works in temples creating metal work, nakkashi (engraving, in relief), with the encouragement of Vedantji (Kumud Mishra), the chief priest of a rich local temple. But no matter what he mortgages, the money is just enough. Nakkash, in essence, is about how love can wilt in the face of relentless hate. Now we must honour those words with our actions, work.Nakkash, written and directed by Zaigham Imam, is simply told.The cops, unusually alert to a Muslim’s movements because, they say, of a recent blast in a temple, arrest him for stealing gold.Vedantji is proud of the tradition of Muslim artists decorating the sanctum sanctorum of his temple.Rating: On surface, writer-director Zaigham Imam’s Nakkash is a simple story about India’s Ganga-Jamuni tehjeeb — in this case set in a tiny, traditional pocket whereHindus and Muslims work together in the sanctum sanctorum of Hinduism — and how this can come under threat from radical elements on both sides.It’s easy to love Allah Rakha’s character because of how sweet, honest and sincere he is.

Two trips to the local thana, before and after Allah Rakha’s marriage to sweet Sabiha (Gulki Joshi), alter the course of Allah Rakha and Samad’s lives and friendship, and brings them face-to-face with the politics of hate. He is so accommodating of the other that he is willing to sacrifice himself and his reputation to save a friend.But the disarming diffidence and quietness, along with an unshakeable belief in his value system that Inaamulhaq portrays is what lifts this otherwise stock, almost bechara character and makes him real, believable and a symbol of a species endangered. Also, the party wants him to “manage” this cozy, little secular arrangement between Allah Rakha and Vedantji. The film pauses to tell us this because it wants to remind us that we are one nation, one people who have lived and worked together for generations..But at another level, Nakkash is a sharp, heartfelt political commentary with scary contemporariness on our society and the nation’s rightward march. It uses asmall example of secular India, of traditional Hindu-Muslim collaboration to show how fragile this harmony is, and how its total destruction is not just presided over by, but actively coerced by a politics that needs hate to survive. Because it’s a good thing when movies remind us that democracy, secularism cannot and must not be taken for granted.Let’s pause here to consider the fact that we are now increasingly finding our politicians and leaders in our temples. When he’s done, he changes back again and then heads home to his son whom the Maulvi at the local madrasa won’t admit because he disapproves of Allah Rakha and his work at Hindu temples.Zaigham Imam’s Nakkash begins with visuals and sounds that capture the soul of India as preserved for generations in the oldest living city in the world: In Varanasi, ambers of the aarti are dancing to the chants of shlokas and bells, and soon Maghreb azaan is heard from a nearby mosque.Samad loves Allah Rakha very much but is, at the moment, worried about his ageing father’s last wish — to go for Haj. It lacks finesse but it more than makes up for that with its pulsating heart and strong performances.Allah Rakha Siddique (Inaamulhaq) is a widower who has a young son, Mohammed (Harminder Singh Alag), and his friend Samat (Sharib Hashmi) drives an electric rickshaw.Nakkash’s throbbing heart is Inaamulhaq’s Allah Rakha, a simple, dishevelled man who loves what he does, an artist who believes in the sanctity of all religions and refuses to even engage with those maulvis and neighbours who disapprove of him.But more than that, Nakkash is important — because it’s a good thing when movies refuse to let us slip into complacency

Passing over rocky fjords, dazzling glaciers and icebergs, some dozens of metres (feet) high looming out of the water, Willis and the crew took turns dropping the 1.For Willis, the song, like his work with OMG, are all part of trying to get his mesغير مجاز مي باشدe about climate change and sea-level rise across.At the rear of the refitted DC3, built in 1942 for the Canadian air force during World War II, project manager Ian McCubbin took his turn by a chute holding the plastic probe, waiting for the order to drop it.Greenland &wholesale CNC Universal Cylindrical Grinding Machine39;a challenge'NASA, best know for the moon landings and space travel, started to study the earth's climate in greater depth from the 1970s when its inter-planetary exploration budget was reduced, using its satellites to look at the earth.5-metre cylindrical probes and watching as the data came in showing the ocean's temperature and salinity.The Arctic region has warmed twice as fast as the global average, and Greenland, a resource-rich Danish possession, has become a focal point for climate research, as well an object of desire for US President Donald Trump, who scrapped a trip to Denmark over its dismissal of his attempts to buy the autonomous territory."We have some tough decisions ahead of us if we want to avoid the worst parts of climate change.Today it has more than a dozen satellites in orbit monitoring earth's seas, ice, land and atmosphere, along with missions like OMG, which Willis hopes will provide data to give better predictions of sea-level rise around the globe.".

Tough decisions aheadIan Fenty, an investigator with OMG, sat in front of a laptop and a bank of electronics receiving the signals from the probes.OMG surveys Greenlandic glaciers in the winter, comparing it with the data they collect about the oceans in the summer over a five-year period, which Willis hopes will allow researchers to better predict sea-level rise.The island has three quarters bordering the Arctic ocean and is 85 percent covered in ice -- if this ice sheet were to disappear completely, it would raise the ocean level by seven metres (23 feet)."A lot of people think of the ice here as melting from the air warming, sort of like an ice cube under a hair dryer, but in fact the oceans are also eating away at the ice's edges," Willis said.They are part of Oceans Melting Greenland, or OMG, a mission that has flown around the vast # island for four summers, dropping probes to collect data on how oceans contribute to the rapid melt of Greenland's ice."Dealing with Greenland's remoteness is a unique challenge," McCubbin said on a break between dropping probes, a baseball cap pulled down over his eyes."The data we’re collecting are super valuable because they’re allowing us for the very first time to quantitatively relate ocean temperature changes with the melting of the ice sheet," he said.Ice cube under a hair dryerWillis is investigating how warmer layers of water off the coast come into contact with glaciers and how this effects how quickly they melt."The relevance of this project makes it exciting to work on, given the importance to our society, our children, our children’s children," he said.With 20 years’ experience flying with the JPL, McCubbin also organises the mission’s logistics from the remote airfields it flies out of during the summer.

Dressed in a blue jumpsuit and with thick sideburns that give a hint of his occasional pastime impersonating Elvis, Joshua Willis, 44, is the oceanographer from NASA's Jet Propulsion Laboratory behind the project — and, along with his wife, its name.After the flight, Willis, wearing Ray Bans, a leather jacket with the collar turned up and a guitar, gave a performance of his Elvis-inspired "Climate Rock" to diners and visiting journalists in the village's hotel, explaining the difference between the weather and climate.After each probe hit the water, data started to upload almost immediately onto the small screen on the laptop on the tray table in front of Fenty.After two hours in the air along the coast of eastern Greenland, the plane turned and headed back to base at the remote village of Kulusuk, flying low over icebergs and pods of whales in the sea below."I feel like as a climate scientist I have a responsibility to explain what we’re finding to the world," he said.Sucked out into the cold air below, the four-foot cylinder parachuted into the water and after a nervous wait, started transmitting data to the team on the plane."We're looking at probably metres of sea level rise in the next hundred years and that's a huge threat to hundreds of millions of people around the world, so a bit of alarm and OMG is probably warranted," he said.Skimming low over the gleaming white glaciers on Greenland's coast in a modified 1940s plane, three NASA scientists, led by an Elvis-impersonating oceanographer, waited to drop a probe into the water beneath them.Limited communications and transport links and the island's unpredictable weather all make keeping the mission in the air more complicated, but McCubbin said he was happy to put up with the difficulties

We can imagine how she fills her studio with about many lifetimes worth, of stones still waiting to be carved. This fascination and critical attention to the processes and concept of ‘direct carving’ arguably keeps the commentary of the techniques of sculptural identities and corollaries as her insignia for conversations. The granite blocks I use speak to me by its texture and grains. “ I’ve always been inspired by the capacity of a block of stone,” says Nivedita, on how she can create a one-of-a-kind groups or single works and she likes to create her own language when her hands touch each sculpture and work it from start to finish. It is an articulation of a particular vision of the sculptor’s craft, inextricably bound up with the ‘aesthetic creed’ for what she sees as a physical processes of carving through the simplicity of language.Stones that speakLooking at the smaller clusters of her work one feels as if the earth has created itself into a cathedral of beautiful treasure stones —uncountable shapes and textures, each one stamped with its own rich familial and cultural history.Most sculptors in history, created a composition in a malleable material, made any adjustments desired, then either copied it in stone themselves or had it done by a craft-person.Moulding triangular bases in the cluster of stones we can see the earthiness and the balance of vision and vitality. In the series that echo treasures and boxes and cavities the set of four with lids are the finest in finesse and fervour.”Articulating an emotion but when you look at the polished cylindrical series in her works you know that carving is not just simply a method of making sculpture for her.

Carving granite is an evocative endeavour for Odisha’s woman sculptor Nivedita Mishra.Inner Spirit“My connection with stone involves spirituality and reverence for the spirit that dwells within,” says Nivedita as she puts together her series Odyssey at the Lalit Kala Akademi in a small cameo. As a sculptor, I visualise what the stone wants to become and I strive to help it bloom.Her large work symbolises a cave with apertures that captures the sensations of making temple portals carved with chisels, hammers and mallets from hard, as well as resistant material.In yet another pair called “ You and Me” we can perceive the grace of the cylindrical column that begins with the magic of the stone. She is dedicated to carving and it connects not just with the density and intensity of the granite locks she works upon but upon the physicality and materials of the smaller elements she works upon. Every carving block is filled with a silent beauty calling for attention.Nivedita’s series is about the odyssey of man - the odyssey Lord Tennyson speaks of in his poem The Brook when he says - For men may come and men may go…But I go on forever. Each offers a puzzling mystery to explore; each tweaks our imagination, stimulates our curiosity and raises interesting questions.

Carving as sculptural practice has a deep, ancient, global history and this connection between a vision for modern sculpture and methods of making has been employed for centuries, millennia even, across the globe and this is why her works appeal deeply to the common man. Every stone an invitation for creative expression that echoes the infinitude of man and woman as individuals as consorts as friends walking their own paths sometimes crossing sometimes melding.. “It has been on this earth much longer than man and for this reason the stone becomes our teacher, it is CNC Universal Cylindrical Grinding Machine factory simply what my ancestors believe. I look at the characteristics of the granite, and then start carving. Stone, she says, is about people and their journeys.“I find strength, faith, and dignity through my heritage, yet I also find these same things in other cultures – and I derive inspiration and motivation from them as well,” says Nivedita as she runs her hands over her own carving of the triangular-temple cave.It’s the potential of each piece that brings her great joy, she says