And thanks to a mention in Dan Brown’s new novel, The Secret of Secrets, the festival has gained even more global recognition. Just a few weeks after the release of Brown’s new bestseller set in contemporary Prague, viewers were able to see for themselves what drew the popular writer to the festival, which is the largest Czech and Central European showcase of digital art. In one passage, the Signal Festival has a cameo appearance when the novel’s protagonist recalls attending an event at the 2024 edition.

“We’re happy about it,” festival director Martin Pošta says about the mention. “It’s a kind of recognition.” Not that the event needed promotion, even in one of the most anticipated novels of recent years. The organizers have yet to share the number of visitors to the festival this year, but the four-day event typically attracts half a million visitors.

On the final day, there was a long queue in front of the monumental installation Tristan’s Ascension by American video art pioneer Bill Viola before it opened for the evening, even though it was a ticketed event. In the Church of St. Salvator in the Convent of St. Agnes, visitors could watch a Christ-like figure rise upwards, streams of water defying gravity along with him, all projected on a huge screen.

The festival premiere took place on the Vltava River near the Dvořák Embankment. Taiwan’s Peppercorns Interactive Media Art presented a projection on a cloud of mist called Tzolk’in Light. While creators of other light installations have to deal with the challenges of buildings—their irregular surfaces, decorative details, and awkward cornices—projecting onto water droplets is a challenge of a different kind with artists having to give up control over the resulting image. The shape and depth of the Peppercorns’ work depended on the wind at any given moment, which determined how much of the scene was revealed to viewers and how much simply blown away. The reward, however, was an extraordinary 3D spectacle reminiscent of a hologram—something that can’t be achieved with video projections on static and flat buildings.

Another premiere event was a projection on the tower of the Old Town Hall, created for the festival by the Italian studio mammasONica. It transformed the 230-foot structure into a kaleidoscope of blue, green, red, and white surfaces. A short distance away, on Republic Square, Peppercorns had another installation. On a circular LED installation, they projected a work entitled Between Mountains and Seas, which recounted the history of Taiwan.

Software development is associated with the idea of not reinventing the wheel, which means developers often select components or software libraries with pre-built functionality, rather than write code to achieve the same result.

There are many benefits of this approach. For example, a software component that is widely deployed is likely to have undergone extensive testing and debugging. It is considered tried and trusted, mature technology, unlike brand-new code, which has not been thoroughly debugged and may inadvertently introduce unknown cyber security issues into the business.

The Lego analogy is often used to describe how these components can be put together to build enterprise applications. Developers can draw on functionality made available through application programming interfaces (APIs), which provide programmatic access to software libraries and components.

Increasingly, in the age of data-driven applications and greater use of artificial intelligence (AI), API access to data sources is another Lego brick that developers can use to create new software applications. And just as is the case with a set of old-school Lego bricks, constructing the application from the numerous software components available is left to the creativity of the software developer.